VOLUNTEER PACKET

West 96th – 110th Street Building Survey Project Landmark West!

Upper West Side, New York City Summer 2007

Survey Form Explanation

Part 1: General Information: Some of this data can be gathered before beginning field work

Block and Lot numbers: The map attached to each block’s assigned survey form illustrates both of these numbers. To find them on your own: a building’s block and lot numbers are available online. Using the Department of Building’s website, www.nyc.gov/html/dob/home.html, enter the borough and address in the BIS Web Query tool to the right (block and lot numbers will appear near the top right corner). Or you may find this data via the Department of City Planning’s website, www.nyc.gov/html/dcp/home.html. From the home page, a GeoQuery tool can be found in the bottom left-hand corner. By entering an address and selecting NYC.gov CityMap, you can find a building’s block and lot numbers as well as their zoning information. Alternate Address: Buildings, such as those located on corners, occasionally have more than one address. While a principal entrance may be located on Central Park West, for example, a side entrance may also have a building number associated with it, such as 2 W. 101st Street. Owner: Like block and lot numbers, this can also be found on the Dept. of City Planning’s website.

Part 2: Building Materials/Conditions and Other Architectural Data

Building Type: Elaborate on your previous by-floor identification of use. Residential : Buildings marked as “residential” in use can be more specifically identified, as tenements or flats, rowhouses, or apartments buildings, for example. The differences between some of these types (ie: tenements and flats) are less distinguishable from the street as are others, say, an apartment building and a rowhouse. Buildings above eight stories (the Department of Buildings cap for tenements and flats) are usually apartment buildings. Rowhouses are epitomized by those midblocks between Central Park West and Columbus while tenements and flats are the buildings we commonly see on the avenues with ground floor stores and 4 or 5 floors of residential. The Upper West Side – Central Park West

Landmark West! - Volunteer Survey Pack 1

Historic District designation report has an excellent explanation of the residential building types found on the Upper West Side. If you’d like to know more, pages 47-59 give an excellent explanation of the development of these types and LW! would be more than happy to electronically forward you a copy. Commercial : Buildings with no residential component to them can be specified here. For example, an office, a restaurant, a movie theater, or a supermarket. Community : Specify whether the building is a school, church, or branch library, etc… Open spaces/Recreational use : Most likely, this is public park space, but do make note if it is open or recreational space with a different intended use.

Building Style: Based on architectural elements such as roof and window types and ornamentation, try to classify the building. Styles often seen on the Upper West Side include Romanesque and Renaissance Revival, Queen Anne, Neo-Classical Revival, Italianate, and Gothic Revival, among others. Brief explanations of these styles as they apply to rowhouse architecture are available from the New York City Landmarks Preservation Commission in their publication Rowhouse Styles, http://www.nyc.gov/html/lpc/downloads/pdf/pubs/rowhouse.pdf. While this gives stylistic components as they apply to rowhouses, these same attributes can be easily translated into apartment house or tenement buildings, and so the guide’s usefulness is not limited solely to rowhouse architecture. In addition, the book What STYLE is it: A Guide to American Architecture, by John C. Poppeliers and S. Allen Chambers, Jr., can be consulted. Both the former in its entirety and the latter in excerpted form are included in this packet. NOTE: Architectural classification can be difficult, as buildings may incorporate aspects of more than one style. These reference points provide basic guidelines but not all buildings will fit neatly into a stylistic category. Primary Exterior Wall Material: This refers to a façade’s principal building material. While a building may have a large amount of terra cotta serving as trim and ornamentation, for instance, the primary material is that which comprises the majority of the wall spans. In most, but not all, instances, this is brick. Secondary Exterior Wall Material: After having identified the building’s primary exterior wall material, the secondary would most likely be that which is used for ornamentation. A brick flat with terra cotta window surrounds and sculptural accents would note terra cotta as its secondary exterior wall material, for example. Base Material: If the first few floors of the building differ in material from that of the majority of the building (a.k.a. the primary exterior wall material), indicate of what material the base is constructed. Often, a building’s base is constructed of a more grand or imposing material. In The Anatomy of a House, the section on “Stonework” gives examples of ways in which a base material is sometimes articulated.

