The Flatiron Building , originally the Fuller Building , is a triangular 22-storey steel building located at 175 Fifth Avenue in Manhattan district of New York City, considered a skyscraper that is innovative. Upon completion in 1902, it was one of the tallest buildings in the city on 20 high floors and one of only two skyscrapers north of 14th Street - the other being the Tower of the Metropolitan Life Insurance Company, one block east. The building is located on a triangular block formed by Fifth Avenue, Broadway, and East 22nd Street - where the 87-foot (27 m) tall building ends - with East 23rd Street grazing on the northern summit of the triangle. Like many other wedge-shaped buildings, the name "Flatiron" comes from its resemblance to cast iron clothing.
The building, which has been called "one of the world's most iconic skyscrapers and classic New York City symbols," anchors the southern (central) edge of Madison Square and the northern (central) end of the Ladies' Mile Historic District. The surrounding neighborhood is called the Flatiron District after its signature building, which has become an icon of New York City.
The Flatiron Building was designated a New York City landmark in 1966, was added to the National Register of Historic Places in 1979, and was designated a National Historic Landmark in 1989.
Video Flatiron Building
Situs
The site on which the Flatiron Building will stand was purchased in 1857 by Amos Eno, who immediately built the Fifth Avenue Hotel on a diagonal site opposite it. Eno knocked out the four-story St Germaine Hotel at the south end of the parking lot, replacing it with a seven-storey apartment building, Cumberland. In the rest, he built four three-story buildings for commercial use. It leaves four stories from the open face of Cumberland north, which Eno leases to advertisers, including The New York Times, which puts a sign made of electric lights. Eno then puts a canvas screen on the wall, and projects the image into it from the magic lantern above one of its smaller buildings, presenting interesting advertisements and drawings in turn. Both the Times and the New York Tribune start using the screen for news bulletins, and on election nights, tens of thousands of people will gather in Madison Square, awaiting the latest results.
During his life, Eno refused the suggestion to sell "Eno balloons", because the site was known, but after his death in 1899, his assets were dissolved, and many were sold. The New York State Assembly allocated $ 3 million for the city to buy it, but this failed when a newspaper reporter discovered that the plan was a corruption scheme by Tammany Hall boss Richard Croker. Instead, the lot was bought at auction by William Eno, one of Amos's sons, for $ 690,000 - the older Eno had bought the property for about $ 30,000 forty years earlier. Three weeks later, William sold the lottery back to Samuel and Mott Newhouse for $ 801,000. The Newhouse intends to build a 12-storey building with street-level retail stores and single apartments on top, but two years later they sell a lot for about $ 2 million to Cumberland Realty Company, an investment partnership created by Harry S. Black, CEO of More Companies Full. The Fuller Company is the first true general contractor to handle all aspects of building construction except design, and they specialize in building skyscrapers.
Black intends to build a new headquarters building on the site, despite recent environmental damage recently, and he involves Chicago architect Daniel Burnham to design it. The building, which will be Burnham's first in New York City, will also be the first skyscraper north of 14th Street. It will be named Fuller's Building after George A. Fuller, founder of Fuller Company and "father of skyscrapers", who died two years earlier, but locals insist on calling it "The Flatiron", a name that has since been made official.
Maps Flatiron Building
History of buildings
Design and construction
The Flatiron Building was designed by Chicago Daniel Burnham as a vertical Renaissance palazzo with Beaux-Arts style. Unlike the early New York skyscrapers, which take the form of minarets arising from the lower and larger masses, such as the contemporary Singer Building (built 1902-08), the Flatiron Building symbolizes Chicago school conceptions: such as classical Greek columns, facades - stones limestone at the bottom turns into terra-cotta from Atlantic Terra Cotta Company in Tottenville, Staten Island as the rising floor - divided into base, shaft and capital.
