Architecture
Although Mangin and McComb designed the building, which was constructed between 1810 and 1812, it has been altered numerous times over the years, with the alteration often designed by noted architects:
- 1860 - Leopold Eidlitz
- 1898 - John H. Duncan
- 1903 - William Martin Aiken
- 1907, 1912, 1915, 1917 - Grosvenor Atterbury
- 1956 - Shreve, Lamb & Harmon
- 1998 - Cabrera Barricklo
The architectural style of City Hall combines two noted historical movements, French Renaissance, which can be seen in the design of the exterior, and American-Georgian in the interior design. The building consists of a central pavilion with two projecting wings. The design of City Hall influenced at least two later civic structures, the Tweed Courthouse and the Surrogate's Courthouse. The entrance, reached by a long flight of steps, has figured prominently in civic events for over a century and a half. There is a columned entrance portico capped by a balustrade, and another balustrade at the roof. The domed tower in the center was rebuilt in 1917 after the last of two major fires. The original deteriorated Massachusetts marble facade, quarried from Alford, Massachusetts, with brownstone on the rear, was completely reclad with Alabama limestone above a Missouri granite base in 1954-6.
On the inside, the rotunda is a soaring space with a grand marble stairway rising up to the second floor, where ten fluted Corinthian columns support the coffered dome, which was added in a 1912 restoration by Grosvenor Atterbury. The rotunda has been the site of municipal as well as national events. Abraham Lincoln and Ulysses S. Grant lay in state here, attracting enormous crowds to pay their respects. City Hall is a designated New York City landmark. It is also listed on the New York State and National Registers of Historic Places.
Read more about this topic: New York City Hall
Famous quotes containing the word architecture:
“They can do without architecture who have no olives nor wines in the cellar.”
—Henry David Thoreau (1817–1862)
“The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.”
—Federico García Lorca (1898–1936)
“I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.”
—Roy Lichtenstein (b. 1923)