Landmark West! - Volunteer Survey Pack 2

Roof Configuration: A helpful reference is The Anatomy of a House by Fayal Greene, whose pages on roof types follow this explanation. Cornice Description: Describe the nature of any decorative elements found at the cornice. For example, is it bracketed? If there is a decorative motif, such as an organic patterning of acanthus leaves, is this in a high or low relief? Is it a cornice of a grand nature, or is it rather simple and reserved? Is the cornice extant or has it been removed or replaced? Is it not a cornice at all, but rather a parapet (a low, solid protective wall or railing along the edge of the roof)? Primary Window Type: Many, but not all, of the buildings to be surveyed have lost their original windows. Thus, much of which you will be seeing are replacements. Should you see a building which you suspect may yet retain original windows, make a note. Again, The Anatomy of a House is a good source to consult to understand the differences in window types. Signage Notes: Buildings with commercial functions will largely be found to have canvas or vinyl awnings. However, some may turn out to have interesting lit signage (neon, for instance) or another noteworthy manner of sign display. In these cases, provide a brief description. Other Decorative Features and Materials: Here, list or describe any other architectural details for which there is no specific category but which add to the building’s character. A wrought iron fire escape may be particularly elegant, for example. Visible Alterations/Additons: Examples of visible alterations would be handicap access ramps, sealing off of windows, conversion of a doorway into a window, removal of cornices, rooftop additions (increasing the building’s number of stories), or sidewalk café extensions, among others.

Part 3: Other Relevant Information

- Examples of information appropriate for this field include special relations to nearby structures or spaces – a school’s relation to a playground, for example. If one building is part of a larger row of similar buildings which may have been developed simultaneously, that is worth noting.

Part 4: Photograph

- Attach a quality overall photograph of the building. Ideally, a straight-on image is best. However, some buildings can be difficult to photograph depending on their placement on the street, orientation of other buildings, trees and plantings, etc. Should a face-on photo not be possible, do your best to get an unobstructed image of the façade. The photo may be submitted in hard-copy or electronically. If the latter is preferred, the photo must be clearly labeled to ensure it is correctly archived. Appropriate labels would be, “4 W. 101st Street,” or “Block 1844 Lot 44.”

Landmark West! - Volunteer Survey Pack 3

Part 5: Location on Block

- Highlight or circle the lot which corresponds to the building documented.

Landmark West! - Volunteer Survey Pack 4

Answering the Question of Style The following are excerpts from the book What STYLE is it: A Guide to American Architecture, by John C. Poppeliers and S. Allen Chambers, Jr. A quality reference point for stylistic info, providing histories on over a dozen recognized architectural styles, this source suggests elements of a building which can aid in their classification. Neoclassical (p. 32-35) Entries may be capped with semicircular elliptical arches, though they are more often sheltered by monumental porticos with pediments. Most commonly, classical orders are Roman (Doric, Ionic and Corinthian), not Greek, in inspiration. Greek Revival (p. 39-45) Hallmarks of the style are bold, simple moldings on both the exterior and the interior, pedimented gables, heavy cornices with unadorned friezes, and horizontal transoms above entrances. The arched entrances and fan windows of previous styles were abandoned. Characterized by austere facades softened by Greek details around windows and doors, with the latter often protected by a columned entry porch. Gothic Revival (p. 46-53) Distinguished by the pointed arch often combined with towers, crenellation, steep gabled roofs, clustered columns, and bay and oriel windows. Within this classification, Ruskinian or High Victorian Gothic is characterized by the use of contrasting colors of brick and stone to produce bold polychromatic patterns. A later return to simpler Gothic forms produced Collegiate Gothic, named for the architecture found on university campuses such as Yale or Princeton. Romanesque Revival (p. 54-56) Its salient characteristic is the rounded arch; not the classical round arch of Roman times, but as filtered through the medieval Romanesque style. Later manifestations of the Romanesque would characterize the style by its ruggedness or craggy texture – Richardsonian Romanesque. Italianate/Renaissance Revival (p. 57-61) Round-headed windows (often paired) with hood moldings, corner quoins, balustrade balconies, and a heavy bracketed cornice characterize the type. Second Empire (p. 66-69) The style features prominent projecting and receding surfaces, often in the form of central and end pavilions. Ornamentation usually includes classical pediments, balustrades and windows flanked by columns or pilasters. Columns are usually paired and support entablatures that divide the floors of the building. Of course, there is always a mansard roof. Queen Anne (p. 72-73) The style plays on contrasting materials; first floors are often brick or stone, upper stories are of stucco, clapboard or decorative shingles. Huge medieval chimneys are common. Roofs are gabled or hipped, often with second-story projections and corner turrets borrowed from French

