|
Home < Armory History < Expanded Armory History
Expanded Armory HistoryAn except from the Environmental Assessment Report by the Seventh Regiment Armory Conservancy, July 2005 The Seventh Regiment Armory was constructed from 1877 to 1881 for the prestigious Seventh Regiment and designed by Regiment veteran Charles W. Clinton. The Armory stands as the finest extant example of the American Aesthetic Movement. Artists such as Louis Comfort Tiffany, Stanford White, Candace Wheeler, the Herter Brothers, Jasper Cropsey and others collaborated to create the Armory’s dazzling interiors. The New York City Landmarks Commission described the Armory’s rooms as “the single most important collection of nineteenth-century interiors to survive intact in one building.” The Armory comprises a medieval-inspired Administration Building containing offices and regimental meeting rooms, with a more contemporary and functional Drill Hall immediately adjacent. The Administration Building is a five-story brick building with granite trim and a mansard roof, dominated by three massive towers on Park Avenue. A high belfry tower originally topped the tall central tower. Crenellated battlements crown the towers and the corbels supporting the crenellations accent each tower. Tall lancet windows originally pierced the heavy brick walls of the Administration Building and the Drill Hall; these have since been filled in by brick on the Drill Hall exterior. The base of the building is rusticated granite, and the walls are Philadelphia brick measuring two feet thick. The brick is accented by horizontal bands, sill courses and quoins of granite that originally gave a rhythmic and polychrome appearance to the façade. The central tower contains the main entrance with six-inch-thick oak doors and an immense bronze gate by Mitchell Vance & Company of New York City and topped by the regiment’s coat of arms. The Seventh Regiment Armory became the model for all urban armories to follow for many decades. The Armory was an exercise in adapting medieval Gothic aesthetic design to modern military and urban needs. It uses both traditional building masonry and design at the Park Avenue end and the newest construction techniques and materials in the Drill Hall facing Lexington Avenue. Administration BuildingThe Administration Building’s interior rooms include some of the most important spaces in the nation. The first floor alone is considered to be among the most significant and beautiful surviving interiors of the American Aesthetic Movement by the New York City Landmarks Preservation Commission. For the woodwork, decoration, and furnishing of the Administration Building’s rooms, the Regiment chose some of the most prominent American design and interior decoration firms available. The regimental rooms on the first floor were primarily for public receptions and ceremonies and for officers’ use. The second floor contained the company rooms, which were a combination of club and locker rooms. The third floor served as administrative and functional spaces such as dining hall, dispensary, and other offices. The features of the primary extant and significant rooms of the first and second floor, with mention of their changes and alterations since construction, are described below. Ground FloorHallways and StaircaseGeorge C. Flint & Co. designed the entrance hall, the staircase and the corridors of the first and second floor in the Renaissance Revival style in 1880. The central corridor on the ground floor is monumental, stretching 203 feet long from end to end and being 38 feet high to the ceiling. In the center is a massive wrought iron and oak split staircase. Each doorway on the first and second floors has an oak surround and transoms (sometimes with stained glass) and the walls are decorated with regimental paintings, plaques and awards. The original 1880 bronze torchieres by Mitchell Vance & Co. still stand at the base of the grand staircase and were converted from gas to electric light as part of the general transition of the building’s lighting in 1897. The other chandeliers in the halls are from 1897 and designed by John L. Gaumer Company of Philadelphia. Veteran’s RoomThe Veterans Room is the most famous room in the Armory. It was created by Associated Artists (Louis C. Tiffany Co.) which included Tiffany on stained glass and overall design, Candace Wheeler on fabrics, Francis D. Millet and George Yewell as painters, Samuel Coleman on stenciling and color scheme, and possibly Lockwood de Forest on the wood carvings, in collaboration with architect Stanford White. This collaboration of the most famous artists and decorators of the American Aesthetic Movement designed this room as a monument to the history of war and military