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Brewster Building

27-01 Queens Plaza North
Stephenson & Wheeler
1910

This massive 400,000-square-foot red brick building was built in 1910 to serve as the factory for Brewster & Company, an automobile manufacturer, which was based in Times Square. Six stories tall, the building features a simple design typical of industrial structures at the time. The building once featured a central “constructivist” clock tower embellished with tracery that asserted its presence over the landscaped expanse of Queens Plaza.  In its four decades as the home of Brewster, the factory-produced horse drawn carriages, Rolls-Royce luxury automobiles and the Brewster Buffalo, a carrier-based fighter plane that served in World War II. After the war, Brewster & Company closed and the building saw a variety of uses, including garment manufacturing, until it was bought by Brause Realty and converted to office space in 2001.

Queensboro Bridge (now Ed Koch Queensboro Bridge)

11th Street and Bridge Plaza North and Bridge Plaza South
Henry Hornbostel
1901-08
NYC IL, NR-P |

Plans for a bridge across the East River at Blackwell’s Island (now Roosevelt Island) were submitted to the City in 1877, but it would take another thirty years for the bridge to come to fruition. The Queensboro Bridge was the third bridge to span the East River, preceded by the Brooklyn Bridge (completed in 1883) and the Williamsburg Bridge (completed in 1903), and followed closely by the Manhattan Bridge (completed in 1909). Architect Henry Hornbostel studied at the Ecole des Beaux Arts in Paris, and was influenced by Jean Resal’s design for the Pont Mirabeau in Paris, which was completed in 1895 while Hornbostel was a student there. The steel superstructure for this roughly 7,000-foot-long bridge was furnished by the Pennsylvania Steel Company. Originally, the bridge contained four elevated railroad tracks for the Second Avenue “El” on the upper level and four trolley tracks and a roadway on the lower level. On the Manhattan side, the bridge is famous for its arcade of tile vaulting designed by Spanish architect Rafael Guastavino. The bridge’s rough-faced masonry piers included elevators and stairs to accommodate pedestrians on the Manhattan and Queens sides, as well as at Roosevelt Island. The construction of the bridge transformed this part of Long Island City and led to the widening of streets to accommodate traffic from the bridge. Queensboro Bridge Plaza, now Queens Plaza, was created in what was formerly known as the hamlet of Dutch Kills. The plaza became – and remains – an important transit and commercial hub in Queens. The Queensboro Bridge is listed on the National Register of Historic Places and was designated a NYC Individual Landmark in 1974.

New York Architectural Terra Cotta Works Building

42-16 Vernon Boulevard
Francis H. Kimball
1892

NYC IL |

Tucked under the bridge on Vernon Boulevard is the last remnant of the New York Architectural Terra Cotta Works, a once thriving company that produced the terra cotta for buildings such as Carnegie Hall and the Ansonia Hotel. Terra cotta became popular as a building material in the United States beginning in the 1870s and enjoyed a long tenure due to its flexibility, versatility and durability. Established in 1886, the company was the only major architectural terra cotta manufacturer in New York City and, when completed, its facilities were the largest in the country for architectural terra cotta. The company set up its manufacturing operations on the Long Island City waterfront in 1886 and initially kept an office at 38 Park Row in Manhattan. Six years later, its office headquarters were moved to this remarkable building, whose design served to advertise the company’s considerable range and skill. According to the building’s designation report, it is “the only one of its kind known to survive in the United States.” The company went bankrupt in 1928-29, but from 1931 to the mid-1940s, the company’s last president, Richard Dalton, used the facilities for his successor company, the Eastern Terra Cotta Company, and then conducted business for a later construction company venture in the headquarters building until his death in 1968. The Dalton family sold the building that year and the rest of the complex, which included a six-story manufacturing building and the mansion of an estate previously located on the property, was unfortunately demolished in the 1970s. The office headquarters has long been neglected. Despite its owner’s claims to be restoring the building, evidence of such is not forthcoming.

MoMA PS1

22-25 Jackson Avenue
1892; addition: Andrew Berman Architect
2011|

This Romanesque Revival structure, featuring variegated brick patterns and a plethora of arched windows, was built in 1892 as the First Ward School for the independent Long Island City. The bright red brick façade is enhanced by ornate terra cotta detailing, including floral motifs on the gables, which were supplied by the nearby New York Architectural Terra Cotta Company (see site #9). The school’s original 35 classrooms could accommodate up to 1,000 students, and its southwest corner once boasted a grand tower holding a clock and bell. After the school closed its doors in the early 1960s, the Institute of Art and Urban Resources took over the building for use as a gallery and studio space. The Institute ultimately evolved into the P.S. 1 Contemporary Art Center, which merged with the Museum of Modern Art in 2000 to become MoMA PS1. This affiliation has kept MoMA involved in contemporary developments in the art world, while providing this remarkable building with more visibility and responsible management. The success of the merger and the continuing vibrancy of the PS1 building are best represented by the cast concrete addition constructed in 2011 to serve as a new entrance and art display space for the growing museum.

Fire Engine Company No. 258, Hook and Ladder Company No. 115

10-40 47th Avenue
Bradford Lee Gilbert
1902-04

NYC IL|

Today considered to be one of the most dignified firehouses in New York City, this Dutch Renaissance Revival style structure commands a strong presence with its 4½ stories and 53-foot width along 47th Avenue. Its architect, Bradford Lee Gilbert, designed only this one firehouse over the course of his career. A pioneer in steel frame construction, Gilbert gained prominence across the country for the design of railroad structures and is known locally for his design of the Tower Building in Lower Manhattan, considered New York’s first skyscraper with a steel skeleton, constructed in 1887-89 (demolished in 1913). As an important political and industrial center, Long Island City was the first part of Queens to have a professional fire department, enabled by an act of the state legislature in 1890. In 1898, after the consolidation of the boroughs, the Long Island City and Brooklyn departments merged with the Fire Department of the City of New York. Upon consolidation, officials planned an expanded fire department to accommodate a growing population and improve working conditions for firefighters. This building was one of the more ambitious firehouse projects undertaken by the department due to its size and level of architectural detail, and was built for the same company that laid claim to being the borough’s first professional fire department. Although its numbering system changed over time, the company’s first name was Engine Company No. 1 and Hook & Ladder Company No. 1, which was established in 1891. The brick structure with granite and limestone trim is a rare example of the Dutch Renaissance Revival style, which was likely employed by Gilbert in homage to New York City’s Dutch roots. The Fire Engine Company No. 258, Hook and Ladder Company No. 115 was designated a NYC Individual Landmark in 2006.

Hunters Point Historic District

The Landmarks Preservation Commission’s (LPC) 1968 designation report describes the Hunters Point Historic District as “a notable residential area…which retains, on both sides of the street, a feeling of unity and repose, little changed since it was first built” that “serves as a microcosm of the domestic architecture of the last quarter of the Nineteenth Century.” Roughly spanning the block of 45th Avenue between 21st and 23rd Streets, this small district contains examples of the Italianate, French Second Empire, Neo-Grec and other architectural styles common in the second half of the 19th century. Originally part of the Van Alst farm, the street was subdivided for residential development in the 1870s and its elegant stone houses came to be known as “White Collar Row.” One of its most notable residents was “Battle Axe” Gleason, the mayor of Long Island City who famously chopped down a fence erected by the Long Island Rail Road that prevented pedestrians from crossing 2nd Street without a railroad ticket. The street changed as nearby commercial and industrial activity increased, as well as with the arrival of the elevated railway along 23rd Street in 1916. As the old families fled the noise from the trains, the houses were subdivided and began to attract theatrical performers who were drawn to the area for its easy subway access to the Broadway theaters in Manhattan. Luckily, though, the area managed to retain its character-defining features and continues to evoke the quiet tranquility that drew the first residents here in the 1870s.

