The Orlando Potter building is one of the best terracotta realities of New York (and the United States) for me. This is a unique work of art. Lie back, enjoy and do not rush to discover all the details and complexity of its structure and keep in mind that it is 120 years old.
This is another great building and a place where you can sit and admire the beauty of New York architecture. As soon as you sit on the park bench in the City Hall, you are surrounded by buildings that made the history of New York and do not forget your binoculars, because there is something to see. The building of Orlando Potter is a real beauty and has a lot of classiness, elegance and attractiveness, it is also surrounded by prestigious buildings, such as the park park building (1 block north), until 1903 - the tallest building in the world.
At the corner of Broadway and Parkovaya Street, which was destroyed in 1938 because of a human rights dispute between the city and the federal authorities, there was a beautiful and huge four-story post office, the bo-art style (Figure 1910). The post office was added to the City Hall park for the 1939 World's Fair.
In the south of the Orlando Potter building is the City Hall; The architectural beauty of this, the oldest town hall in the country, which still retains its original government functions, the New York City Hall is one of the best architectural achievements of its period (1803-1812). The City Hall is the designated landmark of New York, and its rotunda is also an internal landmark. And, of course, right in front of the Orlando Potter building is the Woolworth Cass Gilbert building, a world-class building and part of the fame and history of New York. In the vicinity of the City Hall there are large buildings that need to be opened. Keep in mind that, as in all of New York, what you see today is not the landscape that was there when the building and the surrounding buildings were built, many changes were made and still made today. For example, the first known building on this site was the brick Presbyterian Church of the American architect John McComb (1763-1853), also known to the New York City Hall. When the Presbyterian church decided to build a new building in 1856, the game was divided into two parts, and a trio of friends, including Orlando B. Potter, bought the southern lot for more than $ 300,000 (about $ 6,500,000 this year, Dollars. ) As you can see, New York already at the turn of the 20th century was a healthy and valuable real estate city. The trio identified a five-story stone building known as The Park Building.
The newspaper "The New York World" was founded in the 1860th office in the park, and then was named the World Building. January 31, 1882 a terrible fire completely destroyed the building, and 12 people were killed. intensity and speed of fire. Orlando Potter felt guilty for the people who died there in the tragedy, and at the same time were good businessmen and understood what to do to turn the page into such an event, which he also lost for $ 200,000 above insurance and half of his income. were lost. He focused on finding the right materials (fire resistant) so that such a dramatic event does not repeat with what type of materials. Remember that at the gilded age (end of the XIX century) the 11-storey building was considered a large building and was really the beginning of a skyscraper area based on the engineering designs of 1880, which allowed the construction of tall multi-storey buildings. This definition was sed on the steel frame - in contrast to the structures of the bearing masons. Sadly, history has already used funds to come from tragedies, and it is because of this tragedy that Orlando Potter, who for some period was a major step forward in a fire-resistant construction; brick, terracotta and steel. He also proved that you do not need marble or small stones to make a masterpiece. The Potter building is a masterpiece surrounded by monsters in the neighborhood that attract people like magnets and leave the unknown Orlando Potter building, but he has no reason to envy them because of his outstanding architectural concept, design and creation. His meticulous details were carefully crafted to create a masterpiece,
Construction of Orlando Potter began in April 1883 and was completed in 1886. Architectural historians call this “Potter” this building because Potter, Orlando Brunson, is a representative from New York; Born in Charlemont, Franklin County, Massachusetts, March 10, 1823; attended district school, Williams College, Williamstown, Massachusetts, and Danish Law School, Cambridge, Massachusetts; studied law; was admitted to the bar in 1848 and attended practice in Boston, Massachusetts; in 1853, he moved to New York in 1853 and worked in the design of a sewing machine (Grover & Baker Sewing Machine Co.), of which he was president until 1876; he was a permanent figure in the New York Democratic Party, but without success for the elections in 1878 at the forty-sixth congress; elected as democrat forty-eighth
Congress (March 4, 1883 - March 3, 1885); refused to be a candidate for reappointment in 1884; Member of the Commission for Fast Transit in New York 1890-1894; died in New York on January 2, 1894; burial at Greenwood Cemetery. (Source: US Congress Biographical Directory, 1771-present.)
