Barclay–Vesey Building

The Barclay–Vesey Building is on the border of Lower Manhattan's Financial District and Tribeca neighborhoods. It occupies an entire city block bounded by West Street to the west, Vesey Street and the World Trade Center to the south, Washington Street to the east, and Barclay Street to the north. Adjacent buildings include 7 World Trade Center to the east and One World Trade Center to the south. The block is parallelogram-shaped, measuring about along West and Washington Streets and along Vesey and Barclay Streets. The total area of the block is . Prior to the 19th century, the Barclay–Vesey Building's site was located off the shore of the North River (now Hudson River). The shore from Vesey Street north to King Street was infilled during the mid-19th century, and docks were constructed west of West Street. A wholesale market called the Washington Market was established on the future Barclay–Vesey Building block in 1812 or 1813. To support the market and the nearby food businesses, about 35 three- to five-story brick structures were erected on the block. When the building was erected, the site was still on the shoreline of the Hudson River. In the 1970s, Battery Park City was built on filled land along the shore, severing the building from the waterfront. ==Architecture==

The Barclay–Vesey Building, later known as the Verizon Building, was designed by Ralph Thomas Walker in the Art Deco style. It measures tall with mezzanines above the ground, 17th, and 31st stories. The Art Deco style was not yet established when the building was erected, and contemporary publications described the building as being "Modernistic" or "Modern Perpendicular". It was also the first major structure that Walker designed for McKenzie, Voorhees & Gmelin, and, as such, was aesthetically distinguished from the firm's previous commissions. The building was constructed by general contractor Marc Eidlitz & Son, with several consulting engineers assisting in the project. Walker intended the building to be "as modern as the telephone activity it houses". His design took several elements from Eliel Saarinen's proposal for Chicago's Tribune Tower, as well as from Walker's own entry in the design competition for the Tribune Tower. Such elements included the Barclay–Vesey Building's setbacks; its vertical piers; and its pyramidal roof, which had been a defining feature of Walker's Tribune Tower proposal. Walker subsequently designed other Art Deco buildings in the New York City area, such as the New Jersey Bell Headquarters Building (1929), 60 Hudson Street (1930), 101 Willoughby Street and 1 Wall Street (1931), and 32 Avenue of the Americas (1932), as well as telephone buildings in Upstate New York. Form image of the Barclay–Vesey Building, 1936 The massing of the Barclay–Vesey Building includes numerous setbacks. Though setbacks in New York City skyscrapers were mandated by the 1916 Zoning Resolution to allow light and air to reach the streets below, they later became a defining feature of the Art Deco style. The lowest ten floors of the building occupy the entire area of the city block. Above the 10th floor, there are setbacks on the north and south elevations of the facade. Narrow and deep light courts, to the west and east, create an H-shaped floor plan from the 11th to the 17th floors. There are smaller setbacks at each corner on the 13th floor. The appearance of unity was ultimately attained through the inclusion of piers on the facade. These piers divide the facade into bays. The western and eastern elevations of the Barclay–Vesey Building's facade are 19 bays wide, while the northern and southern elevations contain 23 bays each. Facade The facade was inspired by Maya architecture. Above the granite base, the exterior is clad with brick in hues of green, gold, and buff, The Barclay–Vesey Building also contains serrated stone-and-light-brick parapets, which, when combined with the building's vertical piers, give a naturalistic "alpine" look to the setbacks. This was composed of of face brick and of terracotta, laid in Portland cement mortar with a waterproofing compound. Face brick on terracotta was used because it was cheaper than solid brick.The ornamentation on the facade was carried out by Ulysses Ricci and John De Cesare. It includes complex foliage; babies and animal heads; and a bell above the door, symbolizing the telephone company. The bell was the only decoration on the facade that indicated the building's original use as a telecommunications center. Architectural critic Lewis Mumford stated that the ornamental program at ground level was an extensive "rock garden". Ground story The main facades are on West and Washington Streets to the west and east, respectively. At the center of each side, there are large entrance portals that are three bays wide and two stories tall. These portals contain bronze-framed doorways with decorative motifs. Above the doors are bronze screens with vine-and-grape ornamentation; these formerly also contained motifs of bells to represent the New York Telephone Company. The main entrance portals are framed with a decorative limestone lintel depicting a bird and human figures. The limestone friezes above each set of doors depict a bell flanked by a Mongolian and a Native American, which respectively symbolize the Eastern world and the Western world. On the West Street facade, the main entrance portal is flanked on either side by two single-width double-height bays, a triple-width double-height bay, and another single-width double-height bay. These double-height bays contain storefronts. From top to bottom, the storefronts at the base are generally composed of a solid panel, glazed glass, and a decorative transom. There is an enclosed, arched arcade above the Vesey Street sidewalk on the southern facade, measuring approximately wide and long. There are 12 arches in total; each corresponds to two window bays above, except the westernmost arch, which corresponds to one window bay. The arches are supported by brick piers while the ceilings are composed of Guastavino tiles. but because it was so dark, the arcade did not receive too much pedestrian traffic. Nevertheless, numerous enterprises were located in the arcade, including