The Hunters Point Historic District was listed on the State and National Register of Historic Places in 1973 and was designated a NYC Historic District in 1968.

New York State Supreme Court Building

25-10 Court Square
Peter M. Coco
1904-1908
|

In the late 19th century, the county seat was relocated to Long Island City, which was emblematic of the area’s increasing importance as an independent municipality that boasted its own public school system, regular police force and pure water supply. The new county seat was located in a two-story, French Second Empire building on Court Square, a prominent place in the growing city. Unfortunately, the structure was gutted by a fire in 1904, so a new building was commissioned from architect Peter Coco. A graduate of Cooper Union, Coco designed the building in the neo-English Renaissance style, incorporating many interesting details, such as the pairs of eagles set above cartouches around the third story. When the boroughs were consolidated in 1898, Long Island City lost its status as the county seat to Jamaica, yet the courthouse remained in use as the county courthouse until being taken over for use by the state’s Supreme Court in 1932. This dignified four-story building has remained a focal point for judicial activity in Queens for over a century, serving as the site of many notable trials, including that of Ruth Brown Snyder and Henry Judd Gray, who were famously executed at Sing Sing Prison in 1928 after being convicted in the murder of Snyder’s husband, Albert Snyder. The trial was widely publicized and large crowds gathered outside the courthouse for the verdict on May 9, 1927.

The New York State Supreme Court Building was designated a NYC Individual Landmark in 1976 and listed on the National Register of Historic Places in 1983.

Arris Lofts

27-28 Thomson Avenue
1923|

Standing at 27-28 Thomson Avenue, the triangular Arris Lofts was originally constructed as an industrial building. Typical for a factory building, the façade is unadorned but dominated by large windows that provided plenty of natural light for the interior workspace. This eight-story, poured concrete structure was one of six Eagle Electric warehouses in Long Island City, producing electrical switches and other equipment and gaining notoriety for its billboards proclaiming that “Perfection Is Not An Accident.” Later, the building served as the MetLife printing plant before its conversion to luxury apartments in 2008. Architect Costas Kondylis was hired to transform this loft space into 237 luxury apartments while retaining the building’s original industrial feel.

43-22 Queens Street

Ballinger & Perrot
1920|

Built for the Anchor Cap & Closure Corporation, this six-story concrete structure contained 3.1 acres of floor space in which rubber gaskets, lithographs, metal caps and bottle sealing machinery were manufactured.  Following World War II, the building was incorporated into the Eagle Electric Manufacturing Company’s network of warehouses in Long Island City as Plant #7. U-shaped in plan, the building embodies a typical factory typology with numerous windows punctuated by raised piers. The central bay of the factory’s Queens Street façade features vertical linear elements that terminate at a turret rising two stories above the roofline. As of 2016, the site is undergoing a transformation in which around 80% of the former factory will be retained and incorporated into a 54-story luxury loft apartment tower.

Chiclets Factory

30-30 Thomson Avenue
Ballinger & Perrot
1910 |

Now the headquarters of the New York City School Construction Authority, this six-story flat-slab concrete factory building was built by the American Chicle Company in 1919 as part of the Degnon Terminal industrial park. Raw chicle was unloaded onsite via a direct railway connection, brought to the top floor for spraying to keep moist, then moved by gravity conveyors to each floor for chewing gum production. The building’s façade is dominated by a two-story central tower, but was famous for its three large rooftop signs that once advertised “Dentyne,” “Adams Black Jack,” and “Chiclets” to passing commuters on the Long Island Rail Road. At the pedestrian level, the façade is enlivened at the second story of each pier by colorful tile work with designs featuring a raised floral motif surrounding a geometric diamond pattern. In 1976, an explosion that killed one worker marked the start of a decline that ultimately led the factory to close its doors and lay off 1,600 employees in 1981.

Far Rockaway Beachside Bungalows, Queens

In the early 20th century, a thriving network of vacation communities was constructed along the oceanfront in Brooklyn and Queens to accommodate the city’s working class in their summertime recreational pursuits. One of these was Rockaway, Queens, which was once home to over 7,000 modest bungalows in dozens of distinct seasonal communities. Sadly, fewer than 400 exist today, the rest having been demolished to make way for new development beginning in the mid 20th century. Rockaway’s largest cluster of existing bungalows (93 in total), located in Far Rockaway on Beach 24th, 25th and 26th Streets south of Seagirt Avenue, was once part of a Russian and German Jewish immigrant community called Wavecrest.

To learn more Far Rockaway Beachside Bungalows click here

Forest Close & Forest Hills, Queens

One of the first Queens residential developments was Forest Hills, a 600-acre parcel of farmland previously known as the Hopedale section of Whitepot. Purchased by the Cord Meyer Development Company in 1906, the parcel was renamed in honor of its proximity to Forest Park and its elevation above the surrounding area.

For this new development, George C. Meyer stipulated the layout of a suburban community, with lots designated for houses, schools and churches, as well as utilities and plantings. Aesthetically, the area would be united by its architecture. Meyer hired architects Robert Tappan and William Patterson to design single-family houses that would complement one another. Cord Meyer began the development of these lots in 1906, mostly north of Queens Boulevard. Forest Hills Gardens was established in 1909, and the community was completed in 1912-13. Arbor Close and Forest Close, small townhouse complexes with shared gardens, were constructed in 1925 and 1927, respectively.

To learn more about Forest Close & Forest Hills click here

Historic Public Libraries, New York City

The New York Public Library (NYPL) was formed in 1895 with the consolidation of three private corporations: the Astor Library (founded by John Jacob Astor in 1849), the Lenox Library (founded by James Lenox in 1870) and The Tilden Trust (a fund established in 1886 by Samuel J. Tilden). The NYFCL also joined this consolidation in 1901 in order to benefit from Carnegie’s gift of $5.2 million for 67 library branches to be built between 1901 and 1929 (56 are still standing). Carnegie’s only stipulation was that the city acquire the sites and establish building maintenance plans. To design the buildings, the NYPL organized a committee of architects: Charles F. McKim, Walter Cook and John M. Carrère. In order to stylistically link the branches and save money, the committee decided on a uniform scale, interior layout, character and materials palette for the buildings.

To read more about New York City’s Historic Public Libraries click here

Jackson Heights, Queens

Jackson Heights is an early-20th-century neighborhood in central Queens, composed of low-rise garden apartments and houses as well as institutional and commercial buildings. It was the first and remains the largest garden-apartment community in the United States— the product of both the early 20th-century model tenement and the Garden City movements.

Jackson Heights was designated as a New York City Historic District in 1993, and an extension of those boundaries, which would meet those of the 1998 National Register Historic District, is currently being sought. This would include buildings that, due to the restrictions placed upon them by the Queensboro Corporation, possess the same quality design, materials and scale of the earliest buildings creating historic Jackson Heights.

To learn more about Jackson Heights click here

Landmarks Under Consideration, New York City

In November 2014, the New York City Landmarks Preservation Commission (LPC) announced a plan to clear 95 properties that had been on its calendar for five years or more, but not yet designated as landmarks. The wholesale removal of these properties without considering each one’s merits would have represented a severe blow to the properties and to the city’s landmarks process in general, sending a message that would jeopardize any future effort to designate them.

