 A banquet was held the night before Grand Central Terminal opened for 100 people invited by the building's architects Warren and Wetmore.  The subterranean space is noted for its white tiled Gustavino Vaults.  The vaults have an unusual acoustic property in that they amplify sounds as a 'Whispering Gallery'.  

Whose gravity-defying vaulting technique thrilled builders of the&amp;nbsp;City Beautiful movement, an era defined by the notion that train stations and bridges could be grand works of art with more than just utilitarian value.  

Grand Central Terminal

Oyster Bar

In 1868 a new method for building subway tunnels used a retaining wall to allow construction without damaging roadways and buildings was called Shield Method. Prior to the subway system, elevated trains provided limited mobility throughout the city and were plagued with severe weather delays. The Chamber of Commerce began discussions for an underground rapid transit system in 1894, forming a committee and proposing a bill to the New York State Legislature. The bill was passed and signed by Governor Roswell P. Flower just three months after discussions began. The commission was instrumental in organizing the public support and private contract necessary to complete the subway system’s construction.&nbsp;

In 1900, the IRT service ran from City Hall to Grand Central when the 1st section of NY Subway opened

Opening Ceremonies N.Y. Subway, Oct 27, 1904, on City Hall steps. On Friday night, Mayor McClellan inaugurated the first subway; more than 125,000 people took a ride before midnight. 1100 people went on the first ride. Someone pulled the brake, mayor Mclallan (check spl) was driving. The tickets cost 5 cents each

ABANDONED CITY HALL SUBWAY STATION - 6 train terminating at Brooklyn Bridge uses the loop to run around to the uptown local track.The commemorative plaques originally in the station, which had been moved to Brooklyn Bridge station by 1962, were taken back to City Hall and reinstalled in their original positions in 1996. In late 1998, the plans were quietly cancelled, the public were prohibited from riding around the loop, and the Transit Museum's tours of other closed areas were also cancelled.

On verso Charles Stockdell Gray (first on left)  

Facing north, probably from the U.S. Post Office on City Hall Park, of City Hall, the Tweed Courthouse behind it and the Muncipal Building to the right.&amp;nbsp;  

complete with elegant chandeliers leaded skylights and graceful curves

The glass ceilings still have some black out remaining from World War II     

These cars had a wooden body mounted on top of a steel underframe to increase stability and crash safety. They also had copper plates put along their sides.

Publication - Electric railway journal 1908

to accompany them on a trip of inspection of the Rapid Transit Railroad, train leaving City Hall station, at 3 o'clock, Thursday afternoon, October 20, 1904.Please show this card at the station

At 96th St, 72nd St., 14th St., Brooklyn Bridge, City Hall To inspect and ride on experimental trainsGood October 1st until October 26 1904 Interborough Rapid Transit CompanyAugust Belmont, President

To inspect the Rapid Transit Subway on October 27th 1904, prior to its opening for public service.This card will be accepted for admission to any station from City Hall to 145th Street between the hours of 2:30 and 6pm on that day.August BelmontPresident

IRT City Hall Station

Grand Central Terminal originated as a central hub for the Hudson River, New York and Harlem, and New York and New Haven Railroads. Cornelius Vanderbilt, after merging the Hudson River and New York Central Railroads, commissioned architect John B. Snook to design Grand Central Depot, completed in 1871. Subsequent expansions in 1895 and 1900 couldn’t handle rising traffic, and after a deadly crash in 1902, steam locomotives were banned in Manhattan.&nbsp;

This led to William J. Wilgus’s proposal for a new electrified underground terminal, approved in 1903, and completed in 1913.

The terminal's late-1990s renovation added stands and restaurants to the dining concourse, and installed escalators to link it to the main concourse level. The MTA also spent $2.2 million to install two circular terrazzo designs by David Rockwell and Beyer Blinder Belle, each 45 feet in diameter, over the concourse's original terrazzo floor. &nbsp;The hall was renovated and renamed Vanderbilt Hall after the family that built and owned the station.