a circulating library. The Vesey Street storefronts were converted to office space by the 2000s. The north facade also contains storefronts set within double-width, double-height arches. Two of the central arches were converted into rectangular garage openings. Upper stories On the second through 32nd stories, the window design is mostly consistent. Most window openings contain three-over-three sash windows, though some openings have been covered with louvered grates, especially in places where there are mechanical or communications equipment. Cast stone decorative elements are concentrated above the 20th story. The 30th floor, 31st floor, and 31st-floor mezzanine contains five triple-height arched windows on each facade. Stone piers protrude above the rooftop level, which contains some mechanical equipment. Features Structural features The building's basements extend deep This was in contrast to other buildings, where mechanical equipment were usually contained on their roofs or in their basements. The floors could handle live structural loads of up to , depending on the intended uses of each floor section. The Barclay–Vesey Building was equipped with electric ducts on every floor, so a wire could be brought to within of any point in the building. Two 110-to-220-volt direct current power lines provided power for the building's normal operation, though either line could provide all of the building's power if the other line failed. In addition, there were two 13,400-volt, three-phase alternating current lines for the telephone exchanges. There were also 35 motor generators with a total capacity of . Heating and ventilation systems were also divided into three sections: the basements to the 10th story, the 11th to 17th stories, and the 18th to 32nd stories. Air distribution to each section was controlled by a panel in the fourth basement, which operated pneumatic valves in the 10th story and 17th mezzanine. The heat was provided by four boilers, which were powered by coal bunkers with a capacity of . The heat was then distributed to the upper stories through 3,000 radiators. There was also an ice-making plant in the basement, which could create of ice every 24 hours. The building's water-supply system is divided into three sections. The basements and ground story were served directly by the New York City water supply system. The second through 16th stories were supplied by a tank on the 17th-story mezzanine. The 18th through 32nd stories were supplied by a tank on the 32nd story. Walker created the interior elements by machine when it was possible. Mumford likened this continuity in interior and exterior design to the works of Frank Lloyd Wright, Henry Hobson Richardson, and Louis Sullivan, which also exhibited such consistency. When used as a telephone facility, the Barclay–Vesey Building could accommodate 6,000 workers in of usable space. Lobby The lobby runs between the West and Washington Street entrances to the west and east, with a vaulted ceiling. The interior of the lobby includes buff-colored veined marble walls and floors. The elevator doors were originally made of hammered iron, A telephone alcove is also placed off the lobby. Since the upper floors' residential overhaul in the 2010s, the western half of the lobby is still used by Verizon, but the eastern half is used as a residents' lounge. The lobby has an Art Deco decorative scheme. These works were designed by Ricci and De Cesare, and executed by Edgar Williams and Mack, Jenney & Tyler. The elevator doors are framed by bronze surrounds, while the elevator lobbies feature Levanto marble walls. Other doorways leading from the lobby, as well as the fluted pilasters along the lobby's length, are also made of Levanto marble. The doors from the lobby are made of bronze, as are the capitals of the pilasters, which incorporate grape-and-vine motifs. Nine murals (five at the western entrance and four at the eastern entrance) demonstrate the ancient methods of communication. The three center murals depict modern communication. The chandeliers are suspended from motifs of "angelic figures". These circuits traveled as far north as 42nd Street. In emergencies, the 17th floor could provide services to the building's base. Each of these stories covered approximately . The elevator lobbies on each floor were equipped with illuminated signs, indicating which sets of elevators served that floor. The stories above the 10th floor have been converted into 157 luxury condominium units. There is a separate lobby for residents on the Barclay Street side, which connects to the original lobby. The penthouse apartment, a duplex unit on the 31st and 32nd floors, covers with a living room, advertised as the largest in the city. The building also contains an wading pool and an lap pool. Other features of the residential portion of the Barclay–Vesey Building include rooms for wine-tasting and billiards; music practice; a fitness center; a children's playroom; and a residents' lounge. There are also four residential terraces. ==History==

Development The New York Telephone Company began to grow rapidly after World War I. An internal review of the organizational structure found that its New York City operations were housed in multiple buildings across the city and were thus inefficient. In the early 1920s, the New York Telephone Company started acquiring the entire block between West, Barclay, Washington, and Vesey Streets. The site was chosen "because real estate values in that vicinity were much lower" compared to the area around Broadway, being relatively isolated from the rest of the neighborhood. The structure was to house 6,000 employees from the company's six central offices, who would work with 120,000 telephones, as well as mechanical equipment to support the company's equipment. The initial design called for a height of , with of office space, and of commercial ground-floor storefronts. In addition, the building would be erected with a steel-and-concrete frame, as well as facade trim made of limestone and buff-colored brick. He wished to create a "strong corporate image" for the structure, According to S. F. Voorhees, an efficiently designed building on the site could not be taller than 43 stories. Voorhees's