Architecture And Construction In Steel By Alan Blanc Pdf Writer

Wallace Stevens Born ( 1879-10-02)October 2, 1879,, U.S. Died August 2, 1955 ( 1955-08-02) (aged 75),, U.S. Occupation Poet, insurance executive Nationality American Period 1914–1955 Literary movement Notable works ' ' ' Notable awards (1951) Spouse Elsie Viola Kachel (m. 1909–1955) Children Holly Stevens (1924–1992) Signature Wallace Stevens (October 2, 1879 – August 2, 1955) was an American poet. He was born in, educated at and then, and he spent most of his life working as an executive for an insurance company in.

He won the for his Collected Poems in 1955. Some of his best-known poems include ', ', ', ', ', ', and '. Contents • • • • • • • • • • • • • • • • • • • Life and career [ ] Education and marriage [ ] The son of a prosperous lawyer, Stevens attended as a non-degree special student, after which he moved to and briefly worked as a. He then attended, graduating in 1903. On a trip back to Reading in 1904 Stevens met Elsie Viola Kachel (1886–1963, also known as Elsie Moll), a young woman who had worked as a saleswoman, milliner, and stenographer.

12/21/17 U30008 Introduction to Architectural Technology. Constructing architecture: materials. Architecture and construction in steel - Alan Blanc.

After a long courtship, he married her in 1909 over the objections of his parents, who considered her lower-class. As The New York Times reported in an article in 2009, 'Nobody from his family attended the wedding, and Stevens never again visited or spoke to his parents during his father’s lifetime.' A daughter, Holly, was born in 1924.

She later edited her father's letters and a collection of his poems. In 1913, the Stevenses rented a New York City apartment from, who made a bust of Elsie. Her striking profile was later used on Weinman's 1916–1945 design and possibly for the head of the.

In later years Elsie Stevens began to exhibit symptoms of mental illness and the marriage suffered as a result, but the Stevenses remained married. Career [ ] After working for several New York law firms from 1904 to 1907, he was hired on January 13, 1908, as a for the American Bonding Company.

By 1914 he had become the vice-president of the New York office of the Equitable Surety Company of. Poetry [ ] • (1923) • Ideas of Order (1936) • Owl's Clover (1936) • The Man with the Blue Guitar (1937) • Parts of a World (1942) • Transport to Summer (1947) • The Auroras of Autumn (1950) • The Collected Poems of Wallace Stevens, New York: Vintage Books, 1954. Posthumous collections • Opus Posthumous (1957) • The Palm at the End of the Mind (1972) • Collected Poetry and Prose (New York:, 1997) • Selected Poems (John N. Serio, ed.) (New York:, 2009) Prose [ ] • The Necessary Angel () (1951) Posthumous publications • Letters of Wallace James Stevens, edited by Holly Stevens (1966) • Secretaries of the Moon: The Letters of Wallace Stevens & Jose Rodriguez Feo, edited by Beverly Coyle and Alan Filreis (1986) • Sur plusieurs beaux sujects: Wallace Stevens's Commonplace Book, edited by Milton J.

Bates (1989) • The Contemplated Spouse: The Letters of Wallace Stevens to Elsie Kachel, edited by D.J. Blount (2006) Plays [ ] • Three Travelers Watch a Sunrise (1916) References [ ]. • Baird, James. The Dome and the Rock: Structure in the Poetry of Wallace Stevens (1968) • Bates, Milton J. Wallace Stevens: A Mythology of Self (1985) • Beckett, Lucy. Wallace Stevens (1974) • Beehler, Michael. Eliot, Wallace Stevens, and the Discourses of Difference (1987) • Benamou, Michel.

Wallace Stevens and the Symbolist Imagination (1972) • Berger, Charles. Forms of Farewell: The Late Poetry of Wallace Stevens (1985) • Bevis, William W.

Mind of Winter: Wallace Stevens, Meditation, and Literature (1988) • Blessing, Richard Allen. Wallace Stevens' 'Whole Harmonium' (1970) •. Wallace Stevens: The Poems of Our Climate (1980) • Bloom, Harold.

