East Coast Showroom Closures

Due to heavy snow, our New York City and Greenwich showrooms will be closed Tuesday, January 27th. The 28th Street, 59th Street, and Greenwich showrooms will close at 5PM Monday, January 26th and reopen on Wednesday, January 28th.

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Manufacturer’s (Hannover) Trust Building

In 1918 Manufacturers Trust bought the Northwest corner of 34th Street and Eighth Avenue. I can’t believe these bronze doorways are that early. They seem to date to a renovation in the early 1930s to my eye. I love the references to masonry and the textile-like chevrons and swirls. I wonder if there’s any specific iconographic meaning behind the placid faces of the classical figures. Unfortunately these were under scaffolding when I recently walked by. Here is a less-obscured image from a great website that catalogs vintage signage on the West side.

-David Calligeros

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181 Madison Avenue

181 Madison Avenue, at the corner of Madison Avenue and 34th Street in Manhattan has jaw dropping window and door surrounds by the French designer and fabricator Edgar Brandt. I pass this building, designed by Warren and Wetmore, often on my way to Grand Central Station, also coincidentally by Warren and Wetmore. 181 Madison is in a distinctly more Art Deco style than their earlier work at Grand Central.

 

Thankfully New York City granted landmark status to the façade in 2011.

-David Calligeros

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Stanford White Awards Winners

The Institute of Classical Architecture and Art has announced the winners of the annual Stanford White Awards for Excellence in Classical and Traditional Design. These awards recognize excellence in new classical and traditional architecture, interiors, landscape, urbanism, and building craftsmanship & artisanship throughout New York, New Jersey, and Fairfield County, Connecticut. The awards are named in honor of Stanford White (1853-1906), of the distinguished New York firm McKim, Mead & White, whose legacy of design excellence and creativity in architecture and the allied arts continues to serve as a source of inspiration and delight.

RESIDENTIAL-NEW CONSTRUCTION UNDER 5,000 SF

DAVID. D. HARLAN ARCHITECTS LLC

Extown Farm Cottage
www.daviddharlan.wordpress.com

RESIDENTIAL-NEW CONSTRUCTION OVER 5,000 SF

IKE KLIGERMAN BARKLEY

Black & White House
www.ikba.com

HOUSES – RENOVATION AND ADDITIONS

HAMADY ARCHITECTS LLC

18th c. Dutch Colonial Farm House
www.hamadyarchitectsllc.com

TOWNHOUSE AND APARTMENT RENOVATIONS

PETER PENNOYER ARCHITECTS

Bank Street Townhouse
www.ppapc.com

ANCILLARY STRUCTURES

JOHN B. MURRAY ARCHITECT LLC

Poolhouse Addition to an 18th Century Farm
www.jbmarchitect.com

COMMERCIAL, CIVIC, AND INSTITUTIONAL ARCHITECTURE

ATELIER & CO.

A New Boutique Hotel
www.atelierandcompany.com/

INTERIOR DESIGN & DECORATION

RESIDENTIAL

JAYNE DESIGN STUDIO

A House in the Hudson Valley
www.jaynedesignstudio.com

COMMERCIAL, CIVIC & INSTITUTIONAL

BUNNY WILLIAMS INC & G.P. SCHAFER ARCHITECT PLLC

Library Reading Room at the New-York Historical Society
www.bunnywilliams.com
www.gpschafer.com/#/home

LANDSCAPE DESIGN

DOYLE HERMAN DESIGN ASSOCIATES

A Classic Home in Greenwich
www.dhda.com

SAWYER | BERSON ARCHITECTURE & LANDSCAPE ARCHITECTURE

Fifth Avenue Terraces
www.sawyerberson.com

HISTORIC PRESERVATION

ANDRE TCHELISTCHEFF ARCHITECTS

Smith-Taylor Cabin
www.tchelistcheff.com

DAVID SCOTT PARKER ARCHITECTS

Williamsburg Savings Bank
www.dsparker.com/#/home

CRAFTSMANSHIP & ARTISANSHIP

LEONARD PORTER STUDIO

An Altarpiece for a Catholic Church
www.leonardporter.com

STUDENT PROJECT

HA MIN JOO

Williamsburg Center for Arts and Crafts

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Third Annual Stanford White Awards – Submissions Due October 27th

The Institute of Classical Architecture and Art has announced the third annual Stanford White Awards for Excellence in Classical and Traditional Design. These awards recognize excellence in new classical and traditional architecture, interiors, landscape, urbanism, and building craftsmanship & artisanship throughout New York, New Jersey, and Fairfield County, Connecticut. The awards are named in honor of Stanford White (1853-1906), of the distinguished New York firm McKim, Mead & White, whose legacy of design excellence and creativity in architecture and the allied arts continues to serve as a source of inspiration and delight.