The Historic Districts Council acted strongly in opposition to this action, and advocated for a more considered, fair and transparent approach. As part of this effort, HDC worked with Manhattan Borough President Gale Brewer and a coalition of other preservation organizations to submit an alternative plan for the LPC’s consideration. The plan eventually formed the basis for the LPC’s initiative, entitled “Backlog95,” calling for a series of public discussions to evaluate the properties in geographical groupings.

To learn more about the Landmarks Under Consideration click here

Long Island City, Queens

The westernmost portion of Queens remained predominantly rural and undeveloped until around 1870, when Long Island City was incorporated from the nascent industrial communities of Astoria, Blissville, Hunters Point and Ravenswood. The start of this area’s growth began when the Long Island Rail Road moved its main terminus from Downtown Brooklyn to the East River waterfront in Hunters Point in 1861. In the last quarter of the 19th century, its waterfront became home to oil refineries, lumber yards, factories and chemical plants, while the city’s population tripled from 15,609 in 1875 to 48,272 in 1900. After Queens was consolidated into Greater New York City in 1898, Long Island City’s connections to Manhattan were strengthened with additional transportation options. Banks and manufacturing firms soon gravitated towards Long Island City , which became famous for the large electric signs that dotted the rooftops of its buildings, advertising products like Swingline Staplers, Chiclets and Pepsi Cola to travelers passing through.

To read more about Long Island City click here

Richmond Hill, Queens

Like much of Queens, Richmond Hill remained farmland well into the 19th century. Its transformation into a prosperous residential suburb began in 1868 when businessmen Albon Platt Man and Edward Richmond selected this particular location for a new neighborhood. According to local legend, Man first became aware of the bucolic location during a drive to his country estate on Long Island, although it is more likely that Man was actually attracted not by the picturesque landscape but by the area’s lucrative potential, based primarily on the opening of the South Side Railroad that same year, offering commuter service to Brooklyn and Manhattan.

The original plan for Richmond Hill consisted of two sections. The southern section, encompassing most of present-day Richmond Hill, was laid out with a regular grid of streets (the northern section, comprising what is now Kew Gardens, wasn’t developed until later and didn’t follow Man and Richmond’s plans). Expecting a flood of buyers, Man and Richmond quickly set about getting their lots ready for sale. They paved roads and planted thousands of shade trees. By 1870, twenty houses were under construction and in 1872 Man held the first auction of building lots. Local advertisements called the neighborhood a “Suburban Chef D’Ouevre” (masterpiece) and the “most magnificent suburban enterprise on Long Island.” Though slowed by the Panic of 1873 and the subsequent economic depression, Man’s confidence in the neighborhood eventually paid off. By the 1890s, Richmond Hill was starting to fill in with large residences and the area was developing its own identity. One of its earliest residents—and most famous to this day—was Jacob Riis: journalist, photographer, social reformer and author of How the Other Half Lives. The home at 84-41 120th Street, where he lived with his family from 1888 to 1913, was designated a National Historic Landmark in 1968, but because such a designation does not confer legal protection, the house was demolished in 1973.

The short-lived Village of Richmond Hill formed in 1895 (also encompassing the neighboring communities of Morris Park and Clarenceville), before being subsumed into Greater New York City in 1898. At that time, there were so many houses under construction that the press claimed, “Richmond Hill seems more like a Western boom town than a staid Eastern community.” The distinct look of Richmond Hill’s houses was guided by a series of restrictive covenants that prohibited certain uses, including the broad category of “nuisances” and the sale of alcohol, and made design recommendations, namely that all houses should occupy large lots and be set back 20 feet from the street. Most of the residences were developed speculatively, constructed not for a specific client but for the general market. Many were designed, built and sold by a small group of architect-builders who lived in the neighborhood. The most prolific, and by far the best remembered, was Henry E. Haugaard; with his brothers, he operated a lumber mill, designed numerous houses in the neighborhood and maintained a sales office on Jamaica Avenue. Advertisements from the period often called these houses “Queen Anne,” although in reality a wide variety of architectural styles were used, including Colonial Revival, Shingle and Tudor Revival.
Richmond Hill remained an exclusive railroad suburb until the mid-1910s, when the subway finally arrived in the area (the Liberty Avenue elevated opened in 1915 and the Jamaica Avenue elevated arrived in 1917). The neighborhood is now a diverse and vibrant community of native New Yorkers and immigrants alike, though its housing stock remains little changed from its turn-of-the-century building boom.

Poppenhusen Branch, QBPL, Queens

121-23 14th Avenue;
Heins & La Farge, 1904;
NYC IL|

The only Carnegie-funded library to be designed by the noted firm of Heins & La Farge, this building resembles those contemporaneously designed by the firm for the Bronx Zoo’s Astor Court. The firm was also responsible for a number of the city’s subway stations and for early designs of the Cathedral of St. John the Divine. The citizens of College Point donated the land for the library and the books were donated by the Poppenhusen Institute, founded in 1868 by German-American businessman Conrad Poppenhusen as a kindergarten and community center. The stipulation of the institute’s gift was that the library would bear its name. The Classical Revival style library is clad in yellow Roman brick with limestone trim, and features a projecting entrance bay with stone banding and a broken pediment above the arched doorway, an ornate cornice with stone shells and two stone cartouches with reliefs of open books. A rear addition was constructed in 1937. The Poppenhusen Branch was designated a New York City Individual Landmark in 2000

Jackson Heights Branch, QBPL, Queens

35-51 81st Street;
S. Keller, 1949-52;
NYC HD|

A relative latecomer amongst the early 20th century garden apartment buildings and homes that characterize the Jackson Heights Historic District, the Jackson Heights Branch was constructed just after World War II. The building is an excellent example of the International Style with its simple, asymmetrical and unornamented facade. The cast stone and glass building with a flat roof occupies a large midblock site. The box-shaped entryway includes a recessed bay made up of three glass and aluminum doors with transoms and windows rising to the second floor. On either side of the entrance bay are two vertical rows of small square window openings, which provide some of the only ornament on the façade. Above the entrance, the raised metal letters and numbers identifying the library still retain their mid-century typeface. The Jackson Heights branch is located in the Jackson Heights Historic District.

Flushing Branch, QBPL, Queens

41-17 Main Street;
Polshek Partnership, 1998|

The Flushing Branch of the QBPL was Queens’ first public library. Established as the Flushing Library Association in 1858 and open to members as a subscription library, it became a free circulating library in 1869. In 1906, a Carnegie-funded structure designed by Lord & Hewlett in the Georgian Revival style replaced the wood frame building on this site. The Carnegie building was demolished in the mid-1950s and replaced with a Modern style building, completed in 1957. In 1993, that building was demolished to make way for the branch’s latest phase, a sweeping glass and steel structure completed in 1998.

Central Library, QBPL, Queens

89-11 Merrick Boulevard;
Kiff, Colean, Voss & Souder, the Office of York & Sawyer, 1966;

renovation: Gensler, 2013;
Children’s Library Discovery Center: 1100 Architect and Lee H. Skolnick Architecture and Design Partnership,; 2011|

In the early 1960s, when an expansion of the four-story, Georgian Revival style Central Library at 89-14 Parsons Boulevard was deemed necessary, an entirely new building was planned instead. The old building, completed in 1931, was repurposed as a courthouse, and has since been replaced by a large apartment building. Located six blocks to the east, the new Central Library was lauded for its functional and streamlined approach to book circulation, with supermarket-like checkout counters and conveyor belts and electric dumbwaiters for book returns. The library includes a large collection on the history of Queens and Long Island. Its simple exterior features two wall-mounted reliefs by sculptor Milton Hebald. In 2011, the Children’s Library Discovery Center wing was added on 90th Avenue, and in 2013, renovations to the main building, including glass at the recessed entryway, were completed.