Early sketches by Daniel Burnham show a design with a clockface (which is not executed) and a crown that is much more complicated than in an actual building. Although Burnham maintains overall control of the design process, he is not directly connected to the details of the constructed structure; credits must be shared with the designer Frederick P. Dinkelberg, a Pennsylvania-born architect at Burnham's office, who first worked for Burnham in drafting the Columbian World Exposition in 1893 in Chicago, where Burnham was the chief construction and designer. The working drawings for the Flatiron Building, however, remain, though rendering is published during construction at American Architect and Architectural Records .
Building a Flatiron was made viable by a change to the New York City building code in 1892, eliminating the requirement that brick pairs be used for flame retardation. This opens the way for steel frame construction. Because using a steel frame - it can be built up to 22 floors (285 feet) relatively easily, which would be difficult using other construction methods at that time. It was a technique known to Fuller Company, a contracting company with considerable expertise in building such a high structure. At that point, the triangle tower only has a width of 6.5 feet (2 m); Viewed from above, the pointed end of this structure depicts an acute angle of about 25 degrees.
The "cowcatcher" retail space at the front of the building is not part of the design of Burnham or Dinkelberg, but added to Harry Black's insistence on maximizing the use of multiple buildings and generating some retail revenue to help finance construction costs. Black pushed Burnham hard for an addition plan, but Burnham refused because of the aesthetic effect that would occur on the "prow" design of the building, where it would interfere with the two-story high columns echoing at the top. building by two columns supporting cornice. Black insisted, and Burnham was forced to accept the addition, despite the disruption of design symmetry. Another addition to buildings that were not in the original plan was the penthouse, which was built after the rest of the building had been completed for use as an artist's studio, and was quickly leased to artists like Louis Fancher, many of whom contributed. to a pulp magazine produced in the offices below.
After construction starts, it runs very fast. The steel is very carefully cut beforehand so the frame rises on floor level every week. In February 1902, the chassis was finished, and by mid-May the building was half-closed by terra-cotta tiles. The building was completed in June 1902, after one year of development.
The New York Flatiron Building is not the first building of a triangular spatial plan: apart from a unique and unique triangular Roman temple built in the same location in the town of Verulamium, Britannia, Maryland Inn in Annapolis (1782), Granger Block in Syracuse, New York (1869), Phelan Building in San Francisco (1881), Gooderham Building in Toronto (1892), and the British-American Building in Atlanta (1897) preceded it. All, however, smaller than their counterparts in New York.
The Flatiron Building facade was restored in 1991 by the Hurley & amp; Farinella.
Initial response
The Flatiron Building has become an icon of New York City, and the public response to it is enthusiastic, but the critical response to it at that time is not entirely positive, and the praise of what it receives is often due to the technical skills involved. Montgomery Schuyler, editor of Architectural Record, says that "his awkwardness is completely hidden, and without even an attempt to disguise it, if they are not even worsened by the treatment... tip treatment is an extra and seems an unwanted annoyance from the inherent situation. "He compliments the surface of the building, and specifies the terra-cotta work, but criticizes the practicality of the vast number of windows in the building:" [Tenants] can, perhaps, find inner wall space for one roll top table without overlapping windows, with the light close in front of him and close behind him and close on one side of him.But he needs a bookcase? No doubt he has a very qualified place to see the procession, but for business transactions? "
When the building was first built, it received a lot of mixed feedback. The most recognizable criticism received is known as "Burnham's Folly". This criticism, which focuses on building structures, was made on the grounds that "the combination of shape and height of the triangle will cause the building to collapse." Critics believe that the building creates a dangerous wind tunnel at the intersection of two roads, and may be able to bring down the building. Despite strong winds at the intersection, the building structure is intended to accommodate four times the typical wind load to stabilize and maintain the iconic shape of the building's triangle.
The New York Tribune mentions the new building "A very thick piece of cake... the biggest onarama maker in New York", while the Municipal Art Society says that "It is not worth being in the Center of the city". The New York Times calls it "monstrosity".
But some look at different buildings. Futurist H. G Wells writes in his 1906 Future in America: Search After the Statement :
I found myself gaping, admiring the sky-scraper of the Iron House Building, in particular, plowing through Broadway and Fifth Avenue traffic in the afternoon light.
