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The Beaux-Arts Apartments are a pair of apartment towers on 307 and 310 East 44th Street in the East Midtown and Turtle Bay neighborhoods of Manhattan in New York City. Designed by Raymond Hood and Kenneth Murchison, the Beaux-Arts Apartments were constructed between 1929 and 1930. The complex was originally designed with 640 apartments.

The Beaux-Arts Apartments consist of two towers on East 44th Street; number 307 is on the north sidewalk while number 310 is on the south sidewalk. The two towers are 16 stories and are faced with limestone at the base, dark brick between windows on the upper stories, and light brick between each story. The top four stories of both buildings contain numerous setbacks, which form terraces for the upper-story units. The interiors largely consist of studio apartments measuring 22 by 13 pés (6,7 m × 4,0 m) on average; they are lit by large windows on the outside. The ground floor of the south building, number 310, contains a cafe.

The apartment complex was built just east of the Beaux-Arts Institute of Design, which had moved to the area in 1928. Plans for the apartment complex were announced in February 1929, with the buildings being financed by stock issues rather than mortgage loans. The buildings opened to residents in January 1930 during the Great Depression. The Beaux-Arts Apartments avoided foreclosure due to their financing arrangement and were initially popular among businesswomen. The buildings were sold to the Brodsky Organization in 1973 and the New York City Landmarks Preservation Commission designated the complex as a city landmark in 1988.

Site[editar | editar código-fonte]

The Beaux-Arts Apartments are a pair of apartment towers on 307 and 310 East 44th Street, between Second Avenue and First Avenue, in the East Midtown and Turtle Bay neighborhoods of Manhattan in New York City. 307 East 44th Street is on the north side of the street, while 310 East 44th Street is on the south side.[1][2] Number 307's rectangular land lot covers Predefinição:Convert/ft2,[3] with a frontage of 158 pés (48 m) along 44th Street and a depth of 100,42 pés (30,61 m).[3][4] Number 310's rectangular land lot covers Predefinição:Convert/ft2,[5] with a frontage of 175 pés (53 m) along 44th Street and a depth of 100,42 pés (30,61 m).[4][5] Number 310 is directly adjacent to the Beaux-Arts Institute of Design to the west. The apartments are also near the Ford Foundation Building to the south and the Millennium Hilton New York One UN Plaza hotel and the Church Center for the United Nations to the east.[3][5]

In the early 20th century, a large portion of Turtle Bay's population was involved in the arts or architecture. Structures such as the Beaux-Arts Institute of Design and the residential Turtle Bay Gardens, Tudor City, and Beekman Tower were constructed for this community.[6] William Lescaze's renovation of an existing brownstone townhouse on 48th Street, and its subsequent conversion into the Lescaze House, inspired similar renovations to other structures in the neighborhood, such as 219 East 49th Street.[7][8]

Design[editar | editar código-fonte]

Both apartment blocks were designed by Raymond Hood and Kenneth Murchison as 17-story towers, though only 16 stories are visible from the street.[1][2] The George A. Fuller Company was the general contractor for both structures.[9] Both buildings contain steel-framed superstructures.[10] The interiors of the apartment units were designed by multiple architects. The arrangement of the towers across each other was intended to make 44th Street appear as a courtyard.[11]

Facade[editar | editar código-fonte]

The facades of the buildings are nearly identical. The north building at 307 East 44th Street is eleven bays wide, while the south building at 310 East 44th Street is twelve bays wide.[10] The massings of both buildings are designed similarly, and the apartment towers themselves are arranged symmetrically in a similar manner to Beaux-Arts structures.[12] The main sections are recessed 8 pés (2,4 m) behind their respective sidewalks, with plantings in front.[2][10][13] On either end of both buildings are pavilions, which protrude to the sidewalk at their first thirteen stories. To comply with the 1916 Zoning Resolution, both buildings contain setbacks on the 13th through 16th stories, similar to the Art Deco skyscrapers of New York City.[12] The design of the neighboring 3 United Nations Plaza's facade was inspired by the Beaux-Arts Apartments.[14]

Base[editar | editar código-fonte]