Forest Hills Gardens

Grosvenor Atterbury and Frederick Law Olmsted, Jr.,;
1912-13|

One of the earliest planned garden communities in the country, Forest Hills Gardens was inspired by urban theorist Sir Ebenezer Howard’s Garden City Movement, which originated in England in 1898. The movement emphasized the confluence of natural surroundings within urban residential environments. It is believed that Forest Hills Gardens was specifically modeled after Hampstead Garden Suburb on the outskirts of London. The community’s winding tree-lined streets, English-inspired streetlamps and graceful architecture are the work of architect Grosvenor Atterbury and landscape architect Frederick Law Olmsted, Jr. Atterbury grew up in Long Island, studied architecture in New York and Paris, and in his early career apprenticed at the firm of McKim, Mead & White, specializing in summer homes and country estates. He was also interested in architecture for the working poor, designing a model tenement on East 31st Street in Manhattan. Thus, his experience and interests made him the perfect fit for Forest Hills Gardens, which was intended as a model community for people of diverse income levels. Unfortunately, the exorbitant constructions costs ultimately rendered the neighborhood less affordable than planned, and it remains a wealthy enclave to this day. Olmsted, Jr. was a famous landscape architect whose legendary father worked with Calvert Vaux to design Central and Prospect Parks, among many other commissions nationwide. Consisting of about 800 freestanding homes, townhouses and apartment buildings, the architecture can mostly be classified as neo-Georgian, American Arts and Crafts and neo-Tudor. In 1922, the Forest Hills Gardens Corporation was formed to manage the community’s affairs, including setting and overseeing design covenants. There are several small parks in Forest Hills Gardens, which are reserved for residents and their guests. These green spaces put the “Gardens” in Forest Hills Gardens, lending breathing space in which to relax and play, as well as providing vistas of the area’s beautiful architecture.

Firehouse, Engine Company 305, Hook & Ladder Company 151

111-02 Queens Boulevard;
John R. Sliney, 1922-24;
NYC Individual Landmark|

Following the arrival of public transportation to Forest Hills, the population increase necessitated municipal services. This neo-Medieval style firehouse was one such amenity. Constructed of red brick in Flemish bond with patterned brickwork and limestone accents, the building features asymmetrical massing, steep gables with copper roofs, two square towers with arched window openings and a tall square chimney along its western façade. Sliney, in his capacity as head building inspector for the fire department, was responsible for about 70 firehouses across the five boroughs between 1902 and 1933. The firehouse is a New York City Individual Landmark.

SPANISH TOWER HOMES, Queens

Address: 34–30 to 34–52 75th Street
Architect: J. Case & Peter Schreiner
Constructed: 1927
LPC Action: Calendared: 1990
LPC Backlog Hearing: Removed from the calendar without prejudice

HDC Testimony 

LPC- Fact Sheet | Research File

The Spanish Tower Homes include 10 three- and four-story detached tan brick houses. The first floors of these dwellings have no windows and instead feature French doors that open on to wrought-iron balconettes. Some windows on upper floors have original wood shutters, and the corner houses feature fourth-floor loggias. These houses have shared driveways with detached garages in the rear.

To learn more about the Spanish Towers click here

Pepsi-Cola Sign, Queens

Address: Gantry Plaza State Park;
Manufacturer: Artkraft Strauss;
Constructed: 1936;
LPC Action: Calendared in 1988;
LPC Backlog Hearing: Prioritized for designation;

Designated on April 12, 2016|

LPC- Fact Sheet  | Research File

HDC Testimony

The Pepsi-Cola Sign has illuminated the East River waterfront since 1936. While not a traditional “landmark,” the sign has become iconic for its vintage lettering, adding a special character to the all-but-developed Long Island City. Built by Artkraft Signs, the display is made up of steel and porcelain enamel channel letters and a Pepsi-Cola bottle, all illuminated by neon. The sign was originally perched atop the Pepsi bottling plant, which closed in 1999, but was located in what is now the northern section of Gantry Plaza State Park. As a nod to the departed industry that was once a dominating presence in Long Island City, the Pepsi-Cola sign was preserved and given pride of place in the park in 2009, long after its host building was demolished. In 21st century New York, vestiges like this remind us of our city’s vibrant past as an industrial powerhouse.

To learn more about the Pepsi-Cola sign click here

Old Calvary Cemetery Gatehouse, Queens

Address: Greenpoint Avenue at Gale Avenue;
Constructed: 1892;
LPC Action: Public Hearing in 1973;
LPC Backlog Hearing: Removed from the calendar without prejudice|

HDC Testimony 

LPC- Fact Sheet |Research File

In 1847, faced with cholera epidemics and a shortage of burial grounds in Manhattan, the New York State Legislature passed the Rural Cemetery Act authorizing nonprofit corporations to operate commercial cemeteries. That same year, the Old St. Patrick’s Cathedral purchased land in Maspeth and built Calvary Cemetery. By 1852 there were 50 burials a day and by the 1990s there were nearly 3 million burials here. It is today one of the largest cemeteries in the country. Designed in an array of architectural styles, cemetery gatehouses serve as picturesque portals. The Old Calvary Gatehouse was designed in the Roman Vernacular Queen Anne style, which is not found elsewhere in Queens. It features warm brick and terra cotta treatment, a picturesque arrangement of dormers and gables and a conical belfry.

To learn more about the Old Calvary Cemetery Gatehouse click here

First Reformed Church of College Point, Queens

Address: 118-17 14th Avenue;
Constructed: 1872-74;
LPC Action: Public Hearing in 1980;
LPC Backlog Hearing: Removed from the calendar without prejudice|

LPC- Fact Sheet | Research File

HDC Testimony

Constructed in 1872-74, the Carpenter Gothic-style First Reformed Church of College Point reflects the small town, rural nature of this area of Queens in the 19th century. The church underwent a restoration in 1994 and has recently been restored again after a fire in 2008.

To learn more about the First Reformed Church of College Point click here

FAIRWAY HALL APARTMENTS, Queens

Address: 76–09 34th Avenue;
Architect: Joshua Tabatchnik;
Constructed: 1936;
LPC Action: Calendared 2008;
LPC Backlog Hearing: Removed from the calendar without prejudice|

LPC- Fact Sheet | Research File

HDC Testimony

Named for the former golf course on which it stands, this six-story apartment building has a distinct roof line featuring battlements and ramparts. Semicircular towers flank the main entrance on 34th Avenue. Garden areas that were designed as part of Fairway Hall include the front and side courtyards, sidewalk tree plantings, and a grass-covered curb median.

To learn more about Fairway Hall click here

 

Douglaston Historic District Extension, Queens

Address: Douglaston Parkway and 39th Avenue ;
LPC Backlog Hearing: Removed from the calendar without prejudice|

LPC- Fact Sheet | Research File

HDC Testimony 

One group of buildings within the proposed district, the Quaid Family farmhouses, were built and occupied by successive generations of the same family from the mid-19th century into the 20th, marking the transition from large farms to smaller ones.  Although they take the form of vernacular farmhouses, they do illustrate some design details of the Greek Revival and Italianate styles.  Other homes in the proposed district are from the  suburban development of Douglaston built between 1890 and 1930 in the Revival styles for which the area is known and display the same fine details and design that are found in the Douglaston and Douglaston Hill Historic Districts.

