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Railroad scenes on the cover of The New Yorker

Since 1925 The New Yorker magazine has been putting out issues with the most wonderfully designed covers (and a few controversial ones). Often times the covers don’t necessarily reflect any specific article found within magazine, but sometimes they do reflect current events. Other times they show typical New York area scenes. In a city as reliant on mass transit as New York, it was inevitable that buses, trains, and subways would frequently wind up on the cover of the magazine. Even Grand Central Terminal and the original Pennsylvania Station have also been featured several times.

Because several of the illustrators contributing to the magazine lived in Connecticut, the New Haven Line and commuters from the state were depicted on The New Yorker’s cover several times. Westport’s Historical Society had an exhibit featuring some of the Connecticut artwork from the magazine. From what I’ve seen on the internet, the exhibit (which ended last month) looked quite interesting, including some preliminary sketches of the covers by some of the artists.

I figured that I’d create my own little exhibit of covers here, of course, railroad related. Below you’ll find a collection of some of my favorite covers from The New Yorker, all featuring transit in some way. Enjoy!

(more…)

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Cass Gilbert’s Griffins

After visiting enough historical railroad stations (or by reading this blog) it doesn’t take too long to get accustomed to the decorative symbols enmeshed within the architecture. A set of symbols, like the caduceus and the winged wheel, are all associated with transportation, and can be found on stations near and far – especially those designed in the Beaux Arts style. Many of these stem from the Roman deity Mercury – the swift messenger god that became associated with transportation, always depicted wearing a winged cap and a with caduceus in hand. Also common is the winged wheel, representative of both Mercury and speed, which has represented transportation beyond railroads. The auto industry has made use of the symbol, and it can even be found in use today as the logo of the Detroit Red Wings. Other symbols, like the eagle, are representations of American patriotism. And for all those New York Central fans, the acorns and oak leaves symbolic of the Vanderbilt clan can be found within the railroad’s most notable stations.

   
  
A – Winged cap and caduceus, both symbols of Mercury, god of transportation, New York Central station, Bronxville
B – Winged wheel, transportation and speed, New York Central building
C – Caduceus and horn of plenty, symbol of Mercury, and of prosperity, Michigan Central Station, Detroit
D – Eagle, representing American patriotism, Utica Union Station
E – Acorns, adopted crest of the Vanderbilt family, New York Central station, Yonkers
F – Mercury, Roman god of transportation, Grand Central Terminal

On one Metro-North station, however, you’ll find a particular symbol that isn’t quite common in rail stations – the griffin. Griffins are the mythological hybrid of the lion and the eagle, depicted with a lion’s body and an eagle’s head. Besides being the venerable king of beasts, as the lion was generally regarded as the king of animals and the eagle as the king of birds, the griffin guarded treasure and wealth. Architect Cass Gilbert incorporated the symbol into several of his designs, including New Haven Union Station, and the West Street Building in Manhattan, which was used as an office building by the Delaware, Lackawanna and Western Railroad. Many men amassed fortunes in the railroading business, and these griffins became the symbolic guardians of this wealth.

The West Street Building, circa 1912
The West Street Building, now usually called 90 West Street, once towered over lower Manhattan, circa 1912

Though Cass Gilbert is usually remembered as the designer of New York City’s first skyscrapers, his elaborate portfolio consisted of museums, state capitol buildings, courts, libraries, and even train stations. Gilbert’s most notable station is New Haven’s Union station, which opened in 1920 and replaced an earlier station destroyed by fire. For a Beaux Arts design, the station’s exterior is really rather plain, but the inner waiting room and ticket windows are undoubtedly beautiful. Over-exaggerated embellishments are few, though observant viewers can spot griffins on the wall in the office section of the station.

 
  
   
  
 
   
  
 
  

Through a twist of fate, Gilbert’s most notable griffins would be those found on the West Street Building. Completed in 1907, the 23 story building was one of the tallest in lower Manhattan. Over time it became dwarfed by neighboring skyscrapers, and eventually the World Trade Center. Though it was always a gorgeous historical part of New York, the West Street building gained much notoriety after the attacks in September 11th, 2001. The building took major damage – fires lasted for days, and debris rained down on it from the collapsing towers. Two people died in the building’s elevator, and portions of one of the hijacked planes were found on the building’s roof. Ultimately, solid construction won the day – although the damage was immense, the building survived.

90 West Street and the World Trade Center
90 West Street eventually became dwarfed by the World Trade Center, seen in 1970 during construction and in 1988. Photos by Camilo J. Vergara.

Nearly a hundred years apart - 1907 and 2001
Nearly a hundred years apart – 1907 and 2001

September 21, 2001
FEMA photo showing the damage and debris pile below 90 West Street on September 21st. Photo by Michael Rieger.