Figures of Capable Imagination (1976) • Borroff, Marie, ed. Wallace Stevens: A Collection of Critical Essays (1963) • Brazeau, Peter.

Parts of a World: Wallace Stevens Remembered (1983) • Brogan, Jacqueline V. The Violence Within/The Violence Without: Wallace Stevens and the Emergence of a Revolutionary Poetics (2003) •. Things Merely Are: Philosophy in the Poetry of Wallace Stevens (2005) •. Wallace Stevens' Supreme Fiction: A New Romanticism (1987) •. Stevens' Poetry of Thought (1966) • Doggett, Frank.

Wallace Stevens: The Making of the Poem (1980) • Doggett, Frank (Ed.), Buttel, Robert (Ed.). Wallace Stevens: A Celebration (1980) •. Wallace Stevens (1960) • Galgano, Andrea. L'armonia segreta di Wallace Stevens, in Mosaico (2013) • Grey, Thomas. The Wallace Stevens Case: Law and the Practice of Poetry (1991) • Ehrenpreis, Irvin (Ed.). Wallace Stevens: A Critical Anthology (1973) • Enck, John J.

Wallace Stevens: Images and Judgments (1964) • Filreis, Alan. Modernism from Right to Left: Wallace Stevens, the Thirties & Literary Radicalism (1994) • Hines, Thomas J.

The Later Poetry of Wallace Stevens: Phenomenological Parallels With Husserl and Heidegger (1976) • Hockney, David. The Blue Guitar (1977) • Kessler, Edward, 'Images of Wallace Stevens' (1972) • Leggett, B.J. Early Stevens: The Intertext (1992) • Leonard, J. Pink Floyd Patch Kurzweil K2600. S. & Wharton, C.E. The Fluent Mundo: Wallace Stevens and the Structure of Reality (1988) • Litz, A. 'Introspective Voyager: The Poetic Development of Wallace Stevens' (1972) • Longenbach, James. Wallace Stevens: The Plain Sense of Things (1991) • MacLeod, Glen.

'Wallace Stevens and Modern Art: From the Armory Show to Abstract Expressionism' (1993) • McCann, Janet. Wallace Stevens Revisited: The Celestial Possible (1996) • Ragg, Edward. 'Wallace Stevens and the Aesthetics of Abstraction' (2010) • Tanaka, Hiroshi. 'A New Attempt of an American Poet: Wallace Stevens.'

In Papers on British and American Literature and Culture: From Perspectives of Transpacific American Studies. Tatsushi Narita. Nagoya: Kougaku Shuppan, 2007. On Extended Wings: Wallace Stevens' Longer Poems (1969) • Vendler, Helen.

Wallace Stevens: Words Chosen out of Desire (1986) • Woodman, Leonora. Stanza My Stone: Wallace Stevens and the Hermetic Tradition (1983) External links [ ] Wikiquote has quotations related to: has original works written by or about: • at • at PoetryFoundation.org • • • audio, video and full transcripts from • at the • at • at (public domain audiobooks) • Wallace Stevens Audio Project from the • at the Online Archive of California • •.

This article is about the building in Manhattan, New York City. For the Chrysler headquarters, see.

For Chrysler offices in downtown Detroit, see. Chrysler Building Record height Tallest in the world from May 27, 1930 to May 1, 1931 Preceded by Surpassed by General information Type Office Architectural style Location 405 Lexington Avenue, Manhattan, New York 10174: Groundbreaking September 18, 1928 Completed May 27, 1930 Owner (90%) (10%) Height Antenna spire 1,046 ft (318.9 m) Roof 925 ft (282 m) Top floor 899 ft (274 m) Technical details Floor count 77 Floor area 1,196,958 sq ft (111,201.0 m 2) Lifts/elevators 32 Design and construction Architect. Location in New York City Architectural style NRHP reference # Significant dates Added to NRHP 1976 Designated NHL December 8, 1976 Designated NYCL Exterior and interior: September 12, 1978 References The Chrysler Building is an -style located on the of in, at the intersection of and in the neighborhood of. At 1,046 feet (318.9 m), the structure was the for 11 months before it was surpassed by the in 1931.