Landmark West! - Volunteer Survey Pack 5

Landmark West! - Volunteer Survey Pack 6

chateaux. Decorative brick patterns, molded bricks and colorful stained-glass transoms enliven the facades. Beaux-Arts (p. 90-97) Designs are formal and symmetrical. The style can be characterized by heavy ashlar stone bases, paired columns with plinths, monumental attics, grand arched openings, cartouches, and decorative swags. Classical Revival (p. 98-99) Influenced by the Beaux-Arts, but more sedated Art Deco (p. 120-126) A style that consciously strives for modernity, Art Deco ornamentation consists largely of low-relief geometrical designs, often in the form of parallel straight lines, zigzags, chevrons and stylized floral or fountain motifs. This ornament could be rich, varied and handcrafted or reduced to the merest suggestion for efficient machine production. Concrete smooth-faced stone and metal were characteristic exterior architectural coverings, with accents in terra cotta, glass and colored mirrors. Polychromy, often with vivid colors, was frequently an integral part of the design. Forms were simplified and streamlined, and a futuristic effect was often sought.

N~ YorkGty landmarks Preservation Commi5Sion Rowhouse Manual

Rowhouse Styles

The following dra\\-ings and text depict anddescribe the most common rowhouse styles foundin New York City's residential historic districts.Each style is identified by a generalized listing ofits most common and archel}pal identifying fea­tures and the dates of its most commonappearance. It must be remembered, however,that architecture is a creative endea"or. Not allhouses of a particular style will exactly fit thedescription given, Architectural styles e\'olve slow­ly, Older styles did not lose popularity as soon as

new styles were introduced. Therefore, many row­houses can be identified as transitional buildings\\ith forms and details characteristic of two ormore sl}'les.In addition, many ofNe\v York City'srowhouses have been altered since they werebuilt. Often the change was the addition of one ormore elements to make an older rowhouse morestylish. Thus each element of a rowhouse shouldbe handled in accordance with the attributes of itsstyle.

THE fEDERAl STYLE

(1800-1835)

• characterized by modest scaleand simple architectural orna­ment inspired by ancientGreek and Roman architec­ture;

• two to three stories high withbasement and attic half-storywith dormer windows; -

• metal or slate peaked roof;

• brownstone base with red

brick upper fa<:ade(laid inFlemish bond);

• low stoop with wrought-ironhancIfaits, fence, and newels;

• six Of eight-pane11ed woodentrance door, sometimeswith a leaded transom, side­lights, and colonnettes;

• six-over-six double-hungwood window, (often flankedby panelled shutters);

• stone window sillsandpanelled stone window lintels;and

• dassiGll wood cornicewith dentiIs, modiUions, andmoldings..

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THE ,RE£K R1VIVAl STYlE

(111850)• ~ by simple and

boIdlard1itectur.ll elements.~ Gredc motifs;

• ttvJ to three and one--haIf

storilb high ...nth baxment.~ an attic story belowthe~

• ~ base lOrith brick~~ (laid in EngIi5hbancO;

• ~ d medium height with

~-«~ handrails,~ and newels,;

• ~ f*1eIed -mdoor,

• grJ. enIrance piIasnn. side­194 and stone enIi'amemellts;

• ~ dooble-OOng wood~ six-<M!f'-rine often onIhe ~ftooc'. and ~teSsmall attic wfndow5,;

• ~molded_window~ and sills; and

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• wood dentiIed axnice..