To learn more about the Douglaston Historic District Extension click here

 

Bowne Street Community Church, Queens

Address: 143-11 Roosevelt Avenue, Flushing;
Constructed: 1891-2;
LPC Action: Calendared for a Public Hearing in 2003, but never heard. ;
LPC Backlog Hearing: Prioritized for designation |

Designated – December 13, 2016 |

HDC Testimony 

LPC-Fact Sheet | Research File

The Bowne Street Community Church stands out as a shining star in Flushing, a neighborhood that has changed dramatically over the years. The church was originally built for the Reformed Dutch Church of Flushing, established in 1842. To accommodate the congregation’s rapid growth, this new church building was completed in 1892, designed in the Romanesque Revival style of red brick, with arches topping each of the windows and intricate brickwork and terra cotta details. The church is adorned with stained glass windows manufactured by the Tiffany Glass Company of Corona and designed by Agnes Fairchild Northrup, a colleague of Louis Comfort Tiffany and a life-long member of the church. The eastern annex, designed to match the existing architecture, was added in 1925. In 1974, the congregation merged with the First Congregational Church of Flushing to form the Bowne Street Community Church.

To learn more about the Bowne Street Community Church click here

photo credit: Dan Rubin

LYDIA ANN BELL AND J. WILLIAM AHLES HOUSE, Queens

Address: 39-24 – 39-26 213th  Street;
Construction: 1873;
Architect: Robert M. Bell;
LPC Action: Calendared 2009;
LPC Backlog Hearing: Prioritized for designation;

Designated on April 12, 2016|

LPC-Fact Sheet | Research File

HDC Testimony 

This impressive Second Empire Style residence is a rare reminder of nineteenth-century Bayside, when it was a village of suburban villas and substantial farmhouses. This house was constructed around 1873 by farmer Robert M. Bell for his daughter Lydia (usually known as Lillie) and her husband John William Ahles, a prominent grain merchant and officer of the New York Produce Exchange and Queens County Agricultural Society.

Built only a few years after railroad service reached Bayside in 1866 and residential subdivisions began to replace farms, the Ahles house typifies the substantial Second Empire style suburban villas erected by wealthy businessmen during the 1870’s and 1880’s.  It retains the cubic form and dormered mansard roof typical of the Second Empire Style as well as such details as the molded cornice and hexagonal slate shingles.

To learn more about the Lydia Ann Bell and J. William Ahles house click here

Eddie’s Sweet Shop

105-29 Metropolitan Avenue;
Seelig & Finkelstein, 1925|

This nearly century-old ice cream parlor, serving homemade confections, is considered to be one of the best in the city. Its interior architectural details, including tin ceilings, wood-paneled walls, marble counter and a vintage wooden phone booth give the customer the impression of stepping back in time. The row of two-story brick buildings in which the business is located were designed with shops on the ground floor and residences above. The architects were also responsible for several apartment buildings north of Queens Boulevard in Forest Hills, including the Town House, The John Alden, The Raleigh and The John Adams.

Church in the Gardens, Church in the Gardens Community House

50 Ascan Avenue, Grosvenor Atterbury, 1914-15;
15 Borage Place, Grosvenor Atterbury, 1926;
National Register Property|

Donated by Mrs. Sage, this English-style country church’s mission was to incorporate people from differing religious backgrounds. After polling the congregation, it was decided that Church in the Gardens would be a Congregational church, and its first service was held in 1915. The stone structure with wood frame details features asymmetrical massing with steep gables, overhanging eaves, an imposing square entrance tower and tile roofs. Some of the arched and square window openings include lovely stained glass. In 1926, Atterbury added a Community House to the church’s east end to provide a meeting and recreational space for area residents. Community houses were common fixtures in Queens garden suburbs, including Jackson Heights and Sunnyside Gardens. The stone and stucco building follows the same architectural vocabulary as the church, with half-timbering, steep gables and tile roofs. Turning the corner on Borage Place, walk north to get a view of one of Forest Hills Gardens’ picturesque green spaces, Hawthorne Park. The green is bordered by beautiful sets of adjoining rowhouses along Beechknoll Place to the south and Burns Street to the north. The Church in the Gardens is listed on the State and National Register of Historic Places.

PS 101: The School in the Gardens

2 Russell Place;
William H. Gompert, 1927|

To accommodate the neighborhood’s children, a small frame schoolhouse was constructed on this site in 1914. With the growing population, a larger school became necessary and the current structure was built. Interestingly, the four-story brick and limestone school features an octagonal tower that directly references the Forest Hills Inn at Station Square, though it was not designed by Atterbury. This shared architectural feature forms distinctive bookends for Greenway Terrace, the heart of Forest Hills Gardens.

St. Luke’s Episcopal Church

85 Greenway South;
Robert Tappan, 1924;
National Register Property|

Robert Tappan, prolific architect of residential architecture in Forest Hills and a neighborhood resident, donated his architectural and construction management services to the construction of St. Luke’s Episcopal Church. At the time, Tappan was also managing the construction of the Cathedral of St. John the Divine as an associate in the architecture firm of Cram and Ferguson. St. Luke’s was designed in the English Gothic style and constructed of salvaged brick with wood trim and beautiful stained glass windows, some of which were created by a prestigious studio in London, England. The church’s square bell tower rises to just 70 feet, a cost-saving measure at the time, but a contributing feature of this charming structure and appropriate to its suburban context.The church was added to the National Register of Historic Places in 2010.

Greenway Terrace

Grosvenor Atterbury and Frederick Law Olmsted, Jr.;
1912-13|

Just off of Station Square is Greenway Terrace, a triangular “village green” flanked by roadways and cohesively designed houses that feature especially detailed ornament. The terrace includes several seating areas, a prominent World War I monument and a section called Flagpole Park, so named for the 100-foot-tall mainmast of the yacht Columbia, a gift from area residents installed here in the 1920s. The Columbia won the America’s Cup race in both 1898 and 1901, and the seagull at the pole’s crown refers to its nautical past. The World War I monument was sculpted by Adolph A. Weinman, a Greenway South resident (number 23) and famous sculptor who also created “Civic Fame” at the top of Manhattan’s Municipal Building, as well as the American coinage reliefs of the Mercury dime (1916-45) and Walking Liberty half dollar (1916-47). Along the north side of Greenway Terrace is the First Church of Christ, Scientist, designed in the Moorish Revival style by Bernhardt E. Muller and built in 1933. The sandstone structure is small in scale, yet stands out for its impressive details, including ridged turrets, arched openings and cruciform engravings.

Station Square

Grosvenor Atterbury and Frederick Law Olmsted, Jr., 1912-16;
National Register Property|

Designed as the gateway to and commercial center of Forest Hills Gardens, Station Square is a brick-paved plaza surrounded by shops, a former hotel, apartment buildings and the Long Island Railroad (LIRR) train station. LIRR shared the construction cost with the Sage Homes Foundation and the Cord Meyer Corporation, and the station was completed in 1913. The unified design of the square’s surrounding buildings and relationship to the architectural vocabulary of Forest Hills Gardens provides a pleasing and welcoming atmosphere that reinforces the area’s small-town character. The square is integral to Atterbury’s groundbreaking urban ideals, allowing residents to get everything they needed on foot. The square gained fame on July 4, 1917, when Theodore Roosevelt spoke at a dedication ceremony for the square’s flagpole. Taking place just months after America had become involved in World War I, the former U.S. President gave an impassioned speech in support of this action. In 1997, the Friends of Station Square launched a fundraising campaign, which resulted in a $5 million restoration by the MTA/LIRR. Friends also launched a separate fundraising campaign to landscape the square as it had been planned by Frederick Law Olmsted, Jr. Station Square is listed on the State and National list of Historic Properties.

