The Metropolitan Museum of Art Bulletin, v. 29, no. 8 (April, 1971)

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NEW YORK SKYSCRAPERS:The Jazz Modern Neo-American Beautilitarian StyleARNOLD LEHMAN Chester Dale Fellow, Twentieth Century ArtThe architectural vitality of a city is fragile. It lives on the energetic individualgestures of each structure. It matures on a cooperative spirit among them.However, the disruption of the urban fabric, the destruction of architecturalscale, the tediously vitreous development of business and residential areasallare devastating, enervating acts, settling an absurdist oneness over the city.A quick tour of Third, Park, or Sixth avenues clarifies Le Corbusier's distinctionof a half-century ago between construction and architecture: "The purposeof construction is TO MAKE THINGS HOLD TOGETHER; of architecture TOMOVE US."This post-World-War-li uniformity is distinct from the proudly individualistictowers of the nineteen-twenties and thirties, those "cathedrals of commerce"and castles in the sky, whose success separately and as part of the cityscapecame from a demand for individuality- in design, decoration, color, mass.The American skyscraper school, developed in Chicago primarily within theframework of the eclectic Beaux-Arts tradition, was dominant in New York.The city's Zoning Resolution of 1916, producing the set-back arrangement,forced architects to choose between a tower on part of the site with noheight restriction or a pyramidal structure whose mass would be set backseveral feet for each height increase over the maximum allowed for a verticalelevation using the full site. Most often, a compromise evolved. Also, architectswould no longer be able to treat their work simply as facades.The increasing use of an industrial vocabulary by Austrian, Dutch, andGerman designers was reinterpreted here less severely, with a continuedinterest in decoration. To this end, French sources, both from the ever potentBeaux-Art school and from the elegantly stylized forms from the 1925 decorativearts exposition in Paris, were immensely influential. Russian constructivism,Italian futurism, American streamlining, and technological advances in materialsand methods became equally important as the third decade of thetwentieth century ended.The New York skyscraper brought antithetical styles together. The strippeddownutilitarianism of the Bauhaus merged with the intense interest indecoration of the French art deco. New materials were employed in highlyoriginal ornament. Cost was less a factor when a skyscraper could serve asthe primary advertisement for a corporation (although the Depression keptdown otherwise astronomical building expenses).During the nineteen-twenties and thirties, not every New York buildingwas progressive in design or spirit. Those lagging behind said something abouteclectic tastes. The leaders, however, reflected more interest in the honestreality of the future than in the subtle fantasies of the past. None wereanonymous or speechless.363The Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org
4 14MChanin Building, 1929122 East 42 StreetIrwin S. Chanin, architect; Sloan & Robertson, general planBELOW, LEFT"New York-City of Opportunity" was the theme of the Chanin Building's decoration.The two series of bronze reliefs and grilles in the Lexington Avenue vestibuleswere intended to express the opportunity theme by portraying the evolution of mentaland physical life in a kind of Horatio Alger narrative. The style shows the influencesof late cubism, Italian futurism, and a modern classical revival, but the dominantconception was the significance of geometric linearism and its ability to communicatemental and physical force. The abstract motifs of the grilles not only complementedthe symbolism of the reliefs but also covered ventilating ducts in a particularly good illustrationof "beautilization" of forms.The Effort panel, one of four in the physical life series, is set into Istrian nuage marbleand between pilasters of red Altico. The designer's explanation of his work: "Thefigures stand with feet and hands ready to repel all opposing forces or to thrust asideall stationary obstacles in the path to the goal. Muscular lines denote tremendous physicalexertion." The grille continues this interaction of forces, its spiral convulsions thrustingforward, breaking through the rigid lines in its path, causing shock waves in an overalldisplay of incredible dynamism.BELOW, RIGHTThese magnificent gates, brilliantly combining machine, electronic, architectural, andabstract forms, are an expression of what was considered the modern aesthetic, oftencalled "modernistic" or "moderne." The cogwheels suggested the interlocking aspectsof business, and the stacks of coins at the base, its rewards.Bronze relief and grille entitled Effort by Ren6Chambellan in collaboration with Jacques DelamarreNickel-plated entrance gates to executive offices on the fiftysecondfloor by Jacques Delamarre....i.lt~~~~~~~~~~il]XlU3 J-;-.. - . .JInterior photographs:Albert Rothschild
Page 1 and 2: ~.;:,E ,. i,~"':* "F ~ 'eI iI* * M
Page 3 and 4: 78 Pictures from a World ofKings, H
Page 5 and 6: The Houghton Shah-nameh is a remark
Page 7 and 8: 1. Tahmuras Defeats the Divs. |. r;
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Page 13 and 14: One of the most evocative character
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Page 17 and 18: A mong other things, the Houghton S
Page 19 and 20: 8. The Assassination of Khusraw Par
Page 21 and 22: The Temperamentof Juan GrisDOUGLAS
Page 23 and 24: Harlequin with Guitar, 1917, by Gri
Page 25: an overriding classical discipline.
Page 29 and 30: Chrysler Building, 1930405 Lexingto
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Page 33 and 34: i 1**,('iK W'~Hood's Radiator Build
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The Metropolitan Museum of Art Bulletin, v. 29, no. 8 (April, 1971)

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