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THE GOTHIC REVIVAl STYlE

(1840-1860)

• dla<a..'tet ired by architecturalelements inspired by o.-gaoicand natural forms. meOlellalism,and the picturesque;

• bold. ". c.jcai< '9 ornament;

• three stories plus basement;

• flat roof;

• brick with brownstone trim orfuI brownstone facade;

• stoop d medium height withGISt-«on handrails, fence, andnewels with elaborate gothicmotifs;

• A!CI!S'Sed cbxway with panelledwood door with pointed archesand ocusio.lal trefoih or quatre­foils;

• door surmoooted by horizontalhood molding or-Iow Tudor archor <DC'fIbiniItion d !he two withfoliated spandrel carving;

• picturesque hooded stonewindow Iinteb;

• rnul6-paned doubIe-hungwood windows or muIti-panedwood casement windows; and

• plain Greek Revivalstyle orboldly JlIojeai119 ltaflilflilte stylecomic:e.

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THE ITAUANATE STYLE

(111870)• ~ by elabor3te. bold.

~ ornament with an~ on repetitive forms;

• two J:, four- stories high withbruoJl5tDoae baslet.-',.

• ~ a fuI brom~ •••facade;

• high l.oo wide sCOop'"~ cast-iron handrails,~~and~

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• deeply ~ doonAywith'-Y protruding door hoodand ~ bradiets;

• ~ double leaf~ with heavily moldedan:heid paneb;

.1aIge~~oronb-.--«1e wood windcMs.sOl(uec;..'b with ~ munlins tomrate~wirdM5;.....J oiediI ••••••••...•..••- ..• '~l'. IX 19~"" •••••••••••.IinldS and sills <_ ..etim-=S R5l­Ing oh bradtds) or fuI windowenflal.temtflb; and

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Ib. ~ with moldings

and ~ by R!CIlIngUIlIr orsaolIf4\aped br.dets.

THE ANGLo-tTAUANATE STYLE

(1840-1860)

• three to five stories high;

• narrow width;

• rusticated brownstone basementand first stoIy with smoothbrownstone or brick upperfiICiIde;

• low stoop;

• round-headed, doubIe-Ieafwood door with atd1ed panels;

• mund-arched door surround;

• square-headed.. round--aId1. orsegmentaI--head window~

• two-over-two, one-over-one,or muIti-paned wood windows;

• simple brownstone window lin­tels and sills; and

• bradceted axnice with recessedpanels and an atd1ed fascia.

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New York Oty landmarks Preservation cJmmission Rowhouse Manual

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01 10

THE SECOND EMPIRE STYLE(1860--1875)

I

o simiIac to ltafianate style;

o uJe to five stories high;I

o ~one faade;o wide stoop with classically

insPired iron handrails, fence

'1newels;• mansard roof (usually slate with

irorl ~); and

• ~ with stone pilasters,~, and segmental archedpeqiment.

THE ROMANESQUE REVIVAL

STYL.E (1880-1890s)

o cha~erized by heavy forms,asyrrmetJy, and polychromaticmatkrials, and a straightforwarduse bt materials and expressionof $Jctun>;

• toJ and textural juxtapositionof nlaterials: rock-faced brown­

srort. granite. limestone,~ted red, yellow, and

~ brid. and terra CQtta;• use of permanence of stone to

evoI1e sense of solidity;

• ayzJ.,tine-styte carved oma­mertt

• spJ., interlaced YegetaI forms,

abstfact patterns, and grotesque

~ and animal heads;• massive arches:

I '

• deePlY recessed round-afd1ed

~ and window openings;• ~ wood double

~o ~te stained--gtass tr.msom

~and

• ~ tile roofs.