On both apartment blocks, the 44th Street facade of the first two stories is clad with limestone,[10] interspersed with horizontal bands of chrome.[2] The western ends of the buildings' ground stories are slightly beneath the sidewalk, and there are small planted areas behind iron railings.[10] Ground-story studio apartments had their own private entrances directly to the street.[15] At both buildings, ground-story doors and windows are covered by iron grilles, which are designed as grids of rhombuses, while the walls have triangular lighting fixtures.[10] The only difference at ground level is that, in the south building, the ground story east of the entrance has a glass-and-aluminum wall enclosing a restaurant, rather than plantings.[16]

The centers of either building have a double-height entrance pavilion that protrudes to the street, with angled bays containing casement windows on either side. The glass entrance doors and the central second-story window are both flanked by stepped jambs. A carved geometric frieze is above the second-floor opening of each pavilion. A metal railing, with chevron-shaped balusters, surrounds the balcony on top of each entrance pavilion.[10]

Upper stories[editar | editar código-fonte]

The top of the facade at 310 East 44th Street has two squared bays at center. The two second-from-center bays are angled

On each of the buildings' upper stories, there are wide steel casement windows.[2][17] The buildings have a variety of window styles such as single, double, and triple two-part casements as well as corner windows. On both buildings, the triple casement windows are the most common.[10] The end pavilions contain windows that wrap around the corners of the facade.[13][17][18] These corner windows, which were included to show that the exterior walls are non-structural,[17] were built with minimal vertical mullions to avoid obstructing views.[18][19] According to Hood, the design of the windows "takes away from the waffle-like character of the usual factory design".[15] There was 60 percent more glass than in comparable buildings, according to both architects.[15][20] Chevron-shaped railings, similar in design to those above the entrance pavilions, are used on some of the upper stories.[21]

The windows on each story are separated vertically by panels of alternating red and black brick.[17][15][22] The spandrels between the windows on different stories are continuous horizontal bands of light-colored buff brick.[2][17] Hood said the spandrels were intended to give the structures a horizontal emphasis, which fit the shapes of each building.[15] The end pavilions are clad with light-colored brick similar to that used on the spandrels between different stories.[10] The designs of the main facades are continued on the western and eastern sides of both buildings. The buildings' western and eastern sides are exposed to varying extents, but all have dark brick stripes at their centers, behind which are stairwells.[23] Some portions of the south building's eastern side have a stucco wall rather than brick cladding; the stucco indicates the silhouette of a former four-story building to the east.[24]

On the 13th through 16th stories of both buildings, there are setbacks facing 44th Street, which form terraces on each story. In either building, six of the bays contain setbacks of uniform depth on each story. The remaining bays (five in the north building and six in the south building) are set back in a different pattern. In each building, these consist of the center (one bay in the north, two in the south); the second-bay on either side of the center; and the outermost bays.[a] The center and outermost bays of each building contain square profiles, while the second-from-center bays are angled. The center bay(s) have a setback only at the 16th story, and the other four bays have setbacks on each of the 14th through 16th stories. Mechanical brick penthouses are on the roofs of both buildings.[23] The rear of the north building contains terraces with gradual setbacks,[25] but the rear of the south building is not visible from the street.[24] Murchison wrote that the setbacks were included to "add to the desirability of many apartments".[22] Architectural writer Christopher Gray compared the massing of the upper stories to a jigsaw puzzle.[26]

Interior[editar | editar código-fonte]

Lower stories[editar | editar código-fonte]

Restaurant area at the base of 310 East 44th Street

Initially, the lobbies of both buildings were decorated in a modern style, with side walls made of brown glass, interspersed with aluminum and brass trim.[13][15][27] The lobbies were also decorated with strips of chrome, and the ceilings were adorned with silver leaf motifs. The modernist style was continued in the elevator cabs, which had glass-rod ceilings and lacquered aluminum walls.[2] According to Murchison, the metal-paneled walls of the elevators were designed without mirrors "just to hide from yourself your own appearance when you come in at 4 A.M."[13]