It is the tallest brick building in the world with a steel framework. As of 2015, the Chrysler is the. Originally a project of real estate developer and former New York State Senator, the building was constructed by, the head of the, and served as the corporation's headquarters from 1930 until the mid-1950s. The Chrysler Building's construction was characterized by a competition with and the Empire State Building to become the world's tallest building. Although the Chrysler Building was built and designed specifically for the car manufacturer, the corporation did not pay for its construction and never owned it, as decided to pay for it himself, so that his children could inherit it. When the Chrysler Building opened, there were mixed reviews of the building's design, ranging from its being inane and unoriginal to that it was modernist and iconic. Perceptions of the building have slowly evolved into its now being seen as a paragon of the Art Deco architectural style; and in 2007, it was ranked ninth on the by the.

A view of the Chrysler Building from the. The Chrysler and Empire State Buildings were both built as part of the 1920s building boom in New York City. In the mid-1920s, surpassed as the. New York City's exceeded ten million by the early 1930s. The era was characterized by profound social and technological changes. Consumer goods such as radio, cinema, and the automobile—whose use grew exponentially in the 1920s—became widespread. In 1927, 's automotive company, the, became the third-largest car manufacturer in the United States, behind and. The following year he was named magazine's 'Person of the Year'.

The and speculation in the real estate market fostered a wave of new skyscraper projects in New York City. The Chrysler Building was built as part of an ongoing building boom, the city having the from 1908 to 1974.

Following the end of, European and American architects came to see simplified design as the epitome of the modern era and skyscrapers as symbolizing progress, innovation, and modernity. The restricted the height that street-side exterior walls of New York City buildings could rise before needing to be from the street.

This led to the construction of Art Deco structures in New York City with significant setbacks, large volumes, and striking silhouettes that were often elaborately decorated. Art Deco buildings were constructed for only a short period of time; but because that period was during the city's late-1920s real estate boom, the numerous skyscrapers built in the Art Deco style predominated in the city skyline, giving it the romantic quality seen in films and plays. The Chrysler Building project was shaped by these circumstances. The land on which the Chrysler Building stands was donated to in 1902. The site is roughly a with a 201-foot-long (61 m) on Lexington Avenue; a 167-foot-long (51 m) frontage on 42nd Street; and a 205-foot-long (62 m) frontage on 43rd Street.

The site bordered the old, which predated, and ran aslant of, the Manhattan street grid established by the. As a result, the east side of the building's base is similarly aslant. Planning [ ].

A view of the Chrysler Building from 42nd Street Originally, the Chrysler Building was to be the Reynolds Building, a project of real estate developer and former New York State Senator. Prior to his involvement in planning the building, Reynolds was best known for developing 's. When the amusement park was destroyed by fire in 1911, Reynolds turned his attention to Manhattan real estate, where he set out to build the tallest building in the world. In 1921, Reynolds rented a large plot of land at the corner of and 42nd Street with the intention of building a tall building on the site. In 1927, after several years of delays, Reynolds hired the architect to build a forty-story building there. Van Alen was respected in his field for his work on the Albemarle Building at Broadway and 24th Street, designing it in collaboration with his partner.

Van Alen and Severance complemented each other, with Van Alen being an original, imaginative architect and Severance being a shrewd businessperson who handled the firm's finances. However, the relationship between them became tense over disagreements on how best to run the firm.

The breaking point came after a 1924 article, in the, that praised the Albemarle Building's design, which the article attributed to Van Alen, while ignoring Severance's role altogether. The architects' partnership dissolved acrimoniously several months later, with lawsuits over the firm's clients and assets lasting over a year. This ended up being decisive for the design of the future Chrysler Building, since Severance's more traditional architectural style would otherwise have restrained Van Alen's more modern outlook. Design [ ] By February 2, 1928, the proposed building's height had been increased to 54 stories, which would have made it the tallest building in Midtown.