90 West Street was eventually restored, and reopened as a residential building. It now contains 410 separate apartments, ranging from studios to three bedroom units. Countless embellishments inside and out were destroyed, though many were recreated using old photographs. Many of the gargoyles on the outside are modern creations in the style of the originals. One of the original surviving griffins, however, can be found in the lobby of the building. He’s no longer guarding the wealth of railroads, though I suppose one could say he is now guarding the wealth of the well-to-do tenants of the building – studios start at about $2250 a month.

  
 
  
 
  
 
  

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Lighting up the New York Central Building, and Happy Holidays from The Harlem Line!

Grand Central Terminal isn’t the only building that lights up for the holidays… the old New York Central Building is another gem to behold. When I featured that building on the site – designed by Grand Central architects Warren and Wetmore – I mentioned the lights, but didn’t include any photos. Constructed to be the corporate offices of the New York Central Railroad in 1929, the railroad sold the building in the 1950s and has gone through several name changes since.

However you want to call it – the old New York Central Building, the Helmsley Building, or 230 Park – it looks gorgeous at night. While Grand Central’s light show ends tomorrow, the lights here are year round. Similar to the lights on the Empire State Building, the show can change colors for various holidays or other events. Over 700 individual lights were added to the building, and lighting designer Al Borden was hired to create a night time lighting scheme for the building. As the building is designated as a landmark, none of the lighting was permitted to “compromise the building’s architectural integrity.” Thus all light sources had to remain hidden, and none could be drilled into the building’s surface.

 
  
 
 

Of course, one can not pass up the opportunity to take more photos of Grand Central’s light show and exterior on an abnormally warm winter evening…

Lights at Grand Central
 
  
 
 
  

I figured I’d wrap up this post with a look at this year’s holiday card for those that didn’t receive it. The front features Mount Kisco station, and the unique station mileage sign that graces the building on the track side. The sign lists the original length of the Harlem Division – from Grand Central to Chatham in Columbia County. Astute viewers will note that the station view is visible through the window of an M8, which on a few days this year were actually in revenue service on the Harlem Line.

Front of the holiday card

Back of the holiday card

Happy holidays everyone!

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Another building from Grand Central’s architects – the NY Railroad Branch YMCA

For most people of my generation, the letters YMCA evoke an image of the Village People – far removed from the Young Men’s Christian Association it was founded as. Just as likely, one does not picture a group long associated with railroading, and certainly not an establishment designed by the likes of vaunted architects Warren and Wetmore. In reality, all of these statements are true – the YMCA was first established in New York in 1852, and a Grand Central Branch (also known as the Railroad Branch) was formed in 1875. Meeting in the basement of the Grand Central Depot, the fledgling organization was a second home to railroad men, and Sunday bible studies were led by Cornelius Vanderbilt II himself.

The YMCA organization was founded in 1844, but first became involved in the lives of railroaders in 1872 in Cleveland, Ohio. Besides the obvious religious aspect of the organization, it became a home where railroaders could be welcomed among colleagues and friends. Sermons and Bible studies, as well as decent places for railroad men to rest, get a meal at any hour, or diversions to pass the time, could all be found within the YMCA’s doors.

  
  
Typical scenes at YMCAs of the era. The first row depicts the 23rd Street YMCA in New York from the Library of Congress. Second row shows the Railroad YMCA in Washington DC by Herbert A French.

As Grand Central Terminal’s centennial year draws to a close, there are two more buildings designed by Grand Central’s architects that I wish to mention – one of which was the home for the Grand Central YMCA for fifteen years. In case you missed the previous entries in this series, you can check them out here:

Warren & Wetmore:
The New York Central Building
Yonkers Station
White Plains and Hartsdale stations

Reed & Stem:
Glenwood Power Station

Stem & Fellheimer:
Utica station

The entire Grand Central Terminal complex, as envisioned by the New York Central Railroad’s Chief Engineer William Wilgus, was more than just a simple train station – it was a “Terminal City.” Hotels and other such amenities were built for the convenience of travelers, and the magnificent New York Central Building became the new home of the railroad’s management. One rarely mentioned feature of the Terminal City was intended to serve the basic railroad worker, and provided amenities to those that worked long hours to get people where they needed to go by train. Although the building was short lived, the Grand Central, or Railroad Branch, of the New York YMCA formed an inextricable piece of the fabric that is Grand Central, and the lives of those that toiled within.

The old and new YMCA
The old YMCA (at left), and some members outside the new YMCA (at right).