The ground story of number 310 had a small restaurant named Cafe Bonaparte, operated in part because most units did not have full-service kitchens.[11][28] Winold Reiss designed the cafe's rooms[29] with red, green, and blue decorations.[15][30] Cafe Bonaparte was intended to not only provide room service for residents but also serve as a social gathering place.[28][30] The cafe was also decorated with fabric walls, fluted wainscoting, and a ceiling with zigzagging grilles. A similar ground-floor space in number 307 was originally outfitted with a room-service kitchen but no restaurant. Single-room maisonettes, behind the lobbies and restaurant spaces in either building, extended to the rear of the respective building.[30]

Apartments[editar | editar código-fonte]

The Beaux-Arts Apartments were arranged with 800 rooms between them, split into 640 residential units.[15][27] The northern building (number 307) had 328 apartments and seven penthouse apartments, while the southern building (number 310) had 345 apartments and six penthouses.[31] All units from the first to thirteenth stories of each building were arranged as single-room studio apartments. One- to three- bedroom apartments were arranged on and above the fourteenth floor of each building.[15][27] In both buildings, the walls of even-numbered stories were plastered in white, while the walls of odd-numbered stories were plastered in rough brown. The pantries and bathrooms were plastered in white and the corridors were finished with a rough texture.[13] Cork floors were installed in the studios and communal corridors to provide soundproofing; they were attached directly to the concrete slabs and 2 polegadas (51 mm) thinner than wooden floors.[13][32] The cork tiles were 5 a 16 polegadas (130 a 410 mm) thick and were laid in a random pattern. The corridors are also outfitted with garbage chutes.[13]

The small studio apartments in the Beaux-Arts Apartments typically measure only 22 by 13 pés (6,7 m × 4,0 m).[2][11] The original furniture in the studio apartments had simple furnishings such as kitchenettes and twin-size folding beds.[2][33][28] Though the kitchenettes were not meant for cooking,[28] they were designed to uniform dimensions of 1,58 by 5,5 pés (0,48 m × 1,7 m).[13] The upper part of the pantries had a sink and kitchen cabinet,[13] while the lower section had mini-fridges designed by General Electric.[34] There were either one or two folding Murphy beds in the walls of each studio apartment,[27] which were installed on movable tracks in the walls.[35] Single studio apartments also have up to five closets.[36] Bathrooms are arranged so they did not open into living rooms;[19] a small foyer in each studio unit leads to the unit's bathroom.[11] Bathrooms throughout the building are built to a uniform size of 5 by 6,75 pés (1,5 m × 2,06 m), with a recessed tub, a small toilet, a sink, and black tiling.[13]

There are also one-and-a-half-story duplex studios on the top floors of each building.[11][20] The duplex studios' rooms could be as much as 36 by 14 pés (11 m × 4,3 m) across and 13 pés (4,0 m) high. The arrangement of these duplexes is influenced by the presence of the exterior setbacks. The studios are arranged so two of the larger studios' bedrooms, one on top of the other, span three stories. In the lower duplex units, the studios and bedrooms are both on the 14th floor, but in the upper duplex units, the studio is seven steps below the 16th-floor bedroom and seven steps above the 15th-floor bedroom.[13] Some of the rooms had galleries with wrought-iron railings, which, according to the original renting agent, gave the impression of a spacious house.[36] The 17th floor of each building contains single-height studios and bedrooms, and the penthouse contains suites with one, two, and three rooms.[13]

History[editar | editar código-fonte]

During the late 1920s, the Beaux-Arts Institute of Design was housed at 126 East 75th Street on the Upper East Side of Manhattan.[37][38] The institute hired Hood and Murchison to find a site that was "somewhere nearer the architects' and draftsmen's zone of activity", which was in Turtle Bay.[11][39] In November 1927, the institute bought a site at 304 and 306 East 44th Street, on which it planned to build a four-story building, for $125,000.[37][38] The institute dedicated its new building exactly one year later.[40]

Construction[editar | editar código-fonte]