studies found that a 16-story building was most efficient in terms of "quantities of space", while a 29-story building would have the lowest construction costs per square foot. The latter calculation also allowed the architects to determine how many basement stories were required. Walker tested out different architectural styles, such as the Gothic and Italian Renaissance styles, before settling on a "modernistic" Art Deco style. Construction Demolition of existing buildings on the site commenced in May 1923, Work on the foundation began on June 20, 1923. Each caisson measured thick by long and was sunk to a depth of . During construction, almost 700 workers were employed for the project at any given time; tradesmen, such as plumbers and electricians, worked with concrete and steel contractors in overlapping shifts, in order to reduce delays. The superstructure incorporated of steel across its above-ground and below-ground sections, and the builders used six derricks to lift the girders from the street. Four temporary stairways, each containing 351 steps, were built to facilitate the construction of the upper floors. The floor arches were built starting in October 1924; on average, one floor was completed per week. and the last brick was laid that September. The New York Building Congress gave craftsmanship awards to several workers to celebrate the building's completion. New York Telephone's vice president James S. McCulloh placed both the first and the last rivets. All construction was completed by June 1926. Two additional exchanges were activated in 1928, which would be able to serve 125,000 additional subscribers; at the time, Lower Manhattan was one of the busiest telephone districts in the world. During the mid-20th century, office space was gradually removed to make room for additional equipment. In 1970, the company signed an agreement to move its executive offices to 1095 Avenue of the Americas, a proposed 53-story speculative development near Bryant Park in Midtown Manhattan, which would be larger than the existing West Street offices. Two years later, the New York Telephone offices had moved out of the Barclay–Vesey Building, though the switching offices remained. Improvements in technology resulted in the invention of smaller telephone equipment, leading to an increase in available office space at the Barclay–Vesey Building. By the 1990s, some office workers were moving back into the Barclay–Vesey Building. and when the three buildings collapsed during the attacks, the south and east facades were severely damaged by falling steel beams. Debris also sliced water mains, flooding the basements. As a result, underground cable vaults belonging to Verizon, along with other underground utility infrastructure, were heavily damaged from water and debris. The building received only moderate damage because its thick-masonry design gave the building added strength, Although no fires were observed, the ground-floor murals were damaged by smoke. can be seen to the right. Tishman Realty & Construction, which had been planning work on the building prior to the attacks, did a quick assessment of the building in the days after the attack. William F. Collins AIA Architects was the lead architectural firm working on the restoration, The Excalibur Bronze Foundry and Petrillo Stone were hired as specialists to restore the intricate ornamental detail in the facade and in the lobby. The facade restoration involved carving motif designs in the ornamental limestone, as well as installing of Indiana limestone and of Stony Creek granite. Restoration of the building took three years, at a cost of $1.4 billion. Throughout the restoration, the building continued to serve as a telephone switching center. In 2004, the New York Landmarks Conservancy awarded Tishman Interiors the Lucy G. Moses Preservation Award for its restoration work on the building. The restoration was complete by late 2005. the operations hub was relocated to Verizon's campus in Basking Ridge, New Jersey. Partial sale and residential conversion The building was partially flooded by storm surges from Hurricane Sandy in 2012, which seeped into the basement levels, took all except one of the elevators out of service, and damaged the lobby murals. The next year, Verizon sold off the top floors to developer Ben Shaoul, the head of Magnum Real Estate. Verizon retained the 28th and 29th floors as well as the ground through 10th stories. In conjunction with this sale, Verizon moved 1,100 employees to Downtown Brooklyn and relocated others to 1095 Avenue of the Americas. To prevent against future flood damage, Verizon installed a storm surge barrier in front of the building. Following Verizon's sale of the top floors, it was announced that Magnum Real Estate would convert the upper floors to a condominium complex known as 100 Barclay. Shaoul and the CIM Group obtained a $390 million loan in February 2015 to help finance the project. The partners added 157 units to the Barclay–Vesey Building and placed the first condos for sale in early 2016. To fill up the unused units, Magnum Real Estate started advertising to renters. == Critical reception ==

The Barclay–Vesey Building received much positive acclaim when it was completed. New York Telephone dubbed the headquarters "a symbol of service and progress", Joseph Pennell called the building "the most impressive modern building in the world", The New York Herald, New York Tribune wrote: "The architects deserve our thanks for their trust in the fundamental qualities of design." The building was on the frontispiece of the English version of Toward an Architecture by Le Corbusier, such was its stature. These favorable reviews have continued through the 21st century: the 2009 Guide to New York City Landmarks described the building as "one of the most significant structures in skyscraper design". That October, the Broadway Association gave the New York Telephone Company an award for the Barclay–Vesey Building, calling it a "contribution to civic advancement." Praise also focused on specific elements of the Barclay–Vesey Building. The architect Harvey Wiley Corbett said that the ornamental program was "straightforward and appropriate and eminently right". ==See also==