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The clustering of
skyscrapers on Manhattan's oldest streets created a Brobdingnagian world,
which Abbott was determined to capture, despite difficult lighting
conditions. For this photograph, she stood at William Street and directed
her camera along Exchange Place (not Stone Street), a 25-foot-wide
"back yard" to office towers with street addresses on Broadway
and Wall, Broad, and William Streets. The three main buildings depicted on
project researcher Everett Gratama's map are: (1) Wall and Hanover
Building at 63 Wall Street (background); (2) Farmers Trust Company at 22
William Street (right); and (3) National City Bank at 55 Wall Street
(left). The pedestrian bridge connects the top floor of the National City
Bank with Farmers Trust.
Today, the three principal buildings in
this photograph remain, but the bridge has been removed.
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notes
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Landmark
Without any doubt, this building and the
Irving Trust Bldg (1 Wall Street) are the most intelligent skyscrapers of
the era in the Financial District. As did Ralph Walker the same year with
the latter, Cross & Cross considered the formely City Bank Farmers
Trust's sheathing as a thin skin covering the steel and glass structure,
more like a limestone veil, than to hide it. Even the discreet
ornementation was a response to structural or technical requirements like,
by example, the buttresses at the fifteenth floor, ended by egyptoids
heads which are, in reality, air exhausts. By another way, the beautiful
result is a tour de force, if considered the difficult site, a snub-nosed
triangle. From a four-setback canted prism rises a slender tower, designed
like a gigantic column, from which the corners are chamfered (quite the
sensation of a gouge carving in the clay) and surmounted by a flat
dodecaedric crown. The lobby is a marvellous rotunda ringed with red
marble columns topped by eagles, from which the ceiling dome is
constituted of black and silver adorned concentric rings mounted up to a
large hemisphere concealing the lights.
At
the time of the City Bank Farmers Trust Building's 1929 construction
notice, it was to be the tallest structure in the ever-increasingly
skyward-striving neighborhood of lower Manhattan. When designed in 1929,
the building was originally planned to have a pyramidal top, as well as a
notably taller tower, but eventually the Depression forced changes to the
plans: the original top floor arrangement was altered and the builders had
to be content with an actual height of 226 m.
The strongly chamfered, 54-story shaft of the building doubles the form of
the 15-story base, although the latter is also slightly trapezoidal,
following the shape of the plot. The building is clad in white Alabama
limestone, with the mid-portions of elevations formed by brickwork that
has long since lost its original white colour.
Exterior decor includes sculptured themes as well as engraved details of
historic or merely decorative nature. The bronze doors are decorated with
images of transport vehicles and the domed lobby has gold-toned travertine
floor and a wealth of marble, mosaics and paintings. Sculptor David Evans
created ideological and decorative items of bronze and nickel for the
lobby.
Among the building's modern features that seemed especially to impress the
press of the day were an elaborate pneumatic tube system, a building-wide
circulating ice water system, a basement reservoir of liquid soap, a new
bronze substitute of nickel alloy with copper, three-way duct lines, the
largest telephone exchange ever constructed, and a new-fangled
double-decker elevator that serviced two floors at once.
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