Steadily rising from the modest organization it was founded as in a train station basement, the New York Railroad Branch of the Young Men’s Christian Association found its own home at the corner of Madison Avenue and 45th Street in 1886, whose capacity was doubled in 1893. By 1902 the Railroad Branch YMCA was celebrating its 26th anniversary as one of 170 local railroad branches in the US and Canada, all of which had a membership of more than 43,000. New York alone had 31 branches, and nearly 10,500 members. Plans for the new Terminal City, and this increasing membership, necessitated a new home again in 1912. Three Vanderbilts – William Kissam, Frederick, and Alfred Gwynne – each donated $100,000 for the establishment of a new seven-floor building at Park Avenue from 49th to 50th streets which perfectly fit with the aesthetic of the new Terminal City.


The new New York Railroad Branch YMCA

Opened in 1914, the new YMCA building was a fairly modest affair of cream colored pressed brick and Indiana limestone trim, 200 by 47 feet. Typical of the work of Warren and Wetmore, the building featured various fine detail work including the flying wheel – representative of transportation and the Roman god Mercury – an open bible marked with the symbols for Alpha and Omega, the lamp of knowledge, and a YMCA emblem. Leadership of the YMCA described the building as both dignified and attractive, and although fitting with the Terminal City, it was an easily distinguished building with its own individuality.

Members and guests of the YMCA had a wide options of amenities open to them. For those looking to socialize, the inside of the new YMCA featured a spacious lobby designed for such purpose – one could a piano and a fireplace to sit around. Warren and Wetmore detail work could equally be found inside the building, and engraved on the marble above the fireplace were the choice words “Sprit, Mind, Body,” a motto of the YMCA. Those looking to write letters home or catch up on news could find the requisite items in the Correspondence Room, while those looking for a little fun could find it on the six billiard tables also found on this floor. Finishing off the first floor was a checkroom for baggage and uniforms, lavatories, and a full service barber shop.

Lobby and Bathroom
The lobby and bathroom found on the first floor.

No matter what hours a man worked, a restaurant and kitchen was open at all hours to serve, which occupied the entire second floor of the building. It featured the most elaborate restaurant of any YMCA at the time, with three dining rooms and seating for a total of 320 people. Meals ranging from ten to fifty cents were offered here, and lunches for thirty cents were offered in the popular Club Lunch Room.

Bible study group and one of the second floor dining rooms
Those that would opt for exercise could find a 40 x 75 foot gym, two full floors in height, on the third floor, complete with a spectator gallery for 100 people. The gym could be converted for use as an auditorium which could seat 500, and a stage and dressing room was available for this purpose. Four of the most modern Brunswick bowling alleys, featuring rubber “Mineralite” bowling balls were also located on this floor. A darkroom for the camera club, and a library with three reading alcoves could also be found on the third floor. Alfred Gwynne Vanderbilt took on the responsibility of keeping the library stocked with the newest and most desirable books, at times donating up to a hundred new volumes per month. YMCA members could borrow two books at a time for a two week period.

Tracking the health of railroad men
Tracking the health of railroad men – the YMCA was a place to expand one’s spirit, mind, and body.

A locker room for the gym could be found on the fourth floor, as well as a lecture room with space for 125. Various classes were offered, from railroad-related Air Brake classes to First Aid, Public Speaking, and even Investing classes. For those on long swing shifts or long distance journeys that required rest, both single and double rooms were available in increments of 12 hours. These rooms occupied the fifth through seventh floors of the building. Several rooms were located on the fourth floor, but the majority took up the fifth, sixth, and seventh floors. Rooms averaged six by seventeen feet in size, and all had outside windows. At roof level one would find a canopied summer garden, seasonal courts for handball and tennis, and room for meetings during good weather.

Billiards, Bowling lanes, and a typical bunk room

Despite the featured amenities, the YMCA outgrew the building in a mere fifteen years, and the Warren and Wetmore construction was demolished. These days the Railroad Branch of the YMCA still exists, although it is referred to as the Vanderbilt Branch, in honor of Cornelius Vanderbilt II, the man that invested considerable time, effort, and money in the organization, back when it met in a lowly basement of Grand Central Depot. The exclusive male membership and religious aspects of the YMCA have been supplanted with a focus on community and opportunities for all. The organization has even distanced itself from its long standing acronym and has attempted to rebrand itself as merely “The Y.” Few ties to the railroad remain, besides the Vanderbilt name, and its proximity to Grand Central Terminal.

The Vanderbilt YMCA
The YMCA that replaced the Warren and Wetmore building, which still exists today. Construction photo at left from the Museum of the City of New York.

Some of the amenities offered to railroaders at the YMCA are still required to this day. Though definitely not as nice as the elaborate setup of the original YMCA Railroad Branch, locker rooms and bunk rooms for those with long train jobs to sleep can be found today in Grand Central. The upper floors of Grand Central hosted these for many years, though they shared one thing with the original YMCA – they were for men. Exclusive facilities for women didn’t exist all the way up through the Conrail years, but were finally established in the early ’80s. In the mid to late ’80s the bunk and locker rooms were relocated to the dark recess known as Carey’s Hole, and were relocated again to the third floor last year. In the lounge you can likely find conductors and engineers passing their free time playing cards, much as they did at the Railroad Branch.