The proposal was changed again two weeks later, with official plans for a 63-story building. A little more than a week after that, the plan was changed for the third time, with two additional stories added.

By this time, 42nd Street and Lexington Avenue were both hubs for construction activity, due to the removal of the 42nd Street spur, which was seen as a blight on the area. The 52-story, diagonally across the intersection from Reynolds's proposed building, was also under construction. Because of the elevated spur's removal, real estate speculators believed that Lexington Avenue would become the 'Broadway of the East Side', causing a that would spur developments farther east. In April 1928, Reynolds signed a 67-year lease for the plot and finalized the details of his ambitious project. Van Alen's original design for the skyscraper called for a base whose first-floor showroom windows would be triple-height, and above would be 12 stories with glass-wrapped corners, to create the impression that the tower was floating in mid-air. Reynolds's main contribution to the building's design was his insistence that it have a metallic crown, despite Van Alen's initial opposition; the metal-and-crystal crown would have looked like 'a jeweled sphere' at night. Originally, the skyscraper would have risen 808 feet (246 m), with 67 floors.

These plans were approved in June 1928. Van Alen's drawings were unveiled in the following August and published in a magazine run by the (AIA). Eventually, this design would prove too advanced and expensive for Reynolds. He instead devised an alternate design for the Reynolds Building, which was published in August 1928. The new design was much more conservative, with an dome that a critic compared to Governor 's bowler hat, and a brick arrangement on the upper floors that simulated windows in the corners, a detail that remains in the current Chrysler Building.

This design almost exactly reflected the shape, setbacks, and the layout of the windows of the current building, but with a different dome. Construction and finalization of plans [ ] With the design complete, groundbreaking for the Reynolds Building took place on September 19, 1928, but Reynolds did not have the means to carry on construction. Reynolds sold the plot, lease, plans, and architect's services to Walter Chrysler for $2 million on October 15, 1928. That same day, the Goodwin Construction Company began demolition of what had been built. A contract was awarded on October 28, and demolition was completed on November 9. Chrysler's initial plans for the building were similar to Reynolds's, but with the 808-foot building having 68 floors instead of 67.

The plans entailed a ground-floor, a of stone below the fifth floor, a -and- facade above, and a 'three-story observation dome' with 'bronze and glass' at the top. However, Chrysler wanted a more progressive design, and he worked with Van Alen to redesign the skyscraper to be 925 ft (282 m) tall. At the new height, Chrysler's building would be taller than the 792-foot (241 m), a building in lower Manhattan that was the world's tallest at the time. One of the Radiator Caps seen from the ground level From late 1928 to early 1929, modifications to the design of the dome continued. In March 1929, the press published details of an 'artistic dome' that had the shape of a giant thirty-pointed star, which would be crowned by a sculpture five meters high. The final design of the dome included several arches and triangular windows. Lower down, the design was affected by Walter Chrysler's intention to make the building the Chrysler Corporation's headquarters, and as such, various architectural details were modeled after Chrysler automobile products, such as the hood ornaments of the (see ).

The building's gargoyles on the 31st floor and the eagles on the 61st floor, were designed to signify flight, and to exemplify the machine age of the 1920s. Even the topmost needle was built using a process similar to one Chrysler used to manufacture his cars, with precise 'hand craftmanship'.

In his autobiography, Chrysler says he suggested that his building be taller than the. Meanwhile, excavation of the 69-foot-deep (21 m) new building's foundation began in mid-November 1928 and was completed in mid-January 1929, when bedrock was reached. A total of 105,000,000 pounds (48,000,000 kg) of rock and 36,000,000 pounds (16,000,000 kg) of soil was excavated for the foundation, equal to 63% of the future building's weight. Construction of the building proper began on January 21, 1929.