The northern tower at 307 East 44th Street

As the Beaux-Arts Institute of Design was completing its new headquarters, it formed the Beaux-Arts Development Corporation to develop a residential studios near the institute's buildings.[6] Hood and Murchison were selected as the development's architects. According to The New York Times, the architects envisioned that the surrounding section of 44th Street would become an "uptown artistic centre" close to Grand Central Terminal.[41] Hood and Murchison had initially contemplated constructing the entire development as artists' studios, but they abandoned that plan in favor of more traditional apartment construction.[11][20] At the time of the Beaux-Arts Apartments' construction, artists' studio buildings such as the Gainsborough Studios and Bryant Park Studios generally had high ceilings. However, the public conception of a studio had changed, and the term was increasingly being used to refer to small apartments with few rooms.[28]

The Beaux-Arts Development Corporation acquired two plots in December 1928, totaling 33 000 pés (10 000 m). These consisted of a site at 308–320 East 44th Street, across from the institute on the north side of the street, as well as a site at 307–317 East 44th Street, right next to the institute on the south side. Douglas Elliman & Co. were hired as the agents for the new buildings to be built on those sites.[4][42] Plans for the north building, to be designed by Frederick A. Godley and J. André Fouilhoux, were filed the same month.[43]

In February 1929, the National City Company and the United States Realty and Construction Company announced that they would finance the buildings' construction with the sale of stocks in Beaux-Arts Apartments Inc., a syndicate of architects representing the buildings' developer.[41][44] The financing was the first of its type, as typical buildings were financed with mortgage loans. The financing consisted of common stock, issued on a one-to-one basis with either of two issues of preferred stock, which would raise the $5.25 million construction cost.[44][45] Among the investors in the corporation were Hood and Murchison, as well as architects and designers Chester Holmes Aldrich, John W. Cross, William Adams Delano, William H. Gompert, Charles Klauder, Benjamin Wistar Morris, James W. O'Connor, and Whitney Warren.[46][47] That April, the George A. Fuller Company ordered 4 000 tonelada curtas (Predefinição:Convert/LT t) of structural steel from McClintic-Marshall for the two buildings.[9] A resident manager was appointed in November 1929.[48]

Early years[editar | editar código-fonte]

The Beaux-Arts Apartments were both completed by January 1930. At the time, Douglas Elliman & Co. said many leases for small studios had been signed.[31] In total, 23 people owned all of the buildings' preferred stock. Though most of the investors were architects or otherwise associated with the arts, they also included realtors Douglas L. and Roland Elliman; attorneys Huber B. Lewis, William B. Symmes, and George G. Schreiber; businessmen William Walter Phelps and John Kilpatrick; and the Fuller Construction Company.[27][15] In spite of the fact that the buildings were completed at the start of the Great Depression and, therefore, had fewer tenants, their financing arrangement was one factor in why neither building went into foreclosure.[2] According to a Douglas Elliman spokesman, the buildings' furnished apartments would help attract tenants faster than non-furnished apartments would.[49] Eight suites in the apartments were furnished for potential tenants to view,[36][49] including two units designed by Pierre Dutel in contrasting modernist and traditional styles.[50]

The newly completed buildings received an award of "construction merit" from Building Investment Magazine in February 1930.[51] An open-air cafe in the courtyard of the south building opened that June.[52] The Beaux-Arts Apartments were initially especially popular among businesswomen, who comprised more than half of the residents by July 1930.[53][54] At that point, the buildings had 270 tenants, with an average of fifteen tenants signing leases every week.[55][56] According to Douglas Elliman's informal survey of residents, one in five female tenants were married but had leased suites in the buildings for the workweek.[57] By 1931, sixty suites in the south building were being operated like a short-term hotel.[58] Most early tenants lived alone or with a partner. Among the first residents were sculptor Jo Davidson and architect Talbot Hamlin, as well as Kenneth Murchison.[2]

Historic American Buildings Survey image

In March 1933, a shuttle bus route started running between the Beaux-Arts Apartments and Grand Central Terminal. Though the New York Herald Tribune termed it "perhaps the shortest bus route in the country", it carried 50,000 passengers in its first six months, and another route to Rockefeller Center was created that October.[59] The buildings' rear apartments were more difficult to rent in part because they faced commercial concerns that operated at night, making noise. To solve this problem, in 1938, glass-block walls and air conditioning units were installed in some rear units.[60] The same year, Leon and Lionel Levy filed plans to convert the southern apartment block, 310 East 44th Street, into a hotel.[61] The Beaux-Arts Apartments' private bus services to Grand Central and Rockefeller Center were discontinued in 1943 by order of the Office of Defense Transportation; at the time, the buses carried 200 passengers daily.[62]