The 2014 jurors are Suzanne Tucker, Tucker and Marks Design; Michael Imber, FAIA, Michael Imber Architects and David Jones, AIA, Jones and Boer Architects.

For details visit: http://www.classicist.org/awards-and-prizes/stanford-white-awards/

Winners will be celebrated at an Awards Presentation on December 3rd in New York City at the Highline Hotel.

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ICAA SoCal 10th Anniversary

October has always been my favorite month, and this October will be even more special.

Not only will I celebrate my own birthday this month (yes, it does keep getting better!), I’ll be celebrating with the Southern California Chapter of the Institute of Classical Architecture on its Ten Year Anniversary.

The roster of events kicks off October 1st at Therien on La Cienega Blvd, with the opening of the exhibition Idea & Manifestation. LA has a vibrant and active chapter of the ICAA, and our creative community will be represented by work from forty artisans, architects, artists and interior designers in the show.

Idea & Manifestation will be on view through October 18th.

Check out the ICAA So Cal’s website for information on all the Ten Year Anniversary events, and to RSVP: http://www.classicist-socal.org/

-Valerie Thomas, Remains Los Angeles

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Architectural Plaster Factory

I visited my friend Adrian Taylor, one of the owners of Hyde Park Mouldings recently. Those guys are working on a small custom project for us and I had to bring them some of the hardware. Their factory is out on Long Island. If you look for it on the satellite view of google maps, it looks a bit like someone dropped a large bag of plaster on nice factory building. These guys use a LOT of plaster. Actually, it’s totally amazing what they produce with the simplest of materials, plaster, water, and burlap: basic, natural, and incredibly versatile.

They make classically inspired ceilings, domes, moldings, and other architectural work in a few methods.

Pretty much everything starts off with artists in the sculpture department.

They carve and model the masters in clay. Those masters are then molded, and the molds then cast in plaster reinforced with burlap, and assembled into full ceiling or wall elements.

When they need to create straight runs of a molding profile, they cut a steel knife and build it into a sled. The sled cuts the thick, but uncured plaster which is resting a trough.

When you are hungry at Hyde Park, make sure to put “only food” into the microwave. We chose, instead, to eat out at a Japanese place for lunch

-David Calligeros

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Glass Factory Visit

We paid a visit to one of our best glass suppliers recently. They’ve been hand blowing glass since the 1940s in West Virginia.

The factory is at the end of rutted road in a series of cool old shed buildings. Though they have over 50 people on staff, the workers were dwarfed by the cavernous space and the mountains of historic molds and equipment.

A four man crew works together at each station.

A gatherer or who gathers up the molten glass at the end of the blowpipe (and will often put a small bubble in the glass with a little puff), the Gaffer who does the lion’s share of the blowing, the blocker who opens and closes the cast iron mold, and the assistant who carries the finished glass to the lehr (a huge oven with a super slow conveyor belt for cooling the glass).

I knew glassblowing was hot work…that is pretty self evident. I didn’t realize how physical it is, however. The glass is heavy, the pipe is heavy, and in the heat, it’s all quite a production.

We looked over some of our work there. They make our large Sorenson lantern glass in this massive cast iron mold.

We were also looking for more profiles to work into some custom jobs. They have a massive, though somewhat uncatalogued, stock of molds.

In one large room they house “The Decorating Department” where a few women painstakingly paint the glass shades with a glass-bearing paint. The shades are then fired in a large kiln. This work isn’t up my alley, aesthetically, but the craft is exceptional.

For glass that doesn’t make the cut, kind of like the nuts that don’t pass Wonka’s squirrel test, there’s the “BAD GLASS” bin.

-David Calligeros

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