Railroad Men
The publication Railroad Men was printed by the Railroad Branch of the YMCA in New York. Note the design at left featuring the oak and acorn motif which appears frequently in Grand Central, symbols of the Vanderbilt family.

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Decay and Rebirth: the Glenwood Power Station

Anyone familiar with the history of Grand Central Terminal (and hopefully all of you that regularly read this blog) likely recall a 1902 train crash that led to significant changes in how New Yorkers viewed trains. Nobody really liked steam trains operating through the city, and attempts to hide them in cuts and tunnels proved to be unsafe. That particularly serious crash in the Park Avenue Tunnel led to steam trains being banned in Manhattan. The idea of electric trains had been pondered for a while, but this proved the necessary impetus for innovation. The New York Central’s Chief Engineer William Wilgus, and inventor Frank Sprague came up with the bottom contact third rail to power trains into the city, allowing a bold new Grand Central that could never have been accomplished with the previous technology. The often overlooked question, however, is where did that electricity come from? Let’s rewind back a few years to the beginning of the Grand Central project…

At the heart of the Grand Central Project was not just a station, but an entire set of buildings – A Terminal City. Minnesota architects Charles Reed and Allen Stem won the New York Central’s commission for designing the new Grand Central Terminal, with the assistance of Reed’s brother-in-law, William Wilgus. Later added to the project by the Vanderbilt family were cousin Whitney Warren and his partner Charles Wetmore. The four collaborated on the Terminal itself, as well as the redesigned Grand Central Palace. Other buildings associated with the project were divided between the two firms – the hotels and New York Central Building went to Warren and Wetmore. Though not the most important architecturally, the two most important buildings of all were designed by Reed & Stem – the power stations that powered these new electric trains.

1905 sketches of the New York power stations
1905 sketches of the Yonkers (Glenwood) Power station (left) and Port Morris power station (right).

Two power stations were constructed by the New York Central in 1906 – one on the Harlem Division at Port Morris (the Harlem had a short branch to Port Morris at the time), and another in the Glenwood section of Yonkers on the Hudson Division. The architecture of both, as designed by Reed and Stem, was relatively simple with brick and terra cotta on the outside. Long, arched windows provided natural light during the day, and an attractive glow along the water at night. Under that simple exterior lay an extensive framework of steel (2800 tons of steel in total), with concrete flooring, brick and tile walls, and concrete roofing slabs covered with copper. Each plant consisted of two buildings – a main building that enclosed a boiler room, coal bunker, and generating room which was 167′ wide, 237′ long, and 105′ high, and a separate swich house located about 40′ away from the main building.

Port Morris Power Station Typical substation
The Glenwood Power Station
1905 plans for the Yonkers and Port Morris power stations, as well as a typical substation.

Both power stations were cross-connected, and each had an ultimate capacity of 30,000 kw. Just as Grand Central was designed to handle more traffic than the railroad was currently operating, the power stations were designed to carry train service much greater than what was being operated at the time with steam locomotives. Powered by coal, the plants were both designed to receive coal by rail or by boat, which was then delivered by conveyors to a crusher. After the coal was crushed to the necessary size, it was delivered by another conveyor to a coal bunker with a 3500 ton capacity at the top of the building. Each plant had 24 Babcock and Wilcox water tube boilers, and was designed to accommodate 6 5000kw Curtis vertical turbo-generators. The high voltage AC electricity provided by these power plants was delivered to various substations along the Harlem and Hudson Divisions through insulated cables, where it was then converted to lower voltage DC power for the third rail to power trains.

 
 
  
   
  
   
    
  
   
  
   
 
  
The power station today, after being abandoned for decades.

Though integral to the initial operations of Grand Central Terminal, the New York Central eventually realized that it would be cheaper to purchase energy as opposed to generating its own, and the Glenwood plant was sold to Con Edison in 1936. By the late ’60s the obsolete plant was shuttered and remained abandoned for decades… until fairly recently. A bold plan to restore and repurpose the old power station has been on the table for a few years, but seems to be moving forward thanks to the assistance of New York politicians.

Rendering of the redeveloped power station
Rendering of how the redeveloped power station would look.

“The Plant” project looks to turn the crumbling power station into a hotel and a convention center, with a capacity of 1600 and 3500 people, respectively. The space is separated into four distinct parts – the Smokestack Building, the Great Turbine Hall, a courtyard, and the Switch House Building – all of which will be connected internally with a new corridor. The smokestack building would contain a reception area, and cafe on the ground floor, and a hotel on the upper floors. Not only will the smokestacks be preserved, plans call for meeting rooms to be constructed inside the 15’6″-diameter stacks.