Later years[editar | editar código-fonte]

By the late 1960s, both of the Beaux-Arts Apartments were converted to standard residential apartments. The entrances of both structures were overhauled and the original lobby decorations were removed entirely.[2] In 1968, the United Nations proposed building a set of twin towers on the entire block bounded by 43rd Street, First Avenue, 45th Street, and Second Avenue, serving as an expansion of its headquarters one block east. This would have entailed destroying the Beaux-Arts Apartments, whose owners expressed surprise at the proposal and said they would continue to operate the apartment buildings.[63] While the UN proposal was slightly modified in late 1969, the plans still called for demolishing the apartments.[64] The UN ultimately decided instead to build a skyscraper on a smaller lot rather than raze the site.[65]

Beaux-Arts Properties sold the Beaux-Arts Apartments to the Brodsky Organization for $8.1 million in 1973. Brodsky said at the time that it would continue to maintain the building.[65] Under Brodsky, the southern apartment block at 310 East 44th Street was converted from a hotel to residential apartments;[66] this was one of several residential conversions Brodsky performed during that time.[67] With the expansion of the UN headquarters in the 1970s and 1980s, all of the neighboring buildings to the east were demolished, and new structures were erected, blocking the Beaux-Arts Apartments' eastern facades. One and Two United Nations Plaza and the Kuwaiti and Nigerian missions to the United Nations were built on the north side of the street, on both sides of 307 East 44th Street, while the UNICEF headquarters and UN Church Center were built on the south side, adjacent to 310 East 44th Street. The residents of the Beaux-Arts Apartments could not have large gatherings on 44th Street for over a decade, since the street had to be closed for construction.[68]

On July 11, 1989, the New York City Landmarks Preservation Commission designated the buildings as city landmarks.[69] The upper floors were refurbished in 1997 as part of a $120,000 project.[2] The buildings continue to be operated by the Brodsky Organization Desde 2021.[70]

Critical reception[editar | editar código-fonte]

When the buildings were completed in 1930, the New York Herald Tribune called the apartments "a type of building distinctly different and yet lacking none of the conveniences expected and demanded in modern apartments".[27] Upon Hood's death in 1934, a few years after the buildings' completion, the New York Daily News called the buildings "among the finest modern achievements in architecture", along with Hood's American Radiator Building, Daily News Building, and McGraw Hill Building.[71] In the book New York 1930, architectural writer Robert A. M. Stern characterized the buildings as the "most interesting side street apartments" of the period between the two world wars.[72] In 1997, Christopher Gray wrote an article headlined "A Matched Pair of 1930 Monuments to Art Deco" for The New York Times, in which he said of the ongoing restoration: "the original jazz-age optimism of this unusual project is more idea than reality".[2]

See also[editar | editar código-fonte]

References[editar | editar código-fonte]

Notes[editar | editar código-fonte]

  1. ↑ The center, second-from-center, and outermost bays on each building contain different setback patterns from the six other bays.[23]
    • In the north building, these are the 1st, 4th, 6th, 8th, and 11th bays from west. The 1st and 11th bays are the outermost, and the 6th bay is at the center. The 4th and 8th bays are the second-from-center.
    • In the south building, these are the 1st, 4th, 6th, 7th, 9th, and 12th bays from west. The 1st and 12th bays are the outermost, and the 6th and 7th bays are at the center. The 4th and 9th bays are the second-from-center.