Orlando Potter not only found the material he wanted to use, but also the right Architect for Norris G. Starkwezer. Norris Garsh Starkvezer, who signed his name N.G. Starkvezer, was born in 1818 by Garshon Norris Starkvezer in Windham County, state B. In 1830, we were an apprentice builder and in 1845 we became contractors ourselves. Norris began his career as an architect in Philadelphia in 1852 with Joseph K. Hoshi and became a full partner in 1854, but the partnership did not continue and was dissolved in the same year. Norris G. Starkvezer began his own practice and was very active in church design. In 1855, he created the first Presbyterian church in Norristown, Pennsylvania, the first Baptist church in Camden, New Jersey (Camden is a city in New Jersey just on the other side of Philadelphia) and the first Presbyterian church in Baltimore. Norris left Philadelphia from Baltimore in 1856 because of the Baltimore Presbyterian Church to oversee the construction, which lasted 5 years. In Baltimore, Norris did not know and did not provide other missions with villas and the remodeling of the City Barnum Hotel in Baltimore. In 1860, he appeared in Washington with an office. During the civil war, Norris studied in the sixth infantry regiment of Maryland, company F. He captured on August 27, 1862 and met on May 24, 1864. In 1868, he returned to Washington in partnership with a Philadelphia developer named Thomas M. Plowman. The partnership lasted until 1871, and from that date until 1881, Starkwezer was listed alone. Between this period and several projects, the remodeling of St. Louis was carried out, like the "Cook". John in Georgetown, the Academy building for the monastery visits.
In 1881, Norris G. Starkwezer leaves Washington, DC, in New York, opens an office with a young Architect named Charles E. Gibbs. They had their first office at 37 Park Row, moved to 822 Broadway from 1882 to 1884 and to 132nd Nassau Street from 1884 to 1886, but in 1885 the partnership dissolved, and Norris moved to 325W 23rd Street. The main company commission was the Orlando Potter building.
Norris G. Starkwezer died on December 18, 1885 before the completion of Potter’s construction and was buried in Bridgeport, Connecticut.
The Orlando Potter building is smaller than its prestigious neighbors, but it has appeal. With only 11 stories, he really joins the eye. The massive (black bottom) red brick and brown brown color make the building look like an invasion of the landscape due to its black bottom, red color and architectural styles. I put styles with “s” because of the different styles that were used; some historians-architects call it the “Queen Ann style”, but this is a more beautiful combination of Renaissance, Colonial Renaissance and even Neo-Greek. This is an excellent example of the strength of the Brick and Terra Cotta, for more than a century it has withstood New York, and still does not require recovery for 100 years. The black bottom is a bitumen-coated cast iron structure to avoid premature rust. The building is located in a semi-block and two corners from Park Row, Beekman Street and Nassau Street. It is located on the ground floor and offers a total of 59 apartments with an entrance on ul. Nassau, 145. The front facade, which was made and made so that it can be seen on Rowe Street, is a wonderful piece of artistic and detailed work. The building looks quite simple, but the more you watch it (with binoculars), the more you understand its complexity with different projection patterns on each floor, a lot of brick patterns of all shapes that give a feeling of complicity
Materials used:
Cast iron and iron: the first two floors are covered with cast iron, which corresponds to the upper style. Iron for the facade and construction was performed by five suppliers: JM Duclos - Co (New York). The company logo is marked on Iron Work in the lower corner of Beekman Street and Park Row Street; JM Duclos Co, who completed the facade and HW Adams. Jackson Architectural Iron and Lehigh Iron Co., which worked on the internal structure. The floor beams and roof beams are made of rolled iron, and the floors (except the basement) are iron beams. The inner frame is made of iron with internal hollow cast-iron construction columns, which are enclosed in a wire mesh covered with refractory brick and plaster and flanged forged beams, installed through brick walls, bearing forged beams.
Take the binoculars and look in detail at the bricks of the face, and you will see an amazing variety of brick shapes that you will not see anywhere else. This is a real piece of art.
Common brick: Ordinary brick, also known as brick or brick, is a less expensive and less ready brick designed for indoor use in thick brick bearing walls or on less visible parts of buildings. It can often be found on the side walls that adjoin the walls of neighboring buildings in tightly packed city blocks.
Face Brick: The face of a brick is a brick kiln with a smooth surface, designed for visible parts of buildings. You will see a lot of shaped bricks with radial, angular, hinged, hoofed, conical ...
Engineering brick: Engineering brick is a strong, dense brick used for heavy construction, such as sewer pipes and foundations.
Terra Cotta Brown: Baked clay of any shape (in molds) Terra cotta is a solid, semi-burnt, waterproof ceramic clay used in building construction. It is mainly used for wall covering and decoration, since it can be fired in a mold. Often white or colored glaze is applied to the surface of the brick. Terra cotta is widely used in decorative art, especially as an architectural material, either in its natural red-brown color, or on a receipt, or with baked glaze. Architectural terracotta became very popular at the turn of the XIX-XX centuries. From 1900 to 1912, the production of terracotta in the United States quadrupled. Atlantic Terra Cotta was one of the important producers, and its products accounted for 40% for the terracotta market in New York. By 1908 Atlantic Terra Cotta Co. was the largest producer of architectural terracotta in the world with four plants, including Rochy Hill, New Jersey; Staten Island, New York; East Point, Georgia; and especially Perth Amboy, New Jersey, which was famous for its perfect texture for making terracotta.