The Flatiron is to attract the attention of many artists. It was the subject of one of Edward Steichen's atmospheric photographs, taken in the wet winter of the afternoon in 1904, as well as an unforgettable picture by Alfred Stieglitz taken the previous year, in which Steichen paid the honor. (See below) Stieglitz reflects the dynamic symbolism of the building, noticing when looking at it one day as a "snowstorm... seems to be moving towards me like a giant ship's bow - a new American image is still in production," and said that what Parthenon to Athens, Flatiron is to New York. When Stieglitz's photo was published in Camera Work , his friend Sadakichi Hartmann, a writer, painter and photographer, accompanied him with an essay in the building: "A strange creation, no doubt, but could beauty be called? a very abstract idea... Why does not time arrive when the majority will without a doubt say 'Flat-iron' a beautiful thing? "
In addition to Stieglitz and Steichen, photographers such as Alvin Langdon Coburn, Jessie Tarbox Beals, Ashcan School painter such as John Sloan, Everett Shinn and Ernest Lawson, and Paul Cornoyer and Childe Hassam, lithographer Joseph Pennell, illustrator John Edward Jackson also French Cabbage Albert Gleizes all took Flatiron as the subject of their work. But several decades after it was completed, others still could not accept the building. Sculptor William Ordway Partridge says that it is "a disgrace to our city, anger towards our artistic sense, and threats to life".
The original renter and subsequent history
The Fuller Company originally took the 19th floor of the building for its headquarters. In 1910, Harry Black moved the company to Francis Kimball's Trinity Building on 111 Broadway, where his parent company, the U.S. Realty, has his office. They moved them back to Flatiron in 1916, and left permanently for the Fuller Building at 57th Street in 1929.
Other original Flatiron tenants include publishers (pioneer publishing Frank Munsey magazine, American Architect and News Building and publisher of vanity), insurance company (Equitable Life Assurance Society), small business (patent drug company, Western Special Manufacturing Company and Whitehead & Hoag, who make celluloid novelties), music publishers (overflowing from "Tin Pan Alley" above 28th Street), landscape architects, Consulate Russian Empire, Bohemian Guides Society, Roebling Construction Company, owned by sons Tammany Hall boss Richard Croker, and crime syndicate, Murder, Inc.
The retail space in the "cowcatcher" building in "prow" is rented by United Cigar Stores, and a large warehouse of buildings, which extends into a vault that runs more than 20 feet (6.1 m) under the surrounding streets, occupied. by the Flatiron Restaurant, which can accommodate 1,500 customers and is open from breakfast to a dinner party for those performing at one of the many theaters on Broadway between the 14th and 23rd Streets.
In 1911, this building introduced a restaurant/club in the basement. It was the first of its kind to allow the black Jazz band to appear, thereby introducing ragtime to prosperous New Yorkers.
Even before construction at the Flatiron Building began, the area around Madison Square began to deteriorate somewhat. After the US Realty builds the New York Hippodrome, Madison Square Garden is no longer the preferred venue, and survives primarily with a staging boxing match. The Flatiron base became a cruising ground for gay men, including some male prostitutes. In 1911, however, the Flatiron Restaurant was purchased by Louis Bustanoby, from the famous Cafà © à © des Beaux-Arts, and transformed into a 400-seat French restaurant with a trendy seating Taverne Louis. As an innovation to attract customers away from other restaurants opened by his siblings, Bustanoby hired black bands Louis Mitchell and Southern Symphony Quintette to play dance songs at Taverne and Cafà © ©. Irving Berlin heard the group at the Taverne and suggested that they try to work in London, which they did. The openness of the Taverne was also shown by the welcoming of a gay customer, unusual for a restaurant of its kind at the time. Taverne was forced to close due to the Prohibition effect on restaurant business.