triumph. The room was dedicated to the use of the Veterans Association, a social organization of former regiment members, although exclusive use and control by this organization was revoked in 1886. The Veterans chose the designers and partially funded the work along with general funds from the New Armory Fund. Its style has been described as “Greek, Moresque, and Celtic with a dash of the Egyptian, the Persian and the Japanese.” The main focus is the north wall’s glass tile, marble, and brick fireplace surrounded by the carved oak overmantle and surmounted with a glass panel depicting an eagle and a sea dragon all produced by the Tiffany studios. The coffered timber ceiling is stenciled in silver and the columns are wrapped in chainmail. Friezes and painted panels feature fantastical creatures and a pictorial history of war since from biblical times to the Civil War. Lighting is provided by two enormous yoke chandeliers that were modeled on a medieval Venetian fire crane that sits in front of the mantle in the room. The oak woodwork includes carvings of Celtic dragons, insets of iron plaques within the wainscoting to resemble ancient shields, a balustraded balcony with stairs and lattice screen, and affixed settees on three sides of the room. In 1955 the alcove under the balcony which originally contained a window seat was filled in and replaced with a display case. In addition, Treasurer Reports from 1941 and 1954 record that the room was overpainted in this period, covering the original multi-colored ceiling with brown but recreating the original silver stencil pattern. The walls, originally a blue field with a stenciled silver and copper chainmail pattern, were covered in 1966 with velvet fabric. Library or Silver RoomThe Library is adjacent to the Veterans Room, and the two rooms connect through double pocket doors. It also was designed by Associated Artists but is thought to be primarily the work of Stanford White. Originally this Aesthetic Movement room was designed to hold two thousand books. It now serves as a room to showcase regimental silver, trophies, and other memorabilia. The ceiling is a barrel vault with a basketweave pattern and medallions. Originally painted in a salmon color with silvered disks, it was later overpainted in an off-white. Mahogany cabinets, originally bookcases, line three sides of the room on the floor level and the gallery which rings the room and features a railing of iron with a weblike pattern in copper. Only one of the two original staircases to the gallery survives but it retains the original iron gatework. Before glass doors were added sometime between 1911 and 1914, the floor-level cases were enclosed by iron gates and chain link portieres. The windows on the west wall are of stained glass by Tiffany. The chain-link chandelier and wall fixtures are among the few original lighting fixtures in the Armory. They were created by Mitchell Vance & Co., probably to the specifications of Associated Artists. The light fixtures were electrified as part of the overall conversion to electricity. In 1900 the library was moved to the third floor, and the room has served since as a regimental museum for the display of trophies, uniforms, silver, and other artifacts. Reception Room (Or Mary Divver Room)This reception room is one of three by the Herter Brothers on the first floor, but the only one in which they did not design the woodwork (which was completed by Alexander Roux and Co.). Extensive maple woodwork on three sides and an elaborate mantel with surrounds on the fourth dominate the room. The hearth is surrounded by art tiles and surmounted by an original mirror. The original Herter Brothers stencilwork was overpainted in the 1920s and again in 1954, but originally it included a sunflower pattern in red and gold on the ceiling, a basketweave pattern frieze, and red and gold border and cove. The sunflower pattern was a distinctive theme of the Aesthetic Movement as well as a signature design theme of the work of Christian Herter. The original gas fixtures were replaced during the electrification of the building with a polished steel chandelier and four wall brackets. Board of Officers RoomA unique example of Renaissance Revival/Aesthetic Movement style, the Board of Officers Room is one of eight Herter Brothers commissioned rooms in the Armory and one of the few for which the firm also supplied the woodwork design. It is one of the few surviving interiors by the Herter Brothers firm. The south wall with its mantle and affixed paintings is the focus of the room. The woodwork, including door surrounds, double sliding doors, window surrounds, and wainscoting is of mahogany. The stenciling of the walls and ceilings is done in floral motifs with friezes at