Plan for restoration
Compare the original plans above with the plans for the future…

A large convention center and exhibition space is planned for the Great Turbine Hall, upper floors may contain retail shops, and the building may also include a spa. The last building to be converted, the Switch House Building, will be converted into a corporate retreat with a hotel, ballroom, restaurant and cafe. This building would see the most changes from the original, as two stories would be added to the building for additional hotel space. The last section of the project would be the Courtyard, currently an open space between the buildings. This open air area would be enclosed with a glass roof and would contain a restaurant or cafe, and a seasonal garden.

All of the aforementioned buildings would be connected to the Metro-North station at Glenwood via a new pedestrian bridge over the railroad tracks.

Plan for development
Plans for development around the old Glenwood power station

While there will always be people opposed to development in their neighborhood, the plans for restoring and repurposing the old power station were generally well received. Unfortunately, the area surrounding the site contains no space for parking, and project planners had their eyes on portions of nearby Trevor Park to fit that need, which was not well received by locals. Original plans called for a partially underground parking structure under the current Trevor Park, with artificial turf ball fields to be constructed above. After comments from the public, alternate possibilities have been suggested.

Alternate development site plan
Alternate plan for development around the old Glenwood power station

Either way, the city council unanimously decided at the end of April to request the New York State Legislature to authorize construction on former park lands for the project to move forward. The one caveat being that all parkland being used by the project must be replaced and improved in equal or greater acreage in alternate spots. This alternate parkland would be closer to the waterfront, and the development plans calls for sand volleyball courts, a bocce court, and a picnic and grilling area. This area would be in addition to the previously mentioned park above the parking garage, which is planned to have three ball fields and a playground.


Video highlighting the restoration and repurposing of the Glenwood Power Station.

I, for one, am very eager to see this beautiful old structure again restored to greatness. Though frequently overlooked, the old power plant played an integral role not only in local rail history, but also in the growth of New York City and its suburbs in Westchester and beyond. It will certainly be interesting watch how this project progresses!

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Grand Central Terminal’s Companion – The New York Central Building

When the New York Central Railroad’s chief engineer William Wilgus came up with the concept of Grand Central Terminal, there were most likely a few people out there that felt he was completely nuts. Despite the fact that at the time the NYC was one of the mightiest railroads in not only the United States, but the world, the price tag for the project was incredibly high. Without the concept of “air rights” it is likely that the project would never have moved forward. Covering the Terminal’s tracks and allowing buildings to be constructed in the “air” above turned out to be a very sound investment. The railroad owned significant amounts of highly profitable, prime New York real estate, and the neighborhood surrounding Grand Central and built on that land became known as Terminal City. The Biltmore Hotel, Commodore Hotel, and the Yale Club were all parts of this city within a city. But it was the New York Central Building, finished in 1929, that was the crowning achievement of Terminal City, and an appropriate companion for Grand Central Terminal.

Construction on the New York Central building
Construction photo of the New York Central Building. [image source]

One of the final buildings designed by Warren and Wetmore in New York City, the New York Central building became the new home of the railroad’s corporate offices. Although today we view the building as a Beaux Arts masterpiece, on par with Grand Central Terminal itself, when the building was completed in 1929 it was generally looked down upon by the architecture world. As American architecture had moved beyond the Beaux Arts style about ten years prior, critics felt the building was almost like a step backwards. Viewed as a whole, however, the New York Central building fits perfectly with its companion, Grand Central Terminal.

Postcards showing the New York Central Building
Postcards showing the New York Central Building

Some of the most wonderful parts of the New York Central building are the details and sculptural elements you’ll find all over, a major component of the Beaux Arts style. These elements were sculpted by Edward McCartan, Director of the sculpture department of the Beaux-Arts Institute of Design in New York City. While Warren and Wetmore frequently used the work of Sylvain Salieres, including for Grand Central Terminal, by the time the New York Central building was to be constructed, Salieres was no longer alive.

The building’s primary sculptural element is the clock that sits atop the front façade, featuring Mercury at left, and the goddess Ceres at right. Mercury is the typical deity used to represent transportation, while Ceres represents agriculture – one of many types of freight carried by the railroad. Found in various locations around the building are several other faces, whose identities never seem to be discussed. One of these faces is contorted into a painful grimace, and placed in front of a fiery torch. Perhaps this figure is representative of Prometheus of Greek myth – the titan who gave fire to man, who was punished by Zeus for the act.

The New York Central Building in print
Poster of the New York Central Building by Chesley Bonestell, and cover of the October 26, 1929 edition of the New Yorker with illustration by Theodore G. Haupt.

