By 2015, Haas’s mural was badly deteriorated, with nearly half of his works already lost to development. Restoration was estimated to cost up to $250,000. Haas’s studio began fundraising and planning, with a $100,000 donation from developer David Walentas.&nbsp;

Partnering with nonprofit CITYarts, the team hired artist Robin Alcantara to lead the restoration, which was completed that November.

A critique of urban mayhem, Richard Haas created this artwork on the facade of 112 Prince Street, which is notable for the painting of a cat in the upper window.

The trompe l'oeil mural created by the artist Richard Haas in 1974 on the side of a building on Greene and Prince Streets in Manhattan.Credit...Michael Appleton for The New York Times

The building's co-op has not announced a decision on restoration of the mural, which has been marred by decay and graffiti.Credit...Michael Appleton for The New York Times

Cast Iron Trompe L'Oeil Facade

Richard Haas, NYC muralist, discusses his mural on the facade of 426 West Broadway.

 Richard Haas on his public art project near Hecht Slip, a mural on a Con Edison substation. Haas used oil paints to replicate elements of old photographs of architecture in Manhattan. The mural was redone in silicate paint after 9/11, when the electric company had to break through the wall in order to rewire generators. The project was sponsored by Con Edison and the organization City Walls. 

 Richard Haas will talk about the murals he painted at the former Philip Morris Building across from Grand Central Terminal. 

 Let's start the tour on 44th Street and 6th Avenue. Walking east towards 5th Avenue, you should see on your right the Bar Association Building which features a mural done by Richard Haas in the lobby ceiling completed in 1983. 

 Richard Haas's 2005 mural Glockenspiel was designed to beautify a heavily-graffitied building across from a new housing development in Yorkville. The glockenspiel refers to the area's historically large German population. 

 Richard Haas, NYC muralist, discusses one of his projects on the White Street Detention Center, depicting the history of immigration on the Lower East Side. 

 Between 1981 and 1983, Richard Haas worked on this series of 14 murals for this reading room of the New York Public Library. The original design of the room, by the architects Carrier and Hastings, left space for murals, but Haass was the first to actually execute the commission. The series depicts historic New York publishing, printing, and newspaper buildings. 

 On Richard Haas's mural Eight Manhattan Views, completed in 1979. It can be found at the New York University Center for Continuing Education at 11 W. 42nd St. 

 Richard Haas discusses his mural at the Center for Graduate Studies and Continuing Education at NYU, Eight Manhattan Views. 

 Richard Haas, NYC muralist, discusses his work on the facade of 112 Prince Street, notable for the painting of a cat in the upper window. 

Richard Haas, NYC muralist, discusses his works on the White Street Detention Center Bridge

 Joyce Kozloff's mosaic, Terry Schoonhoven's trompe l'oeil mural, Richard Haas's ceiling mural, and Patsy Norvell's glass installation are all featured in this podcast. 

 Richard Haas talks about his murals for the Alwyn Court Atrium. Haass has long been inspired by the Alwyn Court building; he seized the chance to improve the building during a renovation with an installation that echoes the building's elaborate Francis I architecture. 

Richard Haas, NYC muralist, discusses one of his works on the White Street Detention Center Bridge, depicting the biblical Judgment of Solomon, a tale existing in similar ways in both Jewish and Chinese culture: the Judgment of Solomon and the Judgment of Pao Kung.  Both are tales in which someone of authority uses a strategy to discover the who is a liar and who is telling the truth. 

Richard Haas, NYC muralist, discusses his mural/facade in Carlyle Court, on 16th street