In 2007 it seemed like a good idea to connect the Long Island Railroad (America's busiest commuter railroad) with Grand Central Terminal. &nbsp;It took $11 billion and over a decade to make East Side Access into a reality. &nbsp;The five block concourse is 17 stories below grade requiring nearly two minutes to descend via the MTA's longest escalator to the track level.&nbsp;

With the advent of electricity to power trains, a new station was needed to accommodate the additional traffic. William L Wilgus, VP and Chief Engineer of NY Central &amp; Hudson River held a competition between 4 firms including McKim Mead &amp; White and Reed &amp; Stem (relatively unknown but had done a lot of railroad terminals; Wilgus was married to Reed`s sister May). They were made to associate with Warren &amp; Wetmore possibly because Whitney Warren was the cousin of William K Vanderbilt. After Reed died in 1909, there were a few design changes and Whitney Warren became the architect. The final design produced 44 platforms on two levels making it the largest train station in the world.It became the hub of New York for decades. Movies were filmed there. Couples proposed under the great clock. It housed an art school, a library (which still exists) and even an apartment (which is now a bar). The Terminal fell into disrepair in the late 70's prompting multiple planning studies and proposals for its restoration. This finally happened in the late 90's and the terminal was lovingly restored and brought up to date. Retail was added in the former waiting rooms.

The facade includes several large works of art. At the top of the south facade is a 13-foot-wide clock. The clock is surrounded by the Glory of Commerce sculptural group, a 48-foot-wide sculpture by Jules-F&amp;eacute;lix Coutan, which includes representations of Minerva, Hercules, and Mercury. At its unveiling in 1914, the work was considered the largest sculptural group in the world  

The European style marketplace has 13 different local vendors selling everything from seafood and cooking spices to cheese and deli meats to cupcakes and jams 

 A false ceiling of square boards, installed in 1944, bears an elaborate celestial mural painted with more than 2,500 stars and several bands in gold set against a turquoise backdrop. This ceiling covers the original 1913 version, which had degraded because of water damage.  

One of Grand Central&amp;rsquo;s main attractions, and is often the meeting place for visitors and locals alike. You know you&amp;rsquo;re a New Yorker when you&amp;rsquo;ve told a friend to &amp;ldquo;meet me at the clock&amp;rdquo;!  

The dirt buildup was sometimes reported to be tar and nicotine from tobacco smoke, or diesel or coal soot from the trains in the terminal's train shed (trains have utilized electric power in Manhattan since 1908). Spectroscopic examination revealed that it was made up of air pollutants from trucks, cars, and emissions and contaminants from incinerators and factories. As a general renovation of the terminal got underway, historians and preservationists called for the 1944 boards to be removed and the original ceiling mural restored. But Beyer Blinder Belle, the architecture firm that led the renovation, deemed the original mural irreversibly damaged and noted that the asbestos-laden boards would be hazardous to remove. Starting September 1996, the ceiling boards were cleaned and repainted. Lights were installed into the ceiling boards to imitate the stars, restoring a feature previously only seen from 1913 to 1944. A single dark patch (one brick) if you follow the claw of cancer (the crab) on the ceiling to the corner, was left untouched by renovators to remind visitors of the grime that once covered the ceiling.&nbsp;

 It was conceived in 1912 by architect Warren and painter Paul C&amp;eacute;sar Helleu. The latter, who had come to the United States for a three-month stay to create portraits of eight women for a Parisian magazine, sketched a conceptual design for Warren. Helleu worked from a chart given by Columbia astronomy professor Harold Jacoby, who had derived it from the Uranometria, a star atlas published in 1603. The mural was executed in 1913 by James Monroe Hewlett and Charles Basing of Hewlett-Basing Studio. They were assisted in the design by Helle and multiple astronomers, and in the painting by more than 50 painting assistants. Around 63 electric bulbs were installed to amplify the visual impact of the stars. The depicted constellations include those of the winter zodiac viewable from October to March, from Aquarius to Cancer. Also depicted are Pegasus, Triangulum Majus and Minus, Musca Borealis, and Orion, as well as two broad gold bands spanning the ceiling, representing the ecliptic and the equator.  

In a 1957 attempt to improve public morale after the Soviet Union launched Sputnik, an American Redstone missile was set up in the Main Concourse. With no other way to erect the missile, a hole was cut into the 1944 false ceiling to allow a cable to be lowered to lift the rocket into place. Historical preservation dictated that this hole remains as a reminder of the many uses of the Terminal over the years.  