THE NEO-CREC STYLE

( 1865--1885)

o chafacterized by extremelystylized, classical details, angulafOftllS,and incised detailingformed by mechanical stonecutting;

• three to five stories high withbasement;

o brownstone and/<>rbrick facadEwith simpflfied ornament,induding single-line incisedcuttings in the stone;

• high stoop with massive. heavy.angular cast--iroo handrails,fence, and newels;

• massive dOOf"hood andenframement with angular dec­orative elements resting onstylized brackets;

• doubIe-Ieaf wood entrancedOOf"s with angular ornament;

o stylized, angular-incised windovsurrounds;

• \wo-{)Ver-{wo or one-over-onedcuble-huog windows;

• projecting angular bays; and

o pc-ojecting wood or metal cor­nice resting on angular brackets

THE QUEEN ANNE STYLE(1870-1890)

• characterized by asymmetricmassing of forms and details;

• contrasts of varied materials,colors, and textures;

• eccentric details, often w thCIassicaf or Renaissance {-receo­dents and otten mixed witJ1Romanesque Revival style forms,

• use of terra cotta;

• three-5ided projecting baYwindows;

o whimsical juxtaposition of win­dow pane size, usuallydoubIe-l1ung windows withsmall paned upper sash;

o MUUght iron used at doorwaysand railings;

ol-5haped stoops or straightstoops;

o J1lUlti.i>anelledwood doors; anc

o gable roofs covered with bles orslate and featuring dormers andchi~

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New York City landlaoo Preservation Commission Rowhouse Manual

rn,~Lcm~v~STYLE(1880-1920)

• chMaCtl by simple,restrained ReniHssaoce design

fOlmS, andl an interest indassicism;

• two to three stories high;

• browrntonk. limestone or light

colored txft' facade;• subdued CJassic.aIornament

concentratfd around door and

wIndow~

• applied detail includes l1'lOlihof wreaths) baskeU of fruit. andgarlands of &wets;·=r'often wnh two

• entrance ~ features afull stone enframement;

• wood ~ doors wnhglazed ~, sometimeswith iron grilles; and

• simple mx1 comice wnhRenaissance-irnpired ornament.

The Neo--R~nce st;yIe(1890-1920) was an outgrowth ofthe Renaissahce Revival style.N~ st;yIerowhousesare similar to Renaissance Revivalsty\e ~ but are more aca­demic in their U>eand expressionof classical olnament.

THE COLONIAL REVIVAL STYLE

(1880-1930)

• characterized by the use ofcolonial design motifs, acombination of elements fromthe Fedefal and Greek Revival

styles;

• symmetrical red brick facadelaid in Flemish bond;

• high stoop or simple steps;

• stone trim around doorw-ay andwindows;

• six or eight panelled wood doorwnh leaded fanlight or rectan­guI¥ sidelights and transom;

• simple iron handrails and fences;

• multi-panedouble-hung woodwindows;

• Classical det •••ls often includeurns, festoons, and brokenpediments;

• delicate. slender moldings; and

• simple cornice.

THE BEAUXP.RTS STYLE(1890-1920)

• characteraL by an academic

~-~ofdes;gn,and an ~,-.riormappearan<:f;

• five stories 6.• steep mane:oo with ornate

dormers, Ofll flat or low-pitchedroof;

• white mart:Jle..limestone,. or a

light color ~ facade;• bold ~ stone

~I• use of cartOuches as ornament;

• IacIcshigh koop, entJanCe door

~ two[1steps a~ the• main floor is often one floor

above the ~~ and usuallyhas large winaows wnh bal-

• ~ and casementwood windows;

• curved or bree-sided projectingbaywi~and

• -sheet medt comice with consolebrackets dnbemshed withfriezes..