High above street level are the faces of American Bison, situated above stylized compasses, representative of how the railroads essentially built this country – or at least how it contributed to the migration of people to the west. Sharing a similar concept, a face resembling the Greek god of nature and the wild, Pan, appears towards the very top of the building. Eagles, representative of the United States, can be found above some of the doors to the building, and lions, a symbol of power can be found in the tunnel that carries Park Avenue through the building. Purely decorative columns, much derided by the architects of the day, can also be found on the upper reaches of the tower.

The New York Central Building visible from the construction site of another skyscraper
The New York Central Building visible from the construction site of another skyscraper

As the New York Central’s financial woes grew after World War II, the railroad began selling off some of its New York real estate. After being sold in the 1950’s, the New York Central Building became the New York General Building – a crafty idea that required only minimal changing of the signage. Eventually, the building was purchased by Helmsley-Spear, and it is rumored that Harry Helmsley’s wife Leona was the one who formally changed the building’s name to the Helmsley Building.

Perhaps the biggest travesty of the Helmsleys, besides all the tax evasion and treating their employees like dirt, was their grand idea to “update” the façade of the building. All of the architectural details on the building, including the sculptures of Mercury and Ceres, were coated with a layer of gold paint. Thankfully, during the building’s 2002 restoration, these elements were restored to their original state, without the paint. The building was sold in 1998, about a year after Harry Helmsley’s death, though it is said that Leona required a stipulation along with the sale – that the building would not be renamed. It is likely for this reason why the outside of the building still reads the Helmsley Building, while the property owners refer to it by the generic name 230 Park.

Many of the sculptural details on the building were painted gold by the Helmsleys in 1979
Many of the sculptural details on the building were painted gold by the Helmsleys in 1979. [image source]

The current owners have made several modifications of their own to the building – two bronze murals – weighing over a ton and comprised of 40 individual panels – depicting the streamlined 20th Century Limited have been installed in the building’s lobby in 2010. Though attractive, it would have been nicer if a more time appropriate scene was selected – the building predates the streamlined locomotive by about ten years.

Bringing the building into the “modern age,” the current owners also hired lighting designer Al Borden, who came up with a night time lighting scheme for the building. As the building is designated as a landmark, none of the lighting was permitted to “compromise the building’s architectural integrity.” Thus all light sources had to remain hidden, and none could be drilled into the building’s surface. Over 700 individual lights were added to the building, and similar to the Empire State Building, the colors can change reflecting holidays and other events.

 
A scene from the movie The Godfather was filmed in the former New York Central building. Note the portrait of William Henry Vanderbilt, and the old style #999 Empire State Express.

When constructed, the New York Central Building was one of the primary features of the New York skyline. It may not have been the tallest building, but it was certainly one of the more unique. It remained as such until the late 1950’s when it was dwarfed by the massive Pan Am Building, now known as the MetLife Building. Despite that, the building is still a symbol of New York, and has appeared numerous times in popular media. Moviegoers might recognize it as the building that appeared in the poster for 2008’s film The Dark Knight, and eagle eyed viewers may have seen some of the building’s inner rooms in the movie The Godfather.

The MetLife and Helmsley Buildings are visible from four miles away at Harlem 125th Street station
The MetLife and Helmsley Buildings are visible from four miles away at Harlem 125th Street station.

Let’s take a photo tour of the old New York Central building, including a quick peek of the marble-covered inner lobby. Weekends in August are the best time to check out the building, as part of the city’s Summer Streets program, which closes parts of Park Avenue to cars. You’ll be given the rare opportunity to not only view the building up close and personal, but to walk the Park Avenue Viaduct, and the tunnels that travel through the old New York Central building.

 
  
 
  
   
   
  
 
   
  
   
  
  
 
   
 
  
   
 
  

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Another Great New York Station: Utica

Though begrudging partners, the architectural firms of Reed & Stem and Warren & Wetmore collaborated magnificently on the great Grand Central Terminal. Unfortunately, in mid-project Charles Reed died. Seeing this as an opportunity, Warren & Wetmore secretly approached the railroad’s directors the day after Reed’s funeral and convinced them to void the original contract – after all, there was no more Reed & Stem. The new contract named Warren & Wetmore the sole architects for Grand Central and the further projects associated with the Terminal (like the Biltmore Hotel). Ultimately, Stem sued Warren & Wetmore and was awarded a hefty sum in 1920, and Whitney Warren was expelled from the American Institute for Architects for unprofessional conduct[1].

Despite all this, there seemed to be no bad blood between Stem and the New York Central Railroad. Forming a new firm with junior partner Alfred Fellheimer, Stem & Fellheimer designed the railroad station in Utica for the New York Central.