For decades, it was called the Suburban Concourse because it handled commuter rail trains. Today, it has central seating and lounge areas, surrounded by restaurants and food vendors. The shared public seating in the concourse was designed resembling Pullman traincars. These areas are frequented by the homeless, and as a result, in the mid-2010s the MTA created two areas with private seating for dining customers. The terminal's late-1990s renovation added stands and restaurants to the concourse, and installed escalators to link it to the main concourse level. The MTA also spent $2.2 million to install two circular terrazzo designs by David Rockwell and Beyer Blinder Belle, each 45 feet in diameter, over the concourse's original terrazzo floor. Since 2015, part of the Dining Concourse has been closed for the construction of stairways and escalators to the new LIRR terminal being built as part of East Side Access. 

 Grand Central covers 48 acres (19&amp;nbsp;ha) and has 44&amp;nbsp;platforms, more than any other railroad station in the world.&amp;nbsp;  

At the time of the terminal's construction, electricity was still a relatively new invention, and the inclusion of electric light bulbs showcased this innovation.&amp;nbsp; 

 The terminal's main departure boards are located at the south end of the space; the boards have been replaced numerous times since their initial installation in 1967.  

Just not &ldquo;Grand Central Station&rdquo;&mdash;that refers to the US Post Office down the street or the subway station below.Woman sitting on luggage in Grand Central Terminal, September 1958

 Passengers in the main concourse, October 1941  

It is used for the annual Christmas Market, as well as for special exhibitions and private events.  

"Landmarks of New York Grand Central Terminal completed in 1913 from plans of Warren &amp;amp; Wetmore and Reed &amp;amp; Stem on site of earlier depot built by Commodore Cornelius Wanderbilt in 1371. Statuary group over main entrance executed by Jules Coutan. Plaque erected 1957 by the New York Community Trust" 

Grand Central Depot Railroads brought people, profits&hellip;and pollution. Residents complained, and in 1854 the city banned soot-belching steam engines below 42nd Street, keeping them far from New York&rsquo;s populated heart. Trains arriving from the north unhitched their engines at 42nd and towed passenger cars the last few miles downtown by horse. Despite these restrictions, the Hudson, New Haven, and Harlem Railroads were eager to expand. To coordinate their services (and save money) they agreed to share a new transit hub. With 42nd Street the southern limit for steam engines, it was the logical station location. Grand Central Depot opened in 1871. Three towers represented the three participating railroads. Thirty years later, a new Annex doubled the Depot&rsquo;s size, but double wasn&rsquo;t enough&ndash;rail traffic had already quadrupled.&nbsp;&nbsp; &nbsp;

Pen and black ink, graphite on cream tracing paper, 10 × 12 15/16 in. (254 × 328 mm), irregular.&nbsp;&nbsp;&nbsp;

Plaque location

Architectural historian Carol Krinsky talks about Grand Central Terminal and the development of Midtown.

Head towards Grand Central Station. There you will encounter the Hercules, Mercurius, and Minerva sculptural group atop the station. If you are following along on our art map this should be labeled 64. As you walk into the Main Concourse of Grand Central, the most notable feature is the great astronomical mural (56 on the art map), from a design by the French painter Paul Helleu, painted in gold leaf on cerulean blue oil.

 In Grand Central Terminal are other works of interest, including 'As Above, So Below' by Ellen Driscoll, 'Flight' by Richard Lippold, and 'Sirshasana' by Donald Lipsky. 

The day after the Grant family decided on the site, Jacob Wrey Mould designed a temporary tomb.