THE ENGLISH NEO-CLASSlCAl

STYLE (1900-1925)

• characterized by the puredesign and accurate replicationof eighteenth-century Englishtown house architecture;

• subdued classical ornament;

• four"to five stories high;

• full brick facade laid in Flemishband or limestone facade;

• projecting entranCe portico atground level wnh full entabla-~

• double-leaf glass and ironentrance doors;

• modestly projecting windowand door surroonds with hoods,and eared surrounds;

• flc?ridwrought iron;

• roof may be flat. steeply pitchedwnh dormers, or steeply pitchedwith a triaoguIar pediment setbefore it; and

• cornice set on modillions and°5Ul11lOOfltedby a balustrade.

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The Anatomyof a HouseA Picture Dictionaryof Architectural and

Design Elements

FAYAL GREENE

lllustrations by

BONITA BAVETIA

~

DOUBLEDAYNew Thrk London Toronto Sydney Auckland

13Roof Shapes

A-Frame

EavesFascia

Dormer

G,;lbled Roof

Louver Vent

Mansard Roof

The shape of the roof establishes the style of a houseas well as sheltering the interior from weather. Asaltbox suggests ColonialAmerica, whereas a man­sard roof, especially when topped off with a cu­pola, is typically Victorian. The steeper the pitch orangle ofthe roof, the more efficiently it will shed wa­ter and snow. Thus flat roofs are most suitable fordry climates. Houses which have been added to overtime may have several intersecting roofs, sometimesin differing shapes.

THE ANATOMY OF A ROOF

12

LeaderHead

Downspout

Hanger

CornerBoard

15

Roof Ornamentation

Roofing materials, whether asphalt or wood shin­gles, tiles or sheet metal, overlap like fish scales toshed water. Most roofs in this country consist of awooden deck overlaid with sheets of waterproofunderlay, on top of which the shingles, slates, ortiles are nailed in rows.

Most roofs are finished off at the eaves with gut­ters: metal or plastic pipes which collect water,channeling it via downspouts into the drainagesystem.

During the Victorian era, roofs were richly orna­mented in iron or wood at the crests and eaves; sim­pler carvings enhanced country buildings.

WaterproofUnderlay

AsphaltShingle

SheetMetal

Roofing Material

Slate & Tile

SplitShake

WoodShake& Shingle

14

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Random RoughBedded Ashlar

Coursed Rubble

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STONEWORK

Stone, like brick, is more often used in this countryas veneer than as a structural material. Some stoneis used in its natural shape-this is often calledfieldstone. Otherwise, the stone is cut into regularrectangles and fitted together in somewhat the sameway as brick. Like bricks, stonework is held togetherby mortar.

In some parts of the country, stucco, a rough ce­mentlike material, is used for exterior walls. Any fiatwall may be accented with quoins, decorative stone­work at the corners.

UncoursedLedgerock

Uncoursed Fieldstone

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Common 6th Course Header

Common 6th CourseFlemish Header

1/3 Running Bond

Many brickwork patterns are very ancient, havingcorne to this country with the first settlers. In Amer­ica the commonly used brick veneer, a single brickfacing approximately four inches thick, is applied toa standard woodenframe in much the same way asclapboard or shingle. Mortar, a mix of cement, sand,and water, holds the bricks in place. Bricks vary tre­mendously in color, the most prized being the softmottled rose of kiln-fired old ones.

BRICKWORK

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English Bond

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Flemish Bond

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25

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Hexagon

Arrow

Octagon

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Diagonal

Diamond

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SHINGLES

Cove

Wooden shingles are laid in overlapping rows,whether on roofs or walls, to shed water. They maybe split-separated naturally along the naturalgrain and commonly called shakes-or sawed.

tccCd tc:CtaMost shingles taper in thickness toward the top to

give the finished wall a neat appearance. The visibleends may be shaped to produce a decorative surfacepattern. Shingles cut from a stone called slate maybe similarly shaped, a technique very popular in Vic­torian houses. Although shingles may be painted, ce­dar ones are usually left to weather naturally.

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DRESSED STONE

The most formal building facing material is cut, ordressed, stone. Each stone may have bevelededges and may be rusticated-set to protrude con­spicuously from the mortar. This style of stoneworkis often imItated in cast cement.

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