the borders. The lighting in the room was replaced in 1897 with chandeliers and wall brackets of forged iron plated with silver. The room is remarkably intact because the only major intervention was the repainting of the original stenciling in 1932; however, it has suffered severely from water infiltration and exists in a highly damaged state. Colonel’s RoomThis reception room was also designed by the Herter Brothers in the Renaissance Revival style with touches of Colonial Revival. Herter Brothers also supplied the French black walnut woodwork for this room. Originally the paintwork featured Pompeiian red walls with stenciling and a frieze and the ceiling was a light blue with stencils, a geometric border and floral motifs. These surfaces were overpainted in beige and tan by the 1930s. The room was altered in 1932 and 1947 to accommodate two portraits, one of George Washington by Rembrant Peale and another of Colonel Lafayette presented by the French government. New stencil was added under the frieze and portions of new wainscoting were added. Adjutant’s RoomThis Renaissance Revival style conference room and gallery by Robinson & Knust is a creation of the renovations of 1909-11. The pine cabinets in the room were relocated from the second floor. Equipment RoomThe redecoration of this room from its original pine 1880 quartermaster’s office was completed 1895-96. Clinton and Russel designed the new cabinetwork and hardwood floor and Herter Brothers completed the wall and ceiling decoration. In 1909-11, the room was further altered by Robinson & Knust with a new ceiling and new lockers to operate as the Horse Equipment Room. Today, a dropped acoustic tile ceiling, faux wood panels, and office partitions obscure any remaining historic features. Outer Committee Room & Inner Committee RoomThese rooms were created during the renovations of 1909-11 by Robinson & Knust with mahogany wainscoting, oak parquet floor, a plaster cornice and brass light fixtures. An elevator shaft and a staircase were inserted through the space as part of later alterations. Field and Staff RoomOriginally created by Pottier & Stymus in 1880 as a reception room for the field officers and other staff, this room still serves as such for the State Guard officers in the building. Pottier and Stymus designed the mahogany paneling, lockers, mantle and wainscoting in the Renaissance Revival style. The originally elaborate stencilwork ceiling and walls have been painted over. Between 1895 and 1898 the wainscoting was extended and additional mahogany lockers were installed and in 1933 the room was completely redecorated and partly refurnished by the A.H. Davenport Company. Second FloorCompany AThe designer of this Renaissance Revival company room is unknown. The room dates from 1880 and has San Domingo mahogany woodwork on the wainscoting, lockers, doors with leaded glass transom, windows, and mantle. It features an elaborately molded coffered plaster ceiling from an 1897 renovation. Later redecoration also occurred in 1924, new light fixtures were installed in 1925, the WWI memorial was installed in 1936, and the fireplace dates from 1937. Company BThis 1880 Renaissance Revival room is by architect Albert Wagner, but there was also an unknown design partner on the project. The room has mahogany woodwork with a paneled ceiling with copper leaf. There are three Tiffany stained glass chandeliers that match the glass in the transom, all of which were installed as part of a 1906 remodeling by the Tiffany Studios that also included the application of copper leaf to the ceiling and changes to the wood lockers. Company COne of two company rooms designed by the Herter Brothers in 1880, the Company C Room features English oak woodwork for the lockers, doors, paneled ceiling, mantle, and window surrounds. Six original gas light fixtures remain along with four 1897 chandeliers designed to resemble medieval instruments of war. Company DPottier & Stymus designed this Renaissance Revival/Adamesque company room which has a number of newer Colonial-styled features. The room has mahogany woodwork and features an original piano amid the uniform lockers. The ceiling, frieze, and walls were originally stenciled but were replaced with a paneled ceiling and walls in 1894-95. The “colonial” fixtures were probably installed in the 1930s. Company EThe Company E Room was also designed by Pottier & Stymus, this time in the Renaissance Revival/Tudor Revival styles. The mahogany woodwork includes lockers, doors, an entrance to a tower room, a carved trophy, and a cabinet for a piano. Between 1887 and 1903 the room was extensively remodeled including the installation of a new ceiling of a Tudor Revival strapwork design painted in gold and new light