In the case of the Orlando Potter Norris building, G. Starkwezer used brown terracotta from the Boston Terra Cotta Co., which was in business from 1980 to 1893, they were one of the first terracotta companies in the east that mainly served Boston, Chicago and New York The Boston Terra Cotta used the Orlando Potter Building in its catalog in 1885 to promote its work, demonstrating the strength of the bearing capacity in which the terracotta was embedded in the outer brick bearing walls. A total of 540 tons were used (more than 1,000,000 pounds). Boston Superintendent Terra Cott James Taylor (1839-1898), who was considered the "father of the American Terra Cott". His work today is considered the masterpiece of Terra Cotta.
In his hands, ordinary terracotta was worth its weight in gold. James Taylor often in New York oversaw the preparation of terracotta for the building of Orlando Potter and had many opportunities to meet with Potter himself, who always followed the construction of their buildings. Potter and Taylor got along well with each other and saw the growing needs and demand for terracotta in New York. Potter decided to create his own Terra Cotta "The New York Architectural Terra Cotta Company". which was created in January 1886 with Walter Herr and Asahel Clark Gere. James Taylor was hired as a caretaker and worked at New York Architectural Terra Cotta Co until his retirement in 1893. The team was perfect for creating the best in terra cotta in the United States. New York Architectural Terra Cotta Co. was the only major architectural company in New York, Terra Cotta, and it became one of the largest in the United States, but everything ended, and the demand for terracotta began to decline in the late 20s, and the company went bankrupt in 1932 due to lost interest to terracotta, changes in style and materials.
Description of the building Orlando Potter.
The first impression depends on how far you are from the building and the time you want to spend looking at it. If you are far away from him, the first thing that surprises you is its red color, which contrasts with its neighbor, it is also small in comparison with the famous buildings surrounding it. As you begin to approach him; forms begin to appear, begin to grow from its facades, the building begins to show you that terracotta ornaments, which at first look merged in brick patterns (and they really merge with the mass). The classic approach is from Park Row (street) right in front of the Town Hall Park. From there you see 2 faces of the building (Row Park - Beekman Street) with a third one hidden behind (Nassau Street), from where it looks like a corner building rather than a semi-block building. Take advantage of the city park, choose a good bench in front of the Potter building and watch it. This is a one-story building with two basement floors. On the park lane, the facade is 115 feet long, on Beekman Street, 150 feet, and on the side of Nassau Street, 89 feet. Beekman and Nassau are at an angle of 90 degrees, and Park Row and Beekman are at an angle of 60 degrees.
Black ground level (basement) and the first floor is a cast-iron facade. Black anti-corrosion to protect iron from premature rust. It blends very well with the upper styles. This is a very pleasant job, which reduces the coldness and impersonality of iron. It seems that the iron is molded to the bottom structure. It is one of the rare survivors of cast-iron facades that you can still see in the United States (not only rare, but also complex). The initial level of the land was a shop front, but changed several times over the years. Initially, on the facades of the store were installed thin-plate plates with showcase window. The entrance to the elevator lobby was in the north of the Park; he had double doors, small steps and columns supporting a heavy broken scroll front. It was removed in 1941, and the store was installed using part of an elevator lobby. On the central facade of Bikman Street there was also an entrance with a triple arched portico with a protruding pediment supported by square columns. In 1912 this entrance was changed and turned into a store. On Nassau Street, the north end was the initial entrance to the elevator lobby, which is now included in residential apartments. During the construction of the building on the upper levels there were about two hundred offices. Today, a total of 59 apartments.
Above the lower iron section begins the six-story body section. If you look at the building well, there is a very pleasant harmony and progressive complexity in the decorative terracotta and brick patterns.
The berths section between the double windows has a beautiful brick pattern with hinged bricks on the corner pier and hinges in the middle of the columns on the first two floors. The quays are also carrying elements and contain chimneys for exhaust fumes of furnaces, on top of each pier - the chimney is a chimney, finished in ornamental motifs from terracotta. If you look at the perimeters of the window, you will also notice the bricks of the bay. As you begin to observe, you discover all of these brick patterns that give pleasant appeal and a certain amount of complexity research. Each window sill is in a cast iron, between each window a brick column lies on a terracotta block. На каждом этаже узор окна отличается, чтобы придать ему незаметное увеличение сложности. Перемычка каждого окна имеет декоративную терракоту с мотивами разного стиля на каждом этаже; Цвет коричневого камня очень хорошо сочетается с кирпичным цветом и создает впечатление единства. На каждом этаже вы обнаружите кирпичную кладку, которая делает это здание таким уникальным. Просто взгляните на первую перемычку кирпичного пола, красивую кирпичную кладку, которая прогрессирует и изменяет пол по полу с помощью исследования «простой» сложности. Мне нравится называть это простым, потому что вам нужно наблюдать и обращать внимание, или вы не увидите и не заметите, что все здание может предложить.