Sales
In October 1925, Harry S. Black, in need of cash for the US Realty Company, sold the Flatiron Building to a syndicate founded by Lewis Rosenbaum, who also owned various other famous buildings in the United States. It costs $ 2 million, which costs Black equivalent to buy lots and set up Flatiron. The syndicate defaulted on its mortgage in 1933, and was taken over by the lender, Equitable Life Assurance Company after failing to sell it at auction. To attract tenants, Equitable undertook some of the modernization of the building, including replacing the original iron bird cage lift, which had a rubber tile covered cabin and was originally built by Hecla Iron Works, but the hydraulic power system was not replaced. In the mid-1940s, the building was fully rented.
When the US entered World War I, the Federal government instituted "Build America!" campaigns, and United Cigar stores on the Flatiron cowcatcher donated his space to the US Navy for use as a hiring center. Liberty Bonds are sold outside on the sidewalk. In the mid-1940s, a cigar shop had been replaced with a Walgreens drug store. During the 1940s, the building was dominated by clothing and toy companies.
Equitable sold the building in 1946 to Flatiron Associates, an investor group headed by Harry Helmsley, whose company, Dwight-Helmsley (later Helmsley-Spear) manages the property. The new owners made some shallow changes, such as adding a falling ceiling to the lobby, and, later, replacing the original entrance of mahogany with a revolving door. Since the ownership structure is a tenant-in-common, where all partners must approve every action, as opposed to direct partnerships, it is difficult to get permission for necessary repairs and improvements to be made, and buildings declining during the Helmsley/Flatiron Associates era. Helmsley-Spear stopped managing the building in 1997, when some investors sold 52% of their buildings to Newmark Knight-Frank, a large real estate company, which took over the management of the property. Shortly thereafter, Helmsley's widow, Leona Helmsley, sold her share as well. Newmark made significant improvements to the property, including installing a new electric elevator, replacing the ancient hydraulic, which is the last hydraulic elevator in New York City.
21st century
During the 2005 restoration of the Flatiron Building, a 15-storey vertical ad banner was covering the front of the building. The advertisement sparked protests from many New York City residents, prompting the New York City Department of Building to enter and forcing the building owner to remove it.
In January 2009, Italy-based real estate investment firm Sorgente Group, based in Rome, bought a majority stake in the Flatiron Building, with plans to turn it into a world-class luxury hotel, although the conversion may have to wait ten years until the current tenant lease is up. The company's Historic Buildings and Trophy Fund owns a number of prestigious buildings in France and Italy, and is involved in the purchase, and then sale, of a stake in Chrysler Building in Midtown New York. The value of the 22-story Flatiron Building, already categorized by the city to allow it to be a hotel, is estimated at $ 190 million.
Current status
As an icon of New York City, the Flatiron Building is a popular spot for tourist photos, making it "perhaps one of the most photographed buildings in the world", but also serves as an office building that is currently the headquarters of the publishing company held by Verlagsgruppe Georg von Holtzbrinck of Stuttgart, Germany, under the umbrella name of Macmillan, including St Martin's Press, Tor/Forge, Picador and Henry Holt and Company. Macmillan, who is renovating several floors, publishes the following on their website:
The Flatiron interior is known for having odd-shaped offices with walls cutting at an angle on their way to the famous point of the skyscraper. This "point" office is the most coveted and features stunning north sights that look directly to other famous landmarks in Manhattan, the Empire State Building.
There is an oddity about the interior of the building. Bathrooms for men and women are placed on the floor back and forth, with men's rooms on the floor even and strange female rooms. In addition, to reach the top floor - the 21st date, which was added in 1905, three years after the building was completed - the second lift must be taken from the 20th floor. On the 21st floor, the bottom of the window is chest height.
Influence
"23 skidoo"
When construction starts in the building, locals are immediately attracted, placing bets on how far the debris will spread when the wind knocks it down. This allegedly destructive vulnerability also gave him the nickname "Burnham's Folly". But thanks to the steel reinforcement designed by Corydon Purdy engineer, allowing the building to withstand four times the amount of wind power that could be expected to ever be felt, there is no possibility that the wind will hit the Flatiron Building. However, wind is a factor in the public's attention received by the building.