 This memorial to Ulysses S. Grant, victorious Union commander of the Civil War, includes the tomb of General Grant and his wife, Julia Dent Grant. A West Point graduate, Grant served in the Mexican War and at various frontier posts, before rapidly rising through the ranks during the Civil War. Grant's tenacity and boldness led to victories in the Battles of Vicksburg and Chattanooga and Robert E. Lee's surrender at Appomattox, scenes depicted by mosaics in the tomb. In 1866 Congress awarded Grant his fourth star making him the first full General of the Armies. A grateful nation twice elected Grant to serve as President of the United States, from 1869 to 1877. Grant's accomplishments include signing the act establishing the first national park, Yellowstone, on March 1, 1872. After the Presidency, Grant settled in New York City. Ulysses S. Grant died of throat cancer on July 23, 1885 in Mount McGregor, New York, and was laid to rest in New York City on August 8th. Approximately 90,000 people from around the country and the world donated a total of over $600,000 towards construction of his tomb, the largest public fundraising effort ever at that time. Designed by architect John Duncan, the granite and marble structure was completed in 1897 and remains the largest mausoleum in North America. Over one million people attended the parade and dedication ceremony of Grant's Tomb, on April 27, 1897. Overlooking the Hudson River from Morningside Heights, General Grant National Memorial is both the final resting place for Civil War hero and 18th president Ulysses S. Grant and a memorial to his life &amp; accomplishments. Designed by architect John Duncan and completed in 1897, the National Park Service maintains Grant's Tomb, which is the largest mausoleum in North America. Duncan's ambitious original design, chosen by the Grant Monument Association, included monumental staircases leading down through terraced gardens to a dock on the river. 

Photographic Negative by John B. Trevor (b. 1878). Digital Scan by Bronson Trevor III (b. 1976) - Circle Century Collection

General Grant National Memorial

 Built in 1895, the Boston Public Library was designed by Charles McKim of McKim, Mead, and White. Upon its construction, it was the first free public library in the world and a testament to the development of Boston as the cultural capital of the United States at the time. 

Boston Public Library

 Author and historian Douglass Shand-Tucci gives observations about the Boston Public Library. 

 Douglass Shand-Tucci discusses the importance of the Boston Public Library in regards to Boston's history. 

 In a city of skyscrapers, the Cathedral impresses with sheer size. Its detailed fa&ccedil;ade towers over Amsterdam Avenue, and the building extends a full avenue block to Morningside Drive. Despite incomplete construction, it is the largest cathedral in the world, making it a global landmark. The Cathedral`s distinctive architecture is an equal claim to fame, and an important monument in the history of its city. 

Cathedral Church of St. John the Divine

By 1872 St Barts was large enough to build a new church on Madison Avenue and 44th Street designed by James Renwick, in the Lombardic style.&nbsp;

The building was embellished in 1902–1903 with a triple French Romanesque Revival portal by Stanford White. This stone relief above the entrance to the church depicts a number of Biblical scenes. On the frieze between the doors, New Testament stories are shown: Kings from the East arrive, next is the flight into Egypt, and finally, the betrayal of Jesus and John the Baptist. Old Testament figures--Isaiah and Elijah--are shown in the niches.

By the turn of the century, it had developed significant problems and the Church undertook a new building.&nbsp;

The original Portico's architect Bertram Goodhue modified his design in response to the requirement that the old church portal, beloved by the parishioners, be preserved, with its bronze doors, from the Madison Avenue building and re-erected on the new site.

This Byzantine-style church incorporates a 1903 French Romanesque portal from its previous Madison Ave. location. Designed by Stanford White and funded as a memorial for Cornelius Vanderbilt II, the portal features Renaissance-inspired sculpture and ornate brass doors. There are stained glass windows by Hildreth Meire and the city's largest pipe organ. The community house was constructed later by Goodhue's firm after he had died. It cost $5.4 million in 1930. Famous congregants included Lillian Gish and her mother. But by the 1980's many of the parishioners had moved away. The Church needed money and collaborated with a developer who was going to purchase the air rights and erect a tower over the Community House. The case made it all the way to the Supreme Court.

St. Bartholomew's Church 

2nd Location

1st location - A plain church

St. Bartholomew's Episcopal Church

 This Byzantine-style church incorporates a 1903 French Romanesque portal from its previous Madison Ave. location. Designed by Stanford White and funded as a memorial for Cornelius Vanderbilt II, the portal features Renaissance-inspired sculpture and ornate brass doors. There are stained glass windows by Hildreth Meire and the city's largest pipe organ. The community house was constructed later by Goodhue's firm after he had died. 

Home to thirteen of NYC`s municipal agencies, the Municipal Building is one of the city`s most imposing presences, with an influence on civic architecture that reached as far as Stalinist Russia. Its tower is topped by Adolph Weinman`s statue “Civic Fame” and its grandly proportioned arch frames a tunnel once traversed by Chambers Street traffic.Manhattan Municipal Building resulted from 4 architectural competitions, of which the last was to design the building in conjunction with a subway and trolley terminal at the Brooklyn Bridge , finally won by McKim Mead and White, then the largest architectural firm in the world; it was their 1st skyscraper.