Трио Норрис Г. Старквезер (архитектор) с помощью Орландо Б. Поттера (владелец) и Джеймса Тейлора (Boston Terra Cotta Company) провел ряд интенсивных исследований в кирпичных узорах и декоративной терракоте, что делает это здание реальным шедевр.
В 1992-1993 годах внешняя реставрация и чистка были выполнены Сири и Марсиком (архитекторы) и Генри Реставрация, которые выполняли общую перепланировку, исправление терракоты и некоторую замену кирпича. Прошло почти 15 лет, и похоже, что вчера была проведена реставрация. Самым злейшим врагом для терракоты и кирпичей является загрязнение. Загрязнение подрывает и темнеет все виды материалов и является предметом озабоченности для нашего архитектурного наследия во многих крупных городских центрах
На четвертом этаже (2-й кирпичный этаж) над перемычкой находится красивая декоративная терракотовая арка. На том же уровне (высоте) арки, на пирсе вы можете увидеть очень красивую декоративную терракоту с цветочным мотивом. Если у вас есть бинокль, посмотрите на мотив, вы можете увидеть маленькие точки в терракоте, которые представляют стебли - нервозность цветка. Если у вас нет бинокля, посмотрите на изображение на стр. 7. Еще раз он показывает качество работы. На пятом этаже над окном причала терракота - дракон с приятными деталями. (См. Рис. Стр. 8) от них до восьмого этажа, красивые кирпичные узоры и терракота, и все это вокруг трех фасадов (Park Row, Beekman Street и Nassau St.). На улице Beekman есть свет U-формы суд в центре его фасада, который начинается с третьего этажа до вершины здания, в то время это была обычная практика, чтобы получить максимальный дневной свет в здании и офисах. Помните, что здание было построено в 1883 году и что электрическая лампа накаливания была усовершенствована (Томасом Эдисоном) в 1880 году всего за 3 года до постройки здания. но газовое освещение было зрелой, хорошо зарекомендовавшей себя отраслью. Была создана газовая инфраструктура, были предоставлены франшизы, а производственные мощности как для газа, так и для оборудования были прибыльными. Возможно, как важно, люди привыкли к идее освещения газом.
Две последние истории:
Очень хорошо работают в кирпичных узорах с множеством различных кирпичных форм и терракоты. Это было сделано с большими пропорциями. Первичная четвертьугольная угловая колонка (угол улицы Парка и улицы Бикман) имеет видную вершину. Прямо за угловой колонкой в мертвом углу находится дымоход снизу вверх, который был сделан для выталкивания печных газов в дымоходы, понимаемые терракотовыми красками. Пирсы восьмого сюжета имеют стилизованные композитные столики из терракоты (см. Рисунок ниже) с угловыми элементами Park Row и Beekman, очень впечатляющими в деталях и качестве, сложности формования с орлом в центре (см. Рисунок выше). Эта структурная установка создает впечатление, что последние верхние этажи опираются на причалы и капители с верхними оконными арками, завязывающими между столицами. Над девятым этажом расположены кронштейны из терракотового карниза, которые создают впечатление поддержки двух последних этажей. Последний этаж - это единственный этаж с арочными окнами. В средней части одиннадцатого этажа небольшие фронтовые заливы увенчаны фронтонами. Две декоративные вершины возвышаются от средней части каждого фасада. На крыше есть терракота, сломанные пропеллерные фронтоны и урны.
Здание Орландо Поттер построено по цене 1,2 миллиона долларов (около 30 миллионов долларов США сегодня).
В то время, когда здание было завершено, несколько газет подверг критике Орландо Поттера и архитектора Норриса Старквезера. «The Record & Guide», вероятно, был самым агрессивным стрельбой: «Вся хорошая работа, проделанная в недавней архитектуре, была отброшена дизайнером здания Поттера, грубой, претенциозной, перегруженной и сильно вульгарной»,
Это факт, что прекрасная архитектура и архитекторы - это как мастера живописи, и большинство из них умирают еще до того, как узнают и отправятся в процветание.
Здание Орландо Поттер является и будет одной из лучших реалий кирпичной террасы в XIX веке.