West Side Stadium (now Forest Hills Stadium), Clubhouse and stadium

Clubhouse- Grosvenor Atterbury and John Almay Tompkins, 1913;
Stadium- 69th Avenue between Clyde Street and Dartmouth Street, Kenneth M. Murchison, ;1921-23|

This internationally renowned tennis stadium is most famous for hosting the United States National Championship tennis tournaments, which were combined in 1968 to become the U.S. Open, from 1915 until 1977, when the tournament moved to the Arthur Ashe stadium in Flushing Meadows-Corona Park. The West Side Tennis Club was established in 1892 and originally operated on Central Park West in Manhattan, giving the club its name. The clubhouse was designed in the neo-Tudor style, in keeping with Atterbury’s other work in Forest Hills. The 14,000-seat stadium was designed by Kenneth M. Murchison, a well-known architect of public institutional buildings, having also designed such distinguished structures as Penn Station in Baltimore and the Hoboken Terminal. The United States’ first concrete tennis stadium, its architectural features include blue and gold glazed terra-cotta shields bearing the WSTC logo and “1923″, archways, eagles, shields, flagpoles and cornices. In 1956, the stadium hosted a major turning point in American history, when Althea Gibson became the first African American woman to compete in a world tennis championship (she won the Grand Slam). The stadium also served as a performance venue from the 1950s to the 1990s (Frank Sinatra, The Beatles, The Rolling Stones, Barbra Streisand and Bob Dylan, to name a few). In 2013, after many years of neglect, the West Side Tennis Club began an overhaul of the structure to restore it for use as a music venue once more. Turn left onto Dartmouth Street to make your way back to Station Square, noting the lovely streetscapes along the way.

United States Post Office, Forest Hills Station

106-28 Queens Boulevard;
Lorimer Rich, 1938-40;
National Register Property|

This Art Deco style post office is one of five constructed by the Works Progress Administration in Queens. Designed to be a showpiece in the neighborhood, the one-story building is clad in reddish brown terra-cotta above a granite base. It features a statue above the entrance on Queens Boulevard entitled “The Spirit of Communication” by sculptor Sten Jacobson. The statue was very controversial at the time of its unveiling, as it depicts a bare-breasted woman holding a clock in one hand and a dove in the other. Walk south on 70th Avenue and turn left on Austin Street, a commercial hub in Forest Hills, then turn right onto 71st Avenue and under the train tracks into Station Square. Soak up this iconic view of the beautiful plaza.The post office was added to the National Register of Historic Places in 1988.

MacDonald Park

Queens Boulevard between Yellowstone Boulevard and 70th Road;
Monument: William Henry Deacy, 1934|

Queens Boulevard was expanded gradually over many years, beginning in the early 1920s. After an expansion phase in 1931, this small park was formed. In 1933 it was named after Captain Gerald MacDonald (1882-1929), a World War I veteran and Forest Hills resident who was held in great esteem by the community. Toward the park’s eastern end is the Gerald MacDonald statue, which was designed by architect William Henry Deacy, sculpted by MacDonald’s brother-in-law, Frederic de Henwood, and unveiled in 1934.

Ridgewood Savings Bank

107-55 Queens Boulevard;
Halsey, McCormack & Helmer, 1939-40|

The first branch of the Ridgewood Savings Bank, the location was chosen for its proximity to public transportation and the area’s growing population. Situated on its own triangular lot, the limestone-clad bank is a prominent structure on bustling Queens Boulevard. Aside from its location, the bank is noteworthy for its mix of Art Deco and Modern Classical style design. Its rounded ends are connected by side walls with alternating flat and curved panels, as well as large windows and decorative motifs that include eagles, wavy lines and clock faces. At the rounded ends, vertical piers mimic Classical columns and bronze doors and window grates at the main entrance feature simple spear and fan motifs. Just off of Queens Boulevard at 108-19 71st Avenue is another civic structure: the Forest Hills Branch of the Queens Public Library, a simple brick building designed by Boak & Raad and built in 1957.

RKO Midway Theatre

108-22 Queens Boulevard;
S. Charles Lee for Thomas W. Lamb Associates, 1942|

Named for the World War II Battle of Midway, this theater boasts 2,000 seats. Thomas W. Lamb was a prolific theater designer, having been responsible for roughly 300 theaters across the country. This theater bears the distinction of being his last project and one of only a few designed in the Art Moderne style. Its undulating limestone façade features a large vertical beacon with letters spelling out “MIDWAY.” The structure currently houses a United Artists cinema along with a variety of shops and restaurants.

108-36 Queens Boulevard

Theobald H. Engelhardt, 1944-46;
Mural: Richard Haas, 1989|

Though this bank building is fairly undistinguished and much changed since its construction, it is well worth a visit. The building originally housed the Stratton Restaurant & Bar, which was replaced in 1986 with the Home Savings Bank of America. The bank commissioned a quirky detail for the curving façade during its tenure: a mosaic tile mural depicting Forest Hills, with Station Square in the foreground, Queens Boulevard in the middle ground and Manhattan’s skyline in the distant background. Also enclosed within its gold-tile border are boxes depicting some of the area’s distinctive architecture. The mural displays charming community pride in both Forest Hills and its broader urban locale.

Our Lady Queen of Martyrs, Our Lady Queen of Martyrs School

110-6 Queens Boulevard, Maginnis & Walsh, 1938-39;
72-55 Austin Street
Maginnis & Walsh, 1928|

The parish of Our Lady Queen of Martyrs was founded in 1912, as the development of Forest Hills was in full swing. Its original wood frame chapel building burned down in 1929, just after the completion of the church’s beautiful neo-Gothic school building. It would be ten more years until a new sanctuary would be built, with services taking place in the school’s auditorium in the interim. Modeled after England’s Durham Cathedral, the cruciform sanctuary building was constructed of granite and limestone and features an abundance of stained glass. It is the largest Catholic church in Queens.

If you walk along Queens Boulevard on 72nd Avenue, you will see some of the earliest residences in Forest Hills, which are commemorated by a plaque on number 108-19.

Holland House

73-37 Austin Street;
Benjamin Braunstein, 1929-30|

This imposing Art Deco apartment building features red brick façades with intricate brickwork and exquisite limestone moldings. It is one of the neighborhood’s finest examples of apartment house construction that arrived in Forest Hills once both the LIRR and the subway made their way to the neighborhood.  Advertisements for the building described it as a “Ten-story apartment 14 minutes from the Pennsylvania Station with all the advantages of a Park Avenue residence.” Peek down 73rd Road to see some other early apartment houses, including The Mayfair, a fanciful structure with ornate brickwork and limestone carvings.

Forest Close & Arbor Close

Austin Street between 75th and 76th Avenues;
Robert Tappan, 1925-27|

Forest Close and Arbor Close are distinct developments whose construction and history are inextricably linked. The two rowhouse communities were commissioned by the Cord Meyer Development Company, and each encircles a shared, yet private, green space. Such a layout was appropriate for the already lush neighborhood of Forest Hills and similar to other Queens communities, such as Sunnyside Gardens, which were also developed as suburban enclaves. Cord Meyer originally intended to construct more closes extending as far as Union Turnpike to the east. However, with the stock market crash of 1929, the others were never completed. Both Arbor Close and Forest Close were designed in the neo-Tudor style, with half-timbering, slate tile roofs and brick and stucco cladding. Each grouping also includes a block of garages in the same style, which feature copper cupolas at their centers. Robert Tappan was responsible for both Forest and Arbor Closes, as well as for many single-family houses in greater Forest Hills. A concentrated number of Tappan houses may be found north of Queens Boulevard in the Cord Meyer section of Forest Hills. When the subway arrived in 1936, development patterns in Forest Hills shifted in favor of larger-scale apartment houses. Luckily, Forest and Arbor Closes managed to remain and have only increased in desirability with home buyers. This is due in part to the existence of covenants, established at the time of their construction, that protect their special character. These covenants are in perpetuity, lending some measure of stability for the continued maintenance of their architectural features and overall cohesion. In anticipation of potential internal and external pressures, the communities are investigating ways to strengthen these controls.