Workers at Utica
Workers stand atop the the clock on the station’s façade.[2]

The construction of the new station at Utica was no easy task. The previous station, besides being inadequate for the traffic it was receiving, was plagued with problems in the spring when floods would cover the tracks with water. To combat this problem, and make additional room for platforms and a rail yard, the Mohawk River was moved about half a mile north. Construction on the station itself began in 1912, and it was opened in May of 1914.

Postcards from Utica
Postcards showing the front of Utica station.

Utica station features a 47 foot high waiting room, with 34 decorative marble pillars, and some of the marble was said to have come from the old Grand Central Station[3]. Originally intended to be a station for the New York Central, the station eventually became a Union Station in 1915 when the Delaware, Lackawanna and Western and the New York, Ontario and Western moved their operations to the building.

While the interior of the station is quite lavish, the exterior is a little bit more conservative. There are no great statues of Mercury, Minerva and Hercules atop the station, like Grand Central Terminal, but the caduceus “herald’s staff” often carried by Mercury is visible on the station’s façade. Several carved eagles, as well as a clock also grace the front of the station.

Tickets and postcards from Utica
Tickets and another postcard from Utica

Like most old stations, Utica’s eventually fell into disrepair and considered for demolition. Thankfully, the station avoided the wrecking ball and restoration was begun in 1978. Now owned by Oneida county, the station is served by Amtrak, the Adirondack Scenic Railroad, as well as by Greyhound and other local bus companies. Some of the old waiting room is apportioned off and used by the Oneida County Department of Motor Vehicles. Since 2003, the building’s official name has been The Boehlert Center at Union Station, named for Sherwood Boehlert, a Utica native who served twelve terms in the US House of Representatives.

Let’s enjoy a quick little tour of Utica station, part of my ongoing endeavor to write about some of the other buildings and stations linked to the four architects of Grand Central Terminal…

  
  
 
  
 
   
 
  
   
   
   

  1. An article discussing Reed & Stem and the Biltmore Hotel they were supposed to collaborate on, before the contract was changed, with Warren & Wetmore can be found here. []
  2. Photo from the Oneida County Historical Society []
  3. According to popular lore, 8 of the columns were brought from Grand Central Station. Though often stated, according to the Oneida County Historical Society there is no evidence to prove that this actually happened. []

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The Street Railway of the New York and Harlem Railroad

Alfred Stieglitz, The Car Horses
Arguably one of the most famous photos of a horsecar in New York City, by famed photographer Alfred Stieglitz.

Want to irk a railfan or a history buff in only a matter of seconds? Just tell them that you’re in Grand Central Station. Grand Central is, of course, a Terminal – and as Danny Brucker would explain, “because trains terminate here.” The previous incarnation of Grand Central was, however, a station, and had tracks that did continue further south.

Grand Central Station
This is Grand Central Station, circa 1905. This, on the other hand, is not Grand Central Station.

If you’re up on your Harlem Railroad history, you’ll remember that the New York and Harlem Railroad began operating in 1832. Starting with a mile of track from Prince Street to 14th Street, the first trains were pulled by horses. As the line grew, first to Harlem, then beyond to Westchester, and ultimately to Columbia County, passengers would have to transfer to steam locomotives for the rest of their journey. Thus the New York and Harlem Railroad was a combination of two distinct parts – a street railway line (which eventually lost the horses) about ten miles long, and the railroad line, north of 42nd Street, about 137 miles long at its peak.

New York and Harlem Railroad
An early horsecar on the New York and Harlem Railroad in New York City. As a random aside, it was these railroad horses, often worked extremely hard, that were a significant reason for the founding of the ASPCA in 1866. The ASPCA actually operated the first “horse ambulance” and made sure these rail workhorses had fresh drinking water daily.

Eventually the rail line was leased to the New York Central, and the street railway line to the Metropolitan Street Railway Company (and later the New York Railways Company). When Grand Central Terminal was completed, the divorce of the two was quite obvious, but before that, where exactly did the street railway operate? For the most part, on Fourth Avenue, and extending as south as Ann Street, about a mile from the southern tip of Manhattan island. To get a better picture of the line and where it operated, we of course have a lovely map!

Street Railway Lines

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Before Arts for Transit – The Grand Central Art Galleries

As a Metro-North rider, and an appreciator of art, I must say that I have a strong affinity for the Arts for Transit program. In fact, I found the many permanent artworks to be some of the most enjoyable things discovered while on my journeys to all 123 Metro-North stations. From the bronze chairs in Pleasantville, to the stained glass in Tarrytown, there is delightful art abound. But some of the most lovely work to come from the Arts for Transit program recently are not the permanent installations in our stations, but the designs inspired by Grand Central Terminal, a part of the year long centennial celebration called On Time / Grand Central at 100.

Constellations
You may have seen this poster around… Pop Chart Lab brings the sky ceiling to life!