Citations[editar | editar código-fonte]

  1. ↑ a b White, Norval; Willensky, Elliot; Leadon, Fran (2010). AIA Guide to New York City 5th ed. New York: Oxford University Press. 343 páginas. ISBN 978-0-19538-386-7 
  2. ↑ a b c d e f g h i j k l m n Gray, Christopher (2 de novembro de 1997). «Streetscapes/The Beaux-Arts Apartments, 307 and 310 East 44th Street; A Matched Pair of 1930 Monuments to Art Deco». The New York Times (em inglês). ISSN 0362-4331. Consultado em 3 de agosto de 2021 
  3. ↑ a b c «307 East 44 Street, 10017». New York City Department of City Planning. Consultado em 20 de março de 2020 
  4. ↑ a b c «Assemble 2 Large Plots On East 44th Street: Really Acquired by Beaux Arts Development Corporation». New York Herald Tribune. 6 de dezembro de 1928. p. 45. ProQuest 1113418754 
  5. ↑ a b c «310 East 44 Street, 10017». New York City Department of City Planning. Consultado em 20 de março de 2020 
  6. ↑ a b Landmarks Preservation Commission 1989a, p. 2; Landmarks Preservation Commission 1989b, p. 2
  7. ↑ «Morris B. Sanders Studio & Apartment» (PDF). New York City Landmarks Preservation Commission. 18 de novembro de 2008. pp. 2, 4. Consultado em 30 de abril de 2021 
  8. ↑ Jackson, Huson (1952). A Guide to New York Architecture 1660–1952. [S.l.]: Reinhold Publishing Corporation. p. 23 
  9. ↑ a b «Structural Steel: Fuller Co. Places 4,000 Ton Contract With McClintic-Marshall New Inquiries». Wall Street Journal. 11 de abril de 1929. p. 3. ISSN 0099-9660. ProQuest 130651436 
  10. ↑ a b c d e f g h i Landmarks Preservation Commission 1989a, p. 9; Landmarks Preservation Commission 1989b, p. 9
  11. ↑ a b c d e f g Stern, Gilmartin & Mellins 1987, p. 398
  12. ↑ a b Landmarks Preservation Commission 1989a, p. 7; Landmarks Preservation Commission 1989b, p. 7
  13. ↑ a b c d e f g h i j k l Murchison 1930, p. 76
  14. ↑ Goldberger, Paul (29 de novembro de 1987). «Architecture View; Kevin Roche Finishes a Trio and Changes His Tune». The New York Times (em inglês). ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  15. ↑ a b c d e f g h i j «More Glass Used in New Apartment; Modern Trend Is Followed in Design of Twin Beaux Arts Buildings.» (PDF). The New York Times (em inglês). 16 de fevereiro de 1930. p. 174. ISSN 0362-4331. Consultado em 3 de agosto de 2021 
  16. ↑ Landmarks Preservation Commission 1989b, p. 9
  17. ↑ a b c d e Landmarks Preservation Commission 1989a, p. 8; Landmarks Preservation Commission 1989b, p. 8
  18. ↑ a b «Walls of Glass» (PDF). American Architect. 137: 24. Fevereiro de 1930 
  19. ↑ a b Murchison 1930, p. 25
  20. ↑ a b c Murchison 1930, p. 24
  21. ↑ Landmarks Preservation Commission 1989a, pp. 9–10; Landmarks Preservation Commission 1989b, pp. 9–10
  22. ↑ a b Murchison 1930, p. 23
  23. ↑ a b c Landmarks Preservation Commission 1989a, p. 10; Landmarks Preservation Commission 1989b, p. 10
  24. ↑ a b Landmarks Preservation Commission 1989b, p. 10
  25. ↑ Landmarks Preservation Commission 1989a, p. 10
  26. ↑ Baldwin, Deborah (14 de novembro de 2008). «Artists in Residence». The New York Times (em inglês). ISSN 0362-4331. Consultado em 5 de agosto de 2021 
  27. ↑ a b c d e f «Beaux Arts Suites Are Country's Most Modern Apartments: Twin East Forty-Fourth Street Buildings Are Last Word in Urban Dwellings». New York Herald Tribune. 2 de fevereiro de 1930. p. E2. ProQuest 1113117978 
  28. ↑ a b c d e Landmarks Preservation Commission 1989a, p. 6; Landmarks Preservation Commission 1989b, p. 6