HILLCREST COURT

70–35 Broadway;
S. L. Malkind;
1926|

This six story apartment building has its primary entrance on Broadway, making it the only structure in the historic area located on that thoroughfare. Hillcrest Court is on an unusual triangular lot and features five towers, each connected by a recessed wing located in the middle of the building. Highlights include brickwork that simulates quoins and colonnaded loggias that top the Broadway towers.

WASHINGTON PLAZA

73–12 35th Avenue;
Sylvan Breine;
1940|

Washington Plaza consists of seven buildings: six, six story apartment buildings and a single-story gatehouse. These Art Deco buildings are red brick and feature decorative geometric banding and round-cornered fire escapes. The most intriguing part of this apartment complex is Washington Plaza Park, designed by the architect in 1941. The .54-acre park begins behind the gatehouse, where a path divides to surround a cascading pool before leading to a separate pool at the top of the complex. Stepped paths surround each pool and are accompanied by many gardens. Some of the plantings found in the park include silver birch, flowering crabapple and white dogwood trees, rhododendrons, red and pink azalea, roses, forsythia, pink mountain laurel and hydrangea. There is also an herb garden of basil, parsley, chive, dill and rosemary.

HOMESTEAD HALL

33–11 to 33–46 and 33–12 to 33–48 70th Street;
Arthur E. Allen;
1928|

Homestead Hall consists of 19 two- and three-story attached brick garden residences. These Neo-Tudor dwellings feature multi-story slate roofs, half-timbering, stucco with brick and stone insets, and chimneys topped with pots. These houses along 70th Street evoke an intimate garden feel with the most closely spaced sidewalk trees in the area. Each residence has a patio tucked behind a deep front garden and possesses a rear garden as well.

SPANISH TOWER HOMES

34–30 to 34–52 75th Street;
J. Case & Peter Schreiner;
1927|

The Spanish Tower Homes include 10 three- and four-story detached tan brick houses. The first floors of these dwellings have no windows and instead feature French doors that open on to wrought-iron balconettes. Some windows on upper floors have original wood shutters, and the corner houses feature fourth-floor loggias. These houses have shared driveways with detached garages in the rear.

FAIRWAY HALL APARTMENTS

76–09 34th Avenue;
Joshua Tabatchnik;
1936|

Named for the former golf course on which it stands, this six-story apartment building has a distinct roof line featuring battlements and ramparts. Semicircular towers flank the main entrance on 34th Avenue. Garden areas that were designed as part of Fairway Hall include the front and side courtyards, sidewalk tree plantings, and a grass-covered curb median.

HAWTHORNE COURT

35–13 to 35–55 76th Street and 35–14 to 35–56 77th Street;
George H. Wells;
1922|

Hawthorne Court is an extensive complex made up of 14 five-story buildings set back-to-back. The buildings have red brick façades set in Flemish bond with white stone trim and lintels with keystones. The architect George H. Wells incorporated projecting entrances in the design of these apartments, a hallmark of his work. The entries have short stoops and alternate between Doric column details or flat pilasters with wooden doors surrounded by leaded-glass transoms and sidelights. Each entry is topped with an iron ballustrade.

THE BERKELEY APARTMENTS

35–25 77th Street;
Joshua Tabatchnik;
1936|

The Berkeley Apartments is an example of the later development that occurred in Jackson Heights. The single large building has two light courts that break up the massive structure. The Neo-Georgian building imposes on half of the block and features brickwork resembling quoins, brick bandcourses, pilasters capped with stone and brick pediments, and brick parapets topped with stone urns. Joshua Tabatchnik also designed Berkeley Gardens, which are similar and located around the corner on 35th Avenue.

HAMPTON COURT

35–16 to 35–56 79th Street and 35–15 to 35–55 78th Street;
George H. Wells;
1921|

Hampton Court is one of Jackson Heights’ earlier garden-apartment complexes. The 11 buildings occupy almost the entire block and enclose a garden at the center. Additionally, there was a garden at each end of the block originally. These buildings, like many of George H. Wells’s designs, are Neo-Georgian in style and are red brick laid in Flemish bond with white trim. The facades and entries differ between 78th and 79th Streets.

THE GREYSTONES

35–15 to 35–55 80th Street;
George H. Wells;
1918|

Originally named “The Garden Apartments,” The Greystones was the first garden-apartment complex in Jackson Heights. These 14 T-shape buildings are each five stories. They are Neo-Tudor in style and are gray brick with stone basements and keyed stone window trims. The complex features both front and rear landscaped gardens

THE TOWERS

33–15 to 33–51 80th Street and 33–16 to 33–52 81st Street;
Andrew J. Thomas;
1924|

The Towers are composed of eight freestanding U-shape buildings, four on 80th Street and four on 81st Street. The buildings are placed back-to-back and enclose an interior garden that is accessed by gated entrances located between the buildings. The yellow-brick apartment design is inspired by Italian Romanesque and Renaissance architecture; highlights include red-tile roofs, arcaded sixth-story loggias and tower belvederes.

ENGLISH GARDEN HOMES

33–18 to 33–44 83rd Street;
Alfred H. Eccles;
1928|

Along 83rd Street there are 13 English Garden homes, each three stories high. The houses in the middle have slate mansard roofs, while those on the ends have front facing gabled roofs with side-facing dormers. All of these structures have continuous brick bandcourses under the second-story windows and feature cast-stone window boxes with brick brackets under the first-floor windows.

ONE-FAMILY HOUSES

33–23 to 33–45 84th Street;
Charles J. Stidolph;
1928|

Charles J. Stidolph designed eight three-story brick houses on this block. Three different features were used to visually separate the residences: peaked front-facing gable, shed dormer and cut hip gable. The residences are unified by scale, projecting entries, slate roofs and detached garages. Not located within the historic district, these houses have experienced some alterations including painted copper flashing and iron fencing, removal of shutters, and metal awnings over entries.

THE SAYBROOK

85–10 34th Avenue;
Joshua Tabatchnik;
1936|

The Saybrook is a large six-story brick apartment building with a grand garden entrance courtyard visually defining the east and west wings. Interesting design details include brickwork simulated quoins and bandcourses at each floor and pediments that rise above the parapets at the roofline.

HOUSES

34–15 to 34–51 86th Street;
Robert Tappan;
1927|

These beautiful houses on 86th Street are actually double-houses that appear to be large single-family homes. Each house is set back from the street and has a front garden separated by brick garden walls between each property. These Neo-Georgian style homes feature red brick with white trim façades, slate roofs with prominent chimneys, and classically inspired entries.

LA MESA VERDE APARTMENTS

34–19, 34–33 and 33–47 90th Street;
Henry Atterbury Smith;
1926|

La Mesa Verde is composed of six, six-story V-shape buildings connected by narrow open-air rooftop bridges. Three front onto 90th Street and three front onto 91st Street, creating a sawtooth pattern. Rather than having interior hallways, the Neo-Classical style buildings each have three recessed exterior stairways with apartment entrances at each landing and topped with an iron-and-glass skylight. The interior courtyards and buildings remain fairly intact, save for tennis courts that were lost in the 1950s.