fixtures. Company FThe designer of this neo-Grec style room is undocumented. The oak lockers feature ornamental ironwork. Also of carved oak are the west wall mirror surround, the bronze Civil War memorial plaque frame, the paneled ceiling, the doorway to the tower room, the piano alcove, and mantle. An original Tiffany clock still exists in the room. The original Pompeiian red walls and ornate frieze have been covered but the original paneled ceiling is still intact. The circular iron chandelier dates from 1897. Company GCompany G Room is a Colonial Revival style room created by Pottier & Stymus in 1880. The room features black oak woodwork in the lockers with roster boards inset into the doors, the coved paneled ceiling, and the surround to the World War I memorial plaque. The west wall features large and more ornate lockers intended for the captain of the company. This is the only room in the Armory that still retains all of its original gas light fixtures by Mitchell Vance & Co. The walls and ceiling were redecorated in a Colonial Revival style in 1894 by decorator Charles A. Hutchings. Company HCompany H Room is another Herter Brothers room in the Renaissance Revival style. The leaf garland molding, lockers with individual pediments, and surrounds are all in oak. Four original wrought iron chandeliers hang from the paneled oak ceiling. The walls originally had fabric or canvas coverings in a Japanese-inspired design. Considerable changes to the room were made between 1887 and 1904 including changes to the original woodwork, replacement of the ceiling, replacement of the wallpaper twice, new Art Nouveau chandeliers, and removal of the fireplace. Company IThis room was originally designed by Pottier & Stymus in the Renaissance Revival style in 1880 but was modernized a few years later in the Art Nouveau style. Original mahogany and rosewood lockers feature carved rosters of the company member’s names. The room has an Art Nouveau balcony of entwined wrought iron vines and leaves with a newel torchiere. The wall coverings (from sometime between 1880-1900) of Hessian burlap with painted griffins and eagles in gold leaf is partially missing, although some panels have been saved for later restoration. Company KThis Queen Anne style room is almost wholly original, unlike most of the other company rooms. Company K member Sidney V. Stratton of the firm McKim, Mead and White designed it in 1880. The oak and mahogany lockers feature the names of past members of the company. The marble fireplace dates from 1922 and the chandeliers date from the 1930s. A rear door provides access to the Drill Hall. Company LUnlike other company rooms, the Company L and M Rooms feature galleries on the east wall where the lockers were kept for the members. They also both feature balconies looking onto the Drill Hall. The Company L Room was designed by Robinson & Knust in a neo-Classical style in 1909-11 with dark oak woodwork and a beamed ceiling with molded cornice. The modern parquet floor was installed in 1935. Company MThe Company M Room features a gallery on the east wall with doors leading to the Drill Hall. It was designed by Robinson & Knust in 1909-11 and is in the Tudor Revival style with tacked leather wall coverings, paneled ceiling, and oak woodwork. Much has been replaced or added to the room, such as the 1921 chandeliers and the 1931 wide planked floor. Drill HallThe Drill Hall design was inspired by the architecture of the grand railroad terminals being constructed contemporaneously. In particular, it draws from the model of the Grand Central Depot, which was constructed in New York City between 1869 and 1871. At the time, the Grand Central Depot (since demolished) was the largest unobstructed interior in the United States. The Armory’s Drill Hall is now the oldest extant “balloon shed” (a barrel vaulted roof supported on visible arch trusses) in America and is considered one of the first non-railroad buildings to employ this type of structural system. The 200”x300” hall features 11 elliptical wrought-iron arches over a 187-foot span, designed by consulting engineer Charles MacDonald (president of the Delaware Bridge Company) and consulting architect Robert Griffith Hatfield. The building is reinforced by masonry buttresses. The exterior masonry walls are of the same brick as the Administration Building, with three horizontal stone band courses and a crenellated parapet with stone coping crowning the walls. The original Georgia Pine floors of the Drill Hall still exist in large part, despite extraordinarily heavy use over the past 127 years. The floor rests on sleepers of Long Island locust embedded in asphalt resting on a concrete platform. Light within the Drill Hall came from the two