  29. ↑ «Dinner for Friends of Art; Large Company Attends Opening of the Cafe Bonaparte.» (PDF). The New York Times (em inglês). 6 de janeiro de 1930. p. 35. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  30. ↑ a b c Murchison 1930, p. 78
  31. ↑ a b «Twin Apartments Ready.: Beaux-arts Buildings in East 44th Street Completed.» (PDF). The New York Times (em inglês). 12 de janeiro de 1930. p. 154. ISSN 0362-4331. Consultado em 3 de agosto de 2021 
  32. ↑ «Cork Replaces Wood in Floors of Beaux Arts». New York Herald Tribune. 17 de novembro de 1929. p. E1. ProQuest 1112005583 
  33. ↑ Murchison 1930, pp. 25–26
  34. ↑ «New Refrigeration Type.: Special Electric System for Beaux Arts Apartments.» (PDF). The New York Times (em inglês). 10 de novembro de 1929. p. RE10. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  35. ↑ Murchison 1930, p. 26
  36. ↑ a b c «Exhibition Suites; Beaux-Arts Apartments Furnished for Inspection.» (PDF). The New York Times (em inglês). 20 de abril de 1930. p. 158. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  37. ↑ a b «Beaux-Arts Architects Buy Site for New Home». New York Herald Tribune. 25 de novembro de 1927. p. 34. ProQuest 1133012510 
  38. ↑ a b «Beaux-Arts Architects Buy Site for a $125,000 Home». The New York Times. 25 de novembro de 1927. p. 34. ISSN 0362-4331. ProQuest 1133012510 
  39. ↑ Murchison 1930, p. 22
  40. ↑ «New Institute Is Dedicated By Architects: Dinner Precedes Humorous Program by Members in Forty-fourth St. Building». New York Herald Tribune. 22 de novembro de 1928. p. 23. ProQuest 1113401956 
  41. ↑ a b «Studio Apartments for the Art Centre; Two Sixteen-Story Structures to Be Erected on East Forty-fourth Street.» (PDF). The New York Times (em inglês). 10 de fevereiro de 1929. p. 50. ISSN 0362-4331. Consultado em 3 de agosto de 2021 
  42. ↑ «Review of the Day in Realty Market; Housing Deals Feature Trading – Ottenberg & Foster Buy Lexington Avenue Site.» (PDF). The New York Times (em inglês). 5 de dezembro de 1928. p. 62. ISSN 0362-4331. Consultado em 3 de agosto de 2021 
  43. ↑ «Building Plans Filed». The New York Times. 1 de dezembro de 1928. p. 35. ISSN 0362-4331. ProQuest 104402590 
  44. ↑ a b «Will Finance New Apartment By Stock Offer: National City Company and U. S. Realty Are First to Abandon Mortgage Plan». New York Herald Tribune. 6 de fevereiro de 1929. p. 33. ProQuest 1111242213 
  45. ↑ Boyd 1929, p. 771
  46. ↑ Boyd 1929, p. 770
  47. ↑ Stern, Gilmartin & Mellins 1987, p. 798
  48. ↑ «Manager Beaux-Arts Apartments.» (PDF). The New York Times (em inglês). 10 de novembro de 1929. p. RE8. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  49. ↑ a b «Furnished Suites Help Renting Of Apartments: This Is Particularly True When Premises Are of Usual Design, Proportion». New York Herald Tribune. 6 de abril de 1930. p. E1. ProQuest 1113656745 
  50. ↑ «Architects and Decorators Visit Beaux Art Suites: Demonstration Apartments Show Two Different Schemes». New York Herald Tribune. 4 de maio de 1930. p. E5. ProQuest 1113264453 
  51. ↑ «Beaux Arts Suites Get Magazine Award For Building Merit: Modernistic Apartments Are Chosen for Architecture, Workmanship, Economy». New York Herald Tribune. 17 de fevereiro de 1930. p. 33. ProQuest 1113095936 
  52. ↑ «Restaurant in Apartment Court.» (PDF). The New York Times (em inglês). 15 de junho de 1930. p. RE12. ISSN 0362-4331. Consultado em 3 de agosto de 2021 
  53. ↑ «Beaux Arts Are Popular With Business Women: Modernistic Apartments on East Side Attract Women Wishing Home and Career». New York Herald Tribune. 27 de julho de 1930. p. E2. ProQuest 1113265930 