 

If you are a resident of La Mesa Verde who is experiencing problems with the rent or the management of the building, we suggest that you contact Queens Legal Services at 347-592-2200.The Historic Districts Council included La Mesa Verde in its 2011 Six to Celebrate program to celebrate this building’s architectural significance and we are not affiliated with the property.

Si usted es residente de La Mesa Verde y tiene problemas con su renta o con la administración del edificio, le sugerimos que se contacte con  Queens Legal Services  al teléfono 347-592-2200. El Historic Districts Council incluyó a La Mesa Verde en su programa Six to Celebrate de 2011 con el objetivo de celebrar su valor arquitectónico, y no tenemos ninguna relación con esta propiedad.  

 

 

 

 

POLK ARMS

89–01 to 89–31 37th Avenue;
Oscar Goldschlog;
1927|

Polk Arms consists of two six-story Neo-Classical style apartment buildings. Commercial space and entrances dominate the 37th Avenue façade, while residential entries are located on the side street. These red-brick buildings feature cast-stone entries, bandcourses and panels along the roofline. Original landscaping includes courtyards and sidewalk trees. Unfortunately, some original planting areas of this non-landmarked building have been paved over.

TWO-FAMILY “CONVERTIBLE” HOUSES

35–16 to 35–56 87th Street;
C. F. & D. E. McAvoy;
1926|

These seven double-houses on the west side of 87th Street are arranged in a symmetrical pattern and are in the Neo-Tudor style. The residences possess features such as landscaped front gardens, shingled roofs, steep gables, half-timbering and bracketed flower boxes. Each house shares a common driveway and has a paired garage that matches the house.

LINDEN COURT

37–11 to 37–59 84th Street and 37–12 to 37–60 85th Street;
Andrew J. Thomas;
1919|

Linden Court, the earliest entire-block development in Jackson Heights, is made up of 10 four story apartment buildings. The buildings are situated back-to-back and have a common interior landscaped yard. These apartments were the model for subsequent block-plan garden apartments in the neighborhood. Linden Court was also the first complex to have parking facilities, which are located in the light-court areas at the rear of the buildings. These Neo- Georgian style apartment buildings feature patterned brickwork, keystones, sun porches and loggias.

168, 170, 172, 174, 176, 178, 180 BEACH 24TH STREET

This group of bungalows is elevated along the east side of Beach 24th Street, forming a particularly attractive streetscape. Numbers 172, 178 and 180 have a particularly high level of architectural integrity and stand out in the row for their distinctive arched porches. Numbers 172 and 180 have many similarities, including stone diamond-shaped medallions on their front elevations, concrete porches, hip roof dormers with six-pane casement windows, and original wood cornices on the dormers and roofline. Number 180 has a fabric awning and an original holder. Number 178 is slightly different from the other two with its louvered dormer window and its use of stucco on the exterior. These three houses and their other elevated neighbors contribute greatly to the charm of this area of extant beach bungalows.

170A BEACH 24TH STREET

Set in the rear courtyard behind Beach 24th Street, number 170A has a wood frame clad in stucco. It is fronted by a handsome arched porch. Its hip dormer contains an original four-pane casement window. Both the dormer and the roof have retained their original wood cornices, and the front door, which is wood with 12 glass panes, appears to be original, as well. The bungalow’s interior contains original moldings, wood floors, pull-down attic stairway and claw-foot bathtub, as well as its original floor plan.

167 and 169 BEACH 24TH STREET

These two bungalows have sustained significant alterations over the years and stand as a reminder of the staggering change that this community of bungalows has witnessed. Most notably missing from their façades is the original cladding, which has been replaced with vinyl siding. The original wood windows on both bungalows have been replaced and the dormer windows have been covered.

155 & 157 BEACH 24TH STREET

Number 155, which was recently restored, has a white painted brick façade, square columns on its porch, exposed rafters and an asphalt shingle roof. Number 157 is sheathed in stucco and is notable for the many original features it has retained, including its front screen door, wood window surrounds and shutters, a gable dormer with louvered vent and exposed rafters, and square tapered columns on its porch. Both bungalows, which are in very good condition, have brick planters on the front and side elevations.

156 & 158 BEACH 25TH STREET

Numbers 156 and 158 Beach 25th Street are well preserved and contain many of their original features. Both are clad in stucco and have dormers with louvered vents perched on their hip roofs. In addition to its louvered vents, number 158 has retained its wooden vent shutters. Their integrated porches have white brick columns and stoops. The decorative details on their porch roofs differ, with number 156 exhibiting a fabric awning in an original holder, and number 158 exhibiting exposed roof rafters and wooden shutters with seahorse scrolls (not original). The interior of number 158 has its original wood floors, window and door surrounds, and moldings, as well as 1950s kitchen appliances.

169, 171, 173, 175 BEACH 25TH STREET

These four houses provide nice examples of the use of brick on the beachside bungalows. They are clad in stucco with multi-colored brick porches that all feature decorative patterned brickwork. Numbers 169 and 171 have scrolled brackets along the roofline of their porches, which is a less common feature for the remaining Wavecrest bungalows. Together with numbers 179, 181 and 183, the row nearly forms a unified brick street wall, except for the replacement of the brick with vinyl siding on number 177.

171A BEACH 25TH STREET

While some of the bungalows in this alley behind Beach 25th Street exhibit severe damage and neglect, this stucco bungalow has been very well maintained. Its porch features square columns and an original wainscot ceiling. Its roofline has exposed rafters, and its gable dormer has a louvered vent with a wood surround.

188 and 190 BEACH 25TH STREET

Like their neighbors on the southern end of the street, number 188 and number 190 (not pictured) feature brick-clad porches, though they differ slightly because they have been painted. The patterned brickwork can still be seen beneath the paint. The bungalows both have awnings and wainscot ceilings on their porches, paired louvered vents on their hip dormers, and original wood surrounds on the windows. Aside from their porches, the bungalows are clad in stucco.

159 and 160 BEACH 26TH STREET

The remaining bungalows on Beach 26th Street differ slightly from those on Beach 24th and Beach 25th Streets. In place of hipped dormers on their roofs, these bungalows have clipped gables with louvered vents on their front façades. These two houses have integrated arched stucco columns on their porches as well, which also differ from the other bungalows. The entrance to number 160 is on the side of its porch, as opposed to in the center, and it features lovely wood window shutters on its side façades.

163 BEACH 26TH STREET

This stucco bungalow has a gable roof without a dormer, exposed roof rafters and a louvered vent at the gable pitch on the front façade. Its porch features a wainscot ceiling and columns that taper significantly at the bottom where they reach the porch ledge. This bungalow has a rear shed addition that it shares with number 165.

BOARDWALK

The boardwalk, constructed in 1925, was the social centerpiece of the Rockaway bungalow communities from the 1920s to the 1960s. It was host to parades, roller skating and basketball games, as well as vendors selling summer favorites such as knishes, ice cream and hotdogs. According to local legend, the now standard Chinese take-out carton, or “Tucky Cup,” was invented at Tuck’s Restaurant on Rockaway Beach. The boardwalk hosted many attractions for people from bungalow communities all over the Rockaway peninsula during the summer. A large concession stand was located at Beach 36th Street, there was a movie theater at Beach 68th Street, and the Playland amusement park was located at Beach 98th Street. While people reveled in the excitement and entertainment on the boardwalk, beachgoers relaxed underneath it, taking advantage of the shade it provided from the hot sun. When the bungalow communities dwindled, the boardwalk fell into disrepair. In 2009–10, the city funded work on the boardwalk, replacing the deteriorated wooden boards with concrete. The lanes that lead from the street to the boardwalk have permanent easements to allow common beach and boardwalk access to all members of the public.