bands of clerestory windows in the wood plank roof and the lancet windows on the north and south sides, which were filled in during renovations between 1911 and 1913. Originally there were gas light chandeliers which were soon replaced with electric lighting. The original seating for 1,100 people within the Drill Hall was provided by ash settees with mahogany backs in galleries on the east and west ends and on raised platforms lining the room at floor level. Landscape painter Jasper Cropsey designed the original interior decoration for the room including paint patterns, colors, and stencils for the walls, rafters, lantern, trusses, balconies, and window frames. These were completely painted over in 1897 as they were considered too decorative for a military facility. Later Alterations And Additions To The ArmoryThe first major renovation made to the armory after its original construction was the installation of electricity, wiring and electrical lighting fixtures in 1897. As mentioned in the interior descriptions, this included the replacement of the majority of the gas chandeliers and wall brackets. Those fixtures that were retained for design reasons were adapted for electrical current. The new fixtures were designed by Frank S. Brady/J.L. Brady. In 1901 it was determined that the original steam pipe heating system within the walls was deteriorated and in need of replacement. The old system was abandoned and an exposed pipe system was installed, with visible piping throughout the building which required the removal or puncturing of some original decorative features. In 1909, federal legislation required that all National Guard units must consist of twelve companies. This initiated a large renovation of the building resulting in the removal of the high belfry of the central tower, the addition of a fourth floor into the original mansard roof, and many changes to the interior. Mezzanine levels on the eastern side of the first and second floors were inserted and new staircases at the north and south ends of the building from the second to fourth floors were created. Some rooms were completed renovated or inserted into new spaces, including the Inner and Outer Committee Rooms, Adjutant’s Room, and Equipment Room on the first floor and the Company L and M Rooms on the second floor. Further alterations in 1911 included the insertion of a continuous balcony in the Drill Hall to increase the seating capacity, the installation of a high pressure water distribution system, and alterations to the exterior decoration of the Drill Hall. Smaller changes were continually made on a periodic basis throughout the period of 1896-1913 because of changing aesthetic tastes and needed repairs, especially within the individual company rooms on the second floor as noted in the descriptions. In 1928-29 a fifth floor was added to the Administration Building in an unsympathetic brown brick and glass block. This fifth floor is set back from the building line and was constructed to house a full gymnasium (previously located on the fourth floor). As part of that renovation, the fourth floor was remodeled as a mess hall, named the Daniel Appleton Mess, and decorated by Irving & Caisson/A.H. Davenport. The same firm was retained throughout the 1930s and 1940s for numerous projects, largely funded by the Works Progress Administration, including alterations to the Colonel’s Reception Room (1932-47), the Field and Staff Room (1933), and the restoration of the Herter Brothers’ Board of Officers Room (1932). Renovations and changes from the 1940s to the 1970s have also been abundant. These include the insertion of cinderblock rooms beneath the balcony level in the Drill Hall, numerous changes within the third and fifth floors to accommodate a homeless shelter, new office interiors and dropped ceilings in many rooms, especially in the mezzanines, to function as offices for the New York State Division of Military and Naval Affairs, and more modern facilities and mechanical equipment in the basement level. Exterior ConditionThe north elevation of the Armory shows substantially less damage than the south side, but both sides share similar patterns of failure including masonry cracking, spalling, displacement, and erosion. Failures in roofing, flashing, and drainage systems have allowed water to penetrate. The worse single area of masonry rupture lies at the meeting of the Drill Hall to the Head House on the south side, which appears to result from a ‘collision,’ so to speak, between the two building masses. Efforts to strap across the failed masonry is not so much a ‘fix’ as a temporary safety precaution. Specific items of concern include:
Interior ConditionSpecific items of concern on the interior of the Armory include:
|