  54. ↑ «Beaux Arts Tenants.; Business Women Comprise Half of the Occupants.» (PDF). The New York Times (em inglês). 27 de julho de 1930. p. 139. ISSN 0362-4331. Consultado em 3 de agosto de 2021 
  55. ↑ «15 Suites Weekly Is Renting Record for Beaux Art Dwelling: Buildings in 44th St., Completed 5 Mouths Ago, Now Have 270 Tenants». New York Herald Tribune. 13 de julho de 1930. p. E2. ProQuest 1113666562 
  56. ↑ «Beaux-Arts Tenants; Active Renting In New East Side Apartments.» (PDF). The New York Times (em inglês). 13 de julho de 1930. p. 155. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  57. ↑ «Many 'Career' Women at Beaux Arts Are Married: Attracted to House by Elasticity of the Arrangement». New York Herald Tribune. 14 de setembro de 1930. p. E5. ProQuest 1331246944 
  58. ↑ «Part of Beaux Arts Building Now Operated on Hotel Plan» (PDF). The New York Times (em inglês). 8 de novembro de 1931. p. RE1. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  59. ↑ «Bus Connects Beaux Arts With Rockefeller Center». New York Herald Tribune. 1 de outubro de 1933. p. H8. ProQuest 1114669735 
  60. ↑ «Midtown Suites Get Modern Devices» (PDF). The New York Times (em inglês). 2 de janeiro de 1938. p. 145. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  61. ↑ «Building Plans Filed: Manhattan Alterations». The New York Times. 24 de setembro de 1938. p. 32. ISSN 0362-4331. ProQuest 102432066 
  62. ↑ «12 Private Bus Lines Halt Tomorrow Under ODT Ban; Apartment Dwellers Must Walk to Subway or Rail Station» (PDF). The New York Times (em inglês). 14 de março de 1943. p. 16. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  63. ↑ Teltsch, Kathleen (21 de abril de 1968). «Towers, Parks and Walkways Are Included in Proposal for U.N. 'Campus'» (PDF). The New York Times (em inglês). p. 78. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  64. ↑ Teltsch, Kathleen (12 de novembro de 1969). «Massive Complex Proposed for U.N.; $300-million Project Would Be Sheathed in Glass» (PDF). The New York Times (em inglês). p. 1. ISSN 0362-4331. Consultado em 4 de agosto de 2021 
  65. ↑ a b Horsley, Carter B. (12 de agosto de 1973). «Beaux Arts Apartments Sold: Tract Purchased Executives Named Housing Starts Tuckahoe Sale West Side Sale Leaving Hudson St. Park Ave. Sale News of the Realty Trade». The New York Times. p. 344. ISSN 0362-4331. ProQuest 119826151 
  66. ↑ Oser, Alan S. (13 de agosto de 1976). «About Real Estate». The New York Times (em inglês). ISSN 0362-4331. Consultado em 5 de agosto de 2021 
  67. ↑ Oser, Alan S. (9 de fevereiro de 1992). «Perspectives: Manhattan Rentals; Building for the 'Young Professional' Class». The New York Times (em inglês). ISSN 0362-4331. Consultado em 5 de agosto de 2021 
  68. ↑ Hinds, Michael Decourcy (11 de junho de 1985). «On E. 44th St., Construction Never Ceases». The New York Times (em inglês). ISSN 0362-4331. Consultado em 5 de agosto de 2021 
  69. ↑ Shepard, Joan (12 de julho de 1989). «Panel okays 3 buildings as landmarks». New York Daily News. 42 páginas. Consultado em 4 de agosto de 2021 – via newspapers.com 
  70. ↑ «The Beaux Arts 307–310 East 44th St – Midtown East». Brodsky. Consultado em 5 de agosto de 2021 
  71. ↑ «Obituary; Raymond Mathewson Hood». New York Daily News. 15 de agosto de 1934. 216 páginas. Consultado em 23 de março de 2021 – via newspapers.com 
  72. ↑ Stern, Gilmartin & Mellins 1987, pp. 397–398

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