Works
Surviving buildings (all in New York City unless noted):
- Kykuit, the principal Classical Revival Mansion in the Rockefeller family estate, Sleepy Hollow, New York, 1913.
- Knickerbocker Club, 62nd and Fifth Avenue, 1915. A discreet Federal townhouse on Fifth Avenue.
- Hathaway, Tannersville, New York, 1907.
- Barbey Building, 15 West 38th Street, 1909.
- Walters Art Museum, Baltimore, 1910. Their first major public commission.
- (Center for Inter-American Relations), 1911. Neo-Federal townhouse, part of a harmonious row continuing a theme set by McKim, Mead, and White next door, in the first flush of buildings along the covered-over New York Central tracks that made Park Avenue.
- Wright Memorial Hall (now Lanman-Wright Hall), Old Campus, Yale University, New Haven, CT, 1912. Brownstone Collegiate Gothic.
- The Willard Straight House, 5th Avenue, 1914. Later the headquarters of the National Audubon Society and the International Center for Photography. An English brick block in the manner of Sir Christopher Wren at Hampton Court is Americanized with black shutters.
- Belair Mansion, major renovation, in Bowie, Maryland, 1914.
- St. Bernard's School, 98th Street, 1915.
- Colony Club, 62nd and Park Avenue, 1916.
- Greenwich House, 1917. A community center's two added floors stretch the Georgian townhouse manner to the limit.
- The Francis F. Palmer House (later George F. Baker, Jr. House), 75 East 93rd Street at Park Avenue, 1918 (altered with a ballroom wing added in 1928).
- The Cutting Houses, 12 to 16 East 89th Street, 1919.
- Oheka, Huntington, New York, 1919.
- The Harold Pratt House, 68th and Park, 1920, for Harold I. Pratt and now headquarters of the Council on Foreign Relations.
- Interiors of the Grand Central Art Galleries, New York, 1922.
- Benjamin Moore Estate, Muttontown, New York, 1923.
- Sterling Chemistry Lab, Science Hill, Yale University, New Haven, CT, 1923.
- Third Church of Christ, Scientist, Park Avenue at 63rd Street, 1924.
- 1040 Park Avenue, at 86th, apartment building, 1924. In low relief along a classical frieze, tortoises alternate with hares. Condé Nast took the penthouse.
- Sage-Bowers Hall, Yale School of Forestry, New Haven, CT, 1924 (Sage), 1931 (Bowers). Two buildings in brownstone Collegiate Gothic style.
- Willard Straight Hall, Cornell University, Ithaca, NY, 1925. Collegiate Gothic.
- The Brook, 111 East 54th Street, 1925
- William L. Harkness Hall, Yale University, New Haven, CT, 1927. Collegiate Gothic.
- Chapin School, at 84th and East End Avenue, 1928. Neo-Georgian
- 63 Wall Street, 1929. Vertical bands of windows alternate with ashlar limestone cladding in setbacks to a penthouse with Art Deco gargoyles.
- Alpha Chi Rho, now part of the Yale School of Drama, New Haven, CT, 1930.
- The U.S. Pavilion at the Venice Biennale, 1930. Designed with Chester Holmes Aldrich, the building was constructed of Istrian marble and pink brick.
- "Peterloon," Indian Hill, Ohio, for John J. Emery, 1931
- Japanese Embassy, Washington, DC, 1931
- American Embassy, Paris, 1931
- Frank Porter Wood home, Toronto, 1931. Now Crescent School.
- U.S. Post Office, Glen Cove, New York, 1932
- Sterling Divinity Quadrangle, Yale Divinity School, New Haven, CT, 1932. Georgian colonial group of buildings.
- Union Club, 69th and Park Avenue, 1933. A smoothly rusticated Italianate limestone palazzo in the manner of London clubs of the 19th century, "one of the last great monuments of the American Renaissance".
- Pan American Airways System Terminal Building, Dinner Key in Miami, Florida, 1933
- Marine Air Terminal at La Guardia Airport, 1940
Read more about this topic: William Adams Delano
Famous quotes containing the word works:
“I shall not bring an automobile with me. These inventions infest France almost as much as Bloomer cycling costumes, but they make a horrid racket, and are particularly objectionable. So are the Bloomers. Nothing more abominable has ever been invented. Perhaps the automobile tricycles may succeed better, but I abjure all these works of the devil.”
—Henry Brooks Adams (18381918)
“No one after lighting a lamp puts it under the bushel basket, but on the lampstand, and it gives light to all in the house. In the same way, let your light shine before others, so that they may see your good works and give glory to your Father in heaven.”
—Bible: New Testament, Matthew 5:15,16.
“The mind, in short, works on the data it receives very much as a sculptor works on his block of stone. In a sense the statue stood there from eternity. But there were a thousand different ones beside it, and the sculptor alone is to thank for having extricated this one from the rest.”
—William James (18421910)