Arts for Transit, however, is not the first group to bring art into the Terminal. Long before the program was ever conceived, the Grand Central Art Galleries were established on the sixth floor of Grand Central. I was inspired to learn a little bit more about the galleries after purchasing an old New York Central dining car menu. The menu featured an example of the artwork one could find in the gallery, and the back contained a rather dated ad suggesting that businessmen take their wives on the trains and only pay half (which, if you are interested, I posted on the I Ride the Harlem Line facebook page).

Ad for the Grand Central Art Galleries on a menu
On a dining car menu, 1953 – Grand Central Art Galleries.[1]

Floor plan of the Grand Central Art Galleries
Floor plan of the Grand Central Galleries.[2]

The Grand Central Art Galleries were established in 1923, and remained in the Terminal until 1958, when they moved to the nearby Biltmore Hotel. Long established in our collective consciousness is the concept that a dead artist is worth more than a living one, but this gallery’s intent was to sell the artworks of the living. Both artists and non-artists paid a membership fee, providing artworks (1 a year, for 3 years) and cash ($600 when the galleries opened), respectively.

Grand Central Art Galleries

A wide variety of artists were associated with the Grand Central Art Galleries over its many years, including some well-known faces in the art world like John Singer Sargent. Featured on the menu above was a painting by Frederick Judd Waugh, whose art frequently depicted ocean scenes. He was also known for designing ship camouflage with the US Navy during World War I.

Today Grand Central’s upper floors are off-limits to the general public… but if you’d like to see how the 6th floor looked back in the late 1920s, here are a few photos!

Grand Central Art Galleries
Grand Central Art Galleries
Grand Central Art Galleries
Photos of the Grand Central Galleries.[3]

  1. Menu from the author’s collection. []
  2. Floor plan from the Frick Art Reference Library, via the New York Art Resources Consortium. []
  3. All photos from the Frick Art Reference Library, via the New York Art Resources Consortium. []

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Vacationing on the Railroad, yesterday and today

It is starting to be that time of the season where everyone is thinking about summer, and about taking vacations. The railroad has always been a great method of getting around, and there are plenty of places you can see by train. If you’re looking for something more local, Metro-North will be having their Staycation Showcase in Grand Central next week. Amtrak also has a wide variety of places to vacation, all accessible by rail.

Despite all of these offerings, rail travel really isn’t the primary method that most people go on vacation these days. After getting patted down by your friendly neighborhood TSA, airlines can whisk you away to the other side of the country in a matter of hours, not days. And America’s love affair, the automobile, offers a more individualized and customizable trip across our nation’s Interstate system. However, neither of these options were available to folks living in the early 1900s. Rail was the way to go, and the best way to take a vacation.

New York Central vacation brochures
Vacation brochures printed by the New York Central in 1908 and 1903.

Vacation packages, including rail tickets, were offered by the New York Central, and they printed many varieties of brochures advertising all the places one could visit. Summer resorts included in-state locations, like Niagara Falls and the Adirondacks, and some faraway places like Canada, Michigan, and even Yellowstone National Park – an 82 and a half hour trip from Grand Central Terminal, at a round trip fare of $97.80.

The winter resorts booklet might prove to be the most interesting – it offered long distance vacations to warm locales around the world – places that one would reach after long journeys via train and steamship. Setting out for “one of ‘Uncle Sam’s’ new possessions” – “Porto Rico” – would be a 20 day affair in total. The most fascinating part printed is certainly the map of the Pacific Ocean found at the back of the brochure, labeled as places “reached by the New York Central Lines and their connections.” If you had the time, and the money, you could certainly reach the Empire of Japan, and beyond. Straying not too far from home, a traveler could reach Honolulu by steamship from San Francisco in a total of seven days.

Map of the Pacific
Map of the Pacific Ocean, printed by the New York Central in their 1903 America’s Winter Resorts brochure.

Interested in staying closer to home, or taking a shorter vacation? The New York Central also had a brochure of journeys taking two to fifteen days. Two days could get you to the Adirondacks or Lake George, four a nice trip to Montreal, eight a meandering journey to and from Quebec, and fifteen a wonderful itinerary stopping at several different resorts in many of the aforementioned spots.

Two to fifteen day journeys
Brochure of two to fifteen day journeys from 1912, and the Harlem Division map within.

If you’re really looking to stay in your own backyard, there were plenty of vacationing spots along the Harlem Division. The Harlem’s long-gone Lake Mahopac branch was established especially for that purpose. But as you can see from the map above, one could get more places via the Harlem than you can today – transfers were available in Chatham for the Boston and Albany Railroad to Massachusetts, and to the Rutland Railroad for Vermont.

Resorts on the Harlem
Close to home – summer resorts along the Harlem.

Anybody out there planning on taking a vacation (or a “staycation,” even) by train this summer? Drop a note in the comments about where you’re planning on going!

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