Due to the geography of the site, with Broadway on one side, Fifth Avenue on the other, and Madison Square's open expanse and park in front of it, the wind currents around the building can be dangerous. The wind from the north will break up the building, downdraft from the top and rising currents from the domed area below the road will merge to make an unexpected wind. It is said to have given birth to the phrase "23 skidoo", from what the police would shout at men trying to get a glimpse of women's dresses blown up by winds revolving around the building due to strong downdrafts.
In popular culture
In the 1958 comedy film Bell, Book and Candle James Stewart and Kim Novak were filmed on the Flatiron Building with a romantic touch, and for the 1980 Warren Beatty movie Reds , the base of the building it was used for scenes with Diane Keaton.
Currently, the Flatiron Building is often used on television commercials and documentaries as easily recognizable city symbols, shown, for example, in the opening credits of the Late Show with David Letterman or in the New York City scene shown during the scene transition in the TV sitcom Friends , Play City , and Veronika Cabinet . In 1987 the building was used as the homicide for the TV serial She Wrote in the episode "No Accounting for Murder". In the 1998 movie Godzilla, the Flatiron Building was accidentally destroyed by the US Army while pursuing Godzilla, and it was described as the headquarters of the Daily Bugle, where Peter Parker was a photographer freelance, in the movie Spider-Man . This is shown as the location of the News 6 headquarters where April O'Neil works on the TV series Teenage Mutant Ninja Turtles. The Flatiron Building is also home to the fictional Damage Control firm in the Marvel Universe comic and to the CIA sponsored superhero management team "The Boys" in the Comics Dynamite title of the same name.
In 2013, the Whitney Museum of American Art installed a replica of Edward Hopper's 1942 work, Nighthawks in Flatiron Art Space located in the "prow" Flatiron building. Although Hopper said his photograph was inspired by restaurants in Greenwich Village, the bow reminded the paintings, and was chosen to feature two-dimensional pieces.
In 2014, the Lego Architecture series produced a Flatiron Building model to add to their landmark series. The next set of New York City, introduced in 2015, also includes the building.
Gallery
See also
Bangunan
- 47 Plaza Street West, Brooklyn
- 10 Sullivan
- Herring Safe & amp; Kunci Perusahaan Bangunan, Meatpacking District, Manhattan (1849).
- Gedung Phelan, San Francisco (1881)
- Gooderham Building, Toronto (1892)
- Gedung Inggris-Amerika, Atlanta (1897)
- Sibley Triangle Building, Rochester, New York (1897)
- Columbus Tower (San Francisco) (1907)
- Vesteda Toren, Eindhoven, Belanda (2006)
- Het Strijkijzer, Den Haag, Belanda (2007)
- Bangunan Flatiron Lainnya
General
- Initial skyscraper
- Flatiron District
- Ladies' Mile Historic District
- Madison Square
References
Information notes
Quotes
Bibliography
- The Flatiron: The New York Landmark and The Incomparable City That Gets Up With It , New York: Thomas Dunne/St. Martin, ISBNÃ, 978-0-312-38468-5
- Brown, Lance Jay; Dixon, David; Gillham, Oliver (June 21, 2014). Urban Design for the Urban Age: Establishing More Livelihood, Fair and Resilient City (2nd ed.). Hoboken: Wiley. ISBN: 978-1-118-45363-6.
- Zukowsky, John and Saliga, Pauline, "Late Works by Burnham and Sullivan", Institute of Arts Studies Chicago Museum . 11.1 (Autumn 1984: 70-79)
Further reading
- Kreitler, Peter Gwillim. Flatiron: History of the World's First Steel Frame Photography, 1901-1990 . AIA Press 1991. ISBNÃ, 978-1-55835-060-1
- Laurin, Dale (2008). "Grace and Sincerity in Flatiron Building and Yourself" (PDF) . Aesthetic Realism Appears in NYC . Aesthetic Realism Foundation. pp.Ã, 1-4.
External links
- List of empires
- SkyscraperPage List
- New York Architecture List
- "New York Travel - The Triangular Flatiron Building in New York City" (Video) . September 20, 2010 - via YouTube.
Source of the article : Wikipedia
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