CONTEMPORARY NY
MID137-16.jpg (33380 bytes) New York Architecture Images- Midtown

THE BUSH TOWER

architect

Helmle & Corbett

location

130 W 42nd St 

date

1916-1918

style

Art Deco   Gothic  

construction

The building site is only 15 m wide and 27.5 m deep, and the architects remarked that they wanted to make the building "a model for the tall, narrow building in the center of a city block." And it was regarded as such for the next decade of feverish urban construction. 
The style of the building follows the "traditional" early skyscraper style with its Gothic appearance -- English this time. On the side facaces, trompe l'oeil brickwork creates vertical "ribs" with a fake "shade" pattern to enhance the verticality. The windows are concentrated to the north and south facades, as well as to a recessed mid-facade light-well on the east facade. 

type

Office Building
 
   
 
  Special thanks to Zippy the Chimp for the above images. http://www.pbase.com/zippythechimp   
 
 
 
   
 
 
 
  Photographs of the model by Roy Wright photography. 
   
  The Bush Tower, also called the Bush Terminal International Exhibit Building, was built in 1916-18 for the Bush Terminal Company. It is located on West 42nd Street between 6th and 7th Avenues in Midtown Manhattan, New York City.

The building has 29 storeys. At 146 meters, a set-back top houses the top floor with its high arched windows for personal offices as well as the water tower.

The building was acquired in the 1980s by its present owners, by the Lebanese Dalloul family.

Sister building
In 2002, plans for a sister building immediately to the west were publicized. In a design by Gruzen Samton, a 23-storey glass tower would be separated by a 15 cm gap—necessitated by the earthquake codes—bridged over on every floor to double the original building's space. In October 2006, it was announced that the annex property was being sold to Dubai-based developer Istithmar, which also owns the adjacent 6 Times Square (formerly the Knickerbocker Hotel). Isithmar's plans to build a hotel/condominium building presumably signals an end for the office tower scheme, which had been developed through architectural working drawings.

Interior
The Bush Tower is an office building. The interior decor features extensive oak panelling, oriental carpets and antique furniture.

Style
The style of the building follows the "traditional" early skyscraper style with its Anglo-Gothic appearance. On the facades, trompe l'oeil brickwork creates vertical "ribs" with a fake "shade" pattern to enhance the verticality. The windows are concentrated to the north and south facades, as well as to a recessed mid-facade lightwell on the east facade.

Building site
The building has a footprint only 15 m wide and 27.5 m deep, the architects remarking that they wanted to make the building "a model for the tall, narrow building in the center of a city block." It was regarded as such for the next decade of feverish urban construction.
   
  NEW YORK TIMES April 21, 2002 

-A Skinny Gothic Tower Is to Get a Modern Partner-

CHRISTOPHER GRAY- 

April 21, 2002 

WHEN the 29-story Bush Building at 130 West 42nd Street was finished in 1917, it was a sudden skinny apparition on the Midtown skyline. Now a development group that has owned it for two decades is preparing plans to put up a flanking tower that would be separated by six inches, but would be connected on each floor. 

Irving T. Bush, born in 1869 and beneficiary of the sale of his father's oil refinery in Brooklyn to Standard Oil, could have taken it easy. But as a youth he saw the disorganization of New York's port facilities — ships waiting for limited dock space, confused traffic, competition for facilities — and in 1902 founded the Bush Terminal along the Brooklyn waterfront, with a goal of providing coordinated port activities. This complex grew to 250 acres, with 21 miles of railroad track. In a profile in The New Yorker in 1927, the writer Niven Busch Jr., said Bush had the "uneven, angry energy of a man who has been confronted all his life with the opportunity to loaf." 

Bush felt he could provide a similar coordinated approach in office and showroom space in Manhattan for his Bush Terminal tenants. In 1916 Bush developed the plans for a 29-story tower on a 50-foot front lot on the south side of 42nd Street between the Sixth Avenue and Broadway. His Bush Terminal International Exhibit Building was conceived to provide office space for importers and manufacturers as well as an expansive clubroom with a library specializing in books on manufacturing and a restaurant. 

Bush hired the architect Harvey Wiley Corbett, who had already designed several Brooklyn factory buildings. To Corbett, the idea of a building more than 400 feet high and only 50 feet wide was exhilarating, not silly. He later predicted a city of buildings literally half a mile high, with escalators on the outside. 

Corbett made the Bush Building a razor blade of the Gothic, one long soaring rise of medieval elements combining into a single vertical. The interior was also Gothicized, with heavy, deep-relief choir-style oak paneling, oriental carpets and antique furniture in the club areas. "One of the truly beautiful things in the city," Vanity Fair said in 1917, when the building was finished. Bush had his office at the top floor of the building. 

As he did later with his apartment building at 1 Fifth Avenue, Corbett used brick striping in three colors to give the huge blank side walls a paneled effect. In 1919 the writer Harriet Gillespie singled out this feature for particular praise in the magazine Architecture, contrasting Corbett's design with more typical treatments: "We leave the side wall, the most conspicuous part of our buildings, to bask in unadorned ugliness, while we slather our fronts with every conceivable style." 

In 1920 the magazine Literary Digest reported that the building's visitors included a buyer from a Paris restaurant who ordered electric dishwashers, someone from Venezuela who ordered 1,000 dozen portable bathtubs for babies and a woman who started a baby bonnet business from the building and wound up with an operation employing 500 workers. 

Although never the tallest building in New York, it was for years one of the most admired by critics. In 1926, the architectural historian Talbot Hamlin said that "at night, when floodlights set the delicate detail of the upper portions agleam, there arises the romance of a new American Beauty." 

But Lewis Mumford was one of the few unconvinced that Corbett was a visionary. Writing in Architecture in 1927, he noted that Corbett's grand gesture was compromised by his own promotion of urban density; covered by a new building to the west, the Bush Building "no longer has its original aesthetic importance." Mumford questioned the basic premise of skyscrapers: "Congestion on the scale that Mr. Corbett would have it is far too expensive a public luxury," he wrote, especially in regard to the demands of traffic. And in 1933, after he had taken over the "Skyline" column in The New Yorker, Mumford even derided Corbett's trompe l'oeil panel effect, calling it one of Corbett's "notorious clichés." 

Bush temporarily lost control of his empire in 1933, but then gained it back and held it until his death in 1948. Later, the Bush Building faded into the general seediness that overwhelmed Times Square. Around 1980 a Lebanese family group bought the Bush Building and modernized much of the interior. 

Now, with other investors, the owners are working on a new building directly to the west. Marwan Dalloul, a family member, says he was just a child at the time it was acquired, but he is now working on the project, being designed by the architects at Gruzen Samton. 

Jordan Gruzen, a partner, says the firm's 23-story building, replacing much lower buildings, is to rise six inches away from the Bush Building — a requirement of earthquake codes — but tenants will be able to make connections at each floor like the accordion connections and sliding metal plates between railroad cars. This will nearly doubling the 5,000-square-foot floor plates of the original tower. 

Mr. Gruzen says the new tower will be glass with "a soft receding look," to defer to the older building, where restoration work will replace missing finials and copper details, which have been removed over time. "We want to recreate its original value," Mr. Dalloul said. 


http://www.de-simone.com/  

contact

nyc-architecture.com