In 1913, the 69th Regiment Armory in Manhattan hosted what was then considered the most shocking art exhibition the public had ever seen. The International Exhibition of Modern Art, which came to be called The Armory Show, introduced modern European art to an East Coast audience. A showcase of -ism art movements then in development and exploration by artists now considered masters of their craft, the event was transgressive; it induced backlash from several publications and from former President Theodore Roosevelt who commented that “the lunatic fringe was fully in evidence.”
Yet, even in his blatant dislike of the artworks displayed, President Roosevelt admitted the importance of the show’s existence, its revelation of the European “art forces that cannot be ignored.” This Saturday, September 28, in a centennial homage of the show that shocked the American world, the Architectural League of New York is hosting their annual Beaux Arts Ball in the same venue. Taking inspiration from a space originally meant for National Guard trainings and military activities, the ball will work with and within the great hall to transform its appearance, shockingly. (And tickets are on sale now!)
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Classically trained sculptors breath new life into four 20-foot angels with the help of Rhino.
When Old Structures Engineering engaged Boston Valley Terra Cotta in the restoration of the 1896 vintage Beaux-Arts building at 150 Nassau Street in New York—one of the city’s original steel frame structures—the four decorative angelic figures, or seraphs, that adorned the corners of the uppermost story were in serious decay. “Up close, they were in an appalling state,” said Andrew Evans, engineering project manager. “The biggest issue we had with the angels was understanding what happened with the originals.”
The seraphs were carved from stone by Spanish immigrant Ferdinand Miranda in 1895 and had suffered years of exposure and improper maintenance. By the time the facade was up for rehabilitation, the angels were haphazardly strapped to the building with steel bands and supported with bricks. Their state was such that repairs would not suffice and Boston Valley’s artisans began the task of recreating the 20-foot-tall Amazonian figures.
The landmarked Standard Oil Building at 26 Broadway continues to undergo its transformation from the oil giant’s Carrère and Hastings-designed New York headquarters into a bustling school building. Last week, AN got a sneak peek at the third academic institution to be completed there, a 104,000-square-foot space occupying the building’s first, mezzanine, and second levels. It will add 677 high school seats to the Broadway Education Campus, which currently includes The Urban Assembly School of Business for Young Women (on the 4th and 5th floors) and Lower Manhattan Community Middle School (on the 6th and 7th floors).
All three schools have been designed by John Ciardullo Associates Architects, who have worked extensively with the SCA over the past several decades. Perhaps that relationship is why Ciardullo was allowed to have a bit of fun with the campus.