The building is shaped like a ten-sided "C", in an irregular hexaagon shaped lot. The building accommodates the diagonal paths of Duane Street and Park Row, The orientation of the floor plan ensures that all of the building's windows would be able to receive direct sunlight and eliminated the need for an interior light court.At 580 feet and 34 stories tall; the main structure consists of 26 stories, and a tower, flanked by four circular turrets, rises 8 stories above. The circular section of the central tower is composed of two layers: an enclosed space surrounded by columns, atop which is a smaller peristyle. Atop the northern and southern wings of the "C" are pavilion roofs, which are connected to the central tower with roof decks and a stone cornice.&nbsp;The facade is made of ashlar granite below and terracotta above the 23rd floor. A three-story colonnade of Corinthian columns runs across the base along Centre Street. A large, arched vaulted terracotta corridor is located at the center of the building's base. On the roof is Civic Fame, a 25-foot-tall statue

In addition to Civic Fame, Weinman sculpted the rectangular allegorical bas-relief panels at the base of the building, which are located above the side arches. Civic Duty, above the smaller arch to the right (south) of the center arch, shows a female representation of the city alongside a child holding the city seal. Civic Pride, above the smaller arch to the left (north), depicted the city as a woman "receiving tribute from her citizens". There are heroic-scaled winged figures above the spandrels of the side arches: Guidance, a depiction of a female on the left arch, and Executive Power, a depiction of a male on the right arch. These are respectively topped by medallions representing Progress, a nude kneeling man with a torch in one hand and a winged sphere in the other, and Prudence, a half-nude kneeling woman holding a mirror while a serpent is curled around her right arm.

 This floor plan ensured that all of the building's windows would be able to receive direct sunlight and eliminated the need for an interior courtyard, which could not be lit by sunlight.  

 22nd-floor false colonnade, and elevators. The shields represent the historical New Amsterdam and the Province of New York, as well as the present-day county, city, and state of New York (the county of New York being coextensive with the borough of Manhattan).  

The David N. Dinkins Manhattan Municipal Building

Municipal Building

 Architectural historian Gail Cornell talks about the Manhattan Municipal Building. 

 Built in 1891 by the philanthropist Andrew Carnegie, Carnegie Hall immediately became the home of the New York Philharmonic and, by extension, one of the most prestigious music venues in the world. It presents about 200 concerts every year. This restoration and renovation posed an especially exciting challenge, given the building`s landmark status, a demanding construction schedule, and users` memories and expectations for America`s most venerated concert hall. An extensive restoration of Carnegie`s original details celebrates the hall`s rich history. New details&mdash;custom lighting fixtures, railings, graphics and a new marquee&mdash;which evoke the spirit of the original design, announce late twentieth century improvements without compromising the building`s historic character. Phases I and II included the new lobby, newly-created Kaplan Rehearsal Space, and completely renovated Main Hall and Weill Recital Hall, which together demonstrate how carefully-designed public spaces can range from the ceremonial to the intimate. Newly developed circulation systems facilitate transitions from public entry and gathering spaces to the performance halls. The design has transformed this late nineteenth century hall into a twenty-first century facility. 

Carnegie Hall

This impressive museum was built in the Romanesque Revival style with pink granite, a barrel-vaulted ceiling, and marble floors.

The Richard Gilder Graduate School at the American Museum of Natural History houses the Museum’s new graduate program in comparative biology, the first museum program in the United States to grant PhDs. Occupying the top floor of the historic 1891 museum building designed by Josiah Cleveland Cady, the School includes a student lounge, a 25-person teaching lab, administrative offices, and a 50-person lecture hall. The project provides a home base for graduate students now scattered throughout the complex as well as a new identity for the program within the restored historic fabric of the building. The School is located along the “Golden Corridor of Science,” the monumentally scaled hallway that stretches more than 600 feet of the Museum’s upper floor. The heart of the complex is a double-height student lounge, ringed with a mezzanine with individual study carrels. A glazed wall opens the lounge to the corridor.

The original Hayden Planetarium, built in 1935, at the American Museum of Natural History was the fourth planetarium in the US. Designed by Trowbridge and Livingston, it sported an Art Deco concrete copper-covered dome, reflecting confidence in scientific progress. Inside, the planetarium housed state-of-the-art instruments, including the Zeiss II projector financed by Charles Hayden. The dome's interior was acoustically remarkable. The structure also featured an array of murals and an auditorium that projected past and future skies. The shows, blending science and optimism, aimed to soothe Depression-era fears. In WWII, the planetarium also assisted in training military personnel.&nbsp;

The Rose Center for Earth and Space redefines the identity of this venerable cultural and academic institution for the 21st century while respecting the historic architecture of the designated landmark. Along with the Arthur Ross Terrace, the Weston Pavilion and the renovated Theodore Roosevelt Park, The Rose Center completes the Museum’s north side. The iconic sphere, housed within a glass cube, contains the state-of-the art Hayden Planetarium and “Big Bang” theater, whose program describes the origins of the universe. The building itself is designed as a learning tool, as a visible expression of the science it contains. Its extraordinary curtain wall, structural system and lighting, its use of materials and color, its open planning and single, striking volumetric expression all reveal to the visitor an iconic example of building technology and science that makes this new building a worthy complement to the existing museum and an effective expression of the institution’s scientific and educational mission.

The Richard Gilder Center for Science, Education, and Innovation, the latest expansion of New York's historic American Museum of Natural History, responds to the urgent need for better science understanding and access to education. Created from within, the design enhances the Museum's functionality and visitor experience throughout the campus. The project establishes a new, accessible entrance and a strong east-west axis, creating over thirty connections between ten buildings and replacing former dead ends with continuous circulation. The Gilder Center introduces new exhibitions, education, collections, and research spaces, unveiling previously behind-the-scenes functions to the public and revealing the Museum's diverse collections and ongoing scientific research. Inspired by natural processes, the architecture mirrors a porous geological structure shaped by wind and water, with a central five-story atrium welcoming visitors. The atrium is supported by structural walls and arches that carry the building's load. Constructed with shotcrete, a technique used for infrastructure, the building boasts a seamless, visually unified interior that extends outward, harmonizing with the park and neighborhood. The atrium promotes energy efficiency by channeling light and air, and passive cooling is achieved through stone cladding, shaded windows, and vegetation. The Gilder Center, with its advanced environmental strategies and commitment to the natural world, exemplifies the Museum's mission.

AMNH Special Collections, Photographic Transparency Collection, 4 x 5

The American Museum of Natural History in New York City is one of the world’s preeminent scientific, educational, and cultural institutions. The new Richard Gilder Center for Science, Education, and Innovation, designed by Studio Gang and set in Theodore Roosevelt Park, connects 10 buildings across the Museum’s four-block campus, establishing continuous pathways to enhance visitor circulation.

Interior - early illustration -1877. New York City. The Presidential Visit - President Hayes participating in the opening ceremonies of the Museum of Natural History, Manhattan Square, Eighth Avenue and Seventy-Ninth to Eighty-First Street, on Saturday, December 22nd

Verso: The Theodore Roosevelt Memorial at the American Museum of Natural History was erected by the people of the State of New York as a tribute to a famous son who served as its Governor and later as the 26th President of the United States - a man who was renowned, also, for his interest in natural history and conservation. The architecture of the Memorial is in the classic style, the facade of which is set off by four iconic columns 54 feet high. Surmounting these columns are statues of Boone, Audubon, Clark, and Lewis, pioneers in the early exploration of our country. A bronze equestrian statue of Theodore Roosevelt by James Earle Fraser stands in front of the entrance. Giant Post Card. The American Museum of Natural History, New York, USA. Series Code: 77746-B. Publisher: Dexter Press, Inc.

Verso: Mr. and Mrs. J Meade, Oak Island, Babylon, Long Island Dear Mr. and Mrs. Meade: We sent you a bag of stale bread for your chickens. Keep in a dry place. We are all well and hope you are the same. Louise

AMNH Special Collections, Photographic Transparency Collection, 35mm

AMNH Special Collections, Photographic Negative Collection, 8 x 10

AMNH Special Collections, Photographic Negative Collection, 4 x 5

AMNH Special Collections, Photographic Transparency Collection

AMNH Special Collections, Photographic Negative Collection, 5 x 7

Drawing of Hayden Planetarium interior, by Hugh Ferris of Trowbridge and Livingston, Architects, New York, May, 1934

American Museum of Natural History

Todd Shlieman talks about the Rose Center for Earth and Space- a new paradigm for planetaria based on transparency, openness and connectedness. The architect shares his excitement about being able to provide a vessel and an inspiration for learning about the universe through the design of his building.&nbsp; &nbsp;

Rafael Guastavino was a Spanish-born building engineer who immigrated to the United States in 1881 and spent the next three decades working in New York City.Drawing on the traditional Catalan vault, he developed the Guastavino tile system—patented in 1885—which used layers of interlocking terracotta tiles and mortar to create strong, self-supporting arches and vaulted ceilings. His innovation became widely used in major Beaux-Arts landmarks in New York and other cities, leaving a lasting mark on American architecture.

Join us for the launch of The Architect of New York (Counterpoint, 2026) by Javier Moro, a compelling book that explores the life and legacy of Spanish architect Rafael Guastavino, whose innovative tile vaulting system helped shape some of New York City’s most iconic spaces.&nbsp;The evening will begin with welcome remarks, followed by an introduction to Guastavino’s architectural contributions by curator and professor Janet Parks, who will present a visual overview of his work and its lasting impact on the city. Author Javier Moro will then present his book and discuss the fascinating story behind Guastavino’s journey from Spain to New York and the enduring influence of his architectural vision. The program will conclude with a Q&amp;A session and a reception.&nbsp;Speakers:Javier Moro, Author, The Architect of New YorkJanet Parks, Past Curator of Drawings and Archives, Avery Architectural and Fine Arts Library, Columbia University&nbsp;About the Speakers:Javier Moro is one of the most acclaimed and widely read Spanish novelists, has written extensively on social and environmental issues (Senderos de Libertad (1991), The mountains of the Buddha (1999), Five past midnight in Bhopal (with Dominique Lapierre, 2001, Warner Books), Passion India, (2005) and The Red Sari (2008). As an essayist, he wrote The globalization of poverty (1999), and as a journalist, he collaborates regularly with Spanish newspapers, such as El Pais or El Mundo, and in major European travel magazines. He has also been involved in film productions as well as documentaries. El Imperio eres tú, (You are the Empire), the story of Brazil’s first emperor and the making of the Brazilian nation, was awarded the Premio Planeta in 2011, Spanish language most prestigious award. In 2015 he published A flor de piel (Seix Barral, 2015) (Under the skin), the tale of the Spanish expedition which delivered the newly discovered smallpox vaccine to the New World. In 2018, he was awarded the award Premio Primavera de Novela for his novel Mi Pecado (My Sin), the love story of actress Conchita Montenegro and Leslie Howard. His last book, A prueba de fuego (Espasa, 2020), the story of Rafael Guastavino, a Spanish immigrant who left a strong influence in American architecture, has just been published in the US by Counterpoint Press with the title The Architect of New York.&nbsp;Janet Parks was Curator of Drawings and Archives at the Avery Architectural and Fine Arts Library, Columbia University, from 1979 until 2017. During her tenure, the Drawings and Archives grew to more than 2 million items and participated in 275 exhibitions and countless publications. Parks curated exhibitions on Max Abramovitz, the Woodlawn Cemetery, McKim, Mead, and White, and the Guastavino Fireproof Construction Company. She arranged and supervised the move of the Frank Lloyd Wright Foundation Archive to New York and as a guest curator, contributed an essay for the exhibition FLW at 150: Unpacking the Archive, at MoMA. The New York Preservation Archives Project selected Parks as a Preservation honoree for 2017. She is currently working on the architectural archives of the American 19th century architect, Alexander Jackson Davis.&nbsp;Organized by:Queen Sofía Spanish Institute; Spanish Women Society; Victoria Benatar, AIA, SWS Board Member, EXD Architecture; AIANY Historic Buildings Committee; with the support of the Cultural Office of the Consulate of Spain in New York

Rafael Gustavino

SITES

ADDITIONAL PHOTOGRAPHS