The provided the steel beams, the first of which was installed on March 27, and by April 9, the first upright beams had been set into place. The steel structure was 'a few floors' high by June 1929, 35 floors high by early August, and completed by September. Art Spiegelman Maus Deutsch Pdf Editor. Despite a frantic steelwork construction pace of about four floors per week, no workers died during the construction of the skyscraper's steelwork.

Chrysler lauded this achievement, saying, 'It is the first time that any structure in the world has reached such a height, yet the entire steel construction was accomplished without loss of life'. In total, 391,881 rivets were used, and approximately 3,826,000 bricks were manually laid to create the non-loadbearing walls of the skyscraper. Walter Chrysler personally financed the construction with his income from his car company. The Chrysler Building's height officially surpassed the Woolworth's on October 16, 1929, thereby becoming the world's tallest structure. The Chrysler Building, as seen from the in June 2005 The same year that the Chrysler Building's construction started, banker proposed the construction of a 47-story office building at downtown. Shortly thereafter Ohrstrom modified his project to have 60 floors, but it was still below Woolworth and the 808-foot Chrysler Building project as announced in 1928. Craig Severance, Van Alen's former partner and the architect of 40 Wall Street, increased 40 Wall's height to 840 feet (260 m) with 62 floors in April of that year.

It would thus exceed the Woolworth's height by 48 feet (15 m) and the Chrysler's by 32 feet (9.8 m). 40 Wall Street and the Chrysler Building started competing for the distinction of '. The, on 34th Street and Fifth Avenue, entered the competition in 1929. The 'Race into the Sky', as popular media called it at the time, was representative of the country's optimism in the 1920s, which helped fuel the building boom in major cities. The 40 Wall Street tower was revised from 840 feet (260 m) to 925 feet in April 1929, which would make it the world's tallest.

Severance increased the height of his project and then publicly claimed the title of the world's tallest building. Construction of 40 Wall Street began in May 1929 at a frantic pace, and it was completed twelve months later. In response, Van Alen obtained permission for a 125-foot-long (38 m) spire and had it secretly constructed inside the frame of his building. The spire was delivered to the site in four different sections. On October 23, 1929, one week after surpassing the Woolworth Building's height and one day before the catastrophic started, the spire was manufactured. According to one account, 'the bottom section of the spire was hoisted to the top of the building's dome and lowered into the 66th floor of the building.'

Then, within 90 minutes the rest of the spire's pieces were raised and riveted in sequence, helping raise the tower's height to 1,046 feet. Van Alen, who witnessed the process from the street along with its engineers and Walter Chrysler, compared the experience to watching a butterfly leaving its cocoon. In 'The Structure and Metal Work of the Chrysler Building', an article published in the October 1930 edition of, Van Alen explained the design and construction of the crown and needle: A high spire structure with a needle-like termination was designed to surmount the dome. This is 185 feet high and 8 feet square at its base. It was made up of four corner angles, with light angle strut and diagonal members, all told weighing 27 tons. It was manifestly impossible to assemble this structure and hoist it as a unit from the ground, and equally impossible to hoist it in sections and place them as such in their final positions.

Besides, it would be more spectacular, for publicity value, to have this cloud-piercing needle appear unexpectedly. The steel tip brought the Chrysler Building to a height of 1,046 feet (319 m), greatly exceeding 40 Wall Street's height.

However, contemporary news media did not write of the spire's erection, nor were there any press releases celebrating the spire's erection. Even the, which had virtually continuous coverage of the tower's construction, did not report on the spire's installation until days after the spire had been raised. Chrysler realized that his tower's height would exceed the Empire State Building's as well, having ordered Van Alen to change the Chrysler's original roof from a stubby dome to the narrow steel spire.

However, the Empire State's developer reviewed the plans and realized that he could add five more floors and a spire of his own to his 80-story building, and subsequently acquired the nearby plots needed to support that building's height extension. Two days later, the Empire State Building's co-developer, former Governor Al Smith, announced the updated plans for that skyscraper, with an observation deck on the 86th-floor roof at a height of 1,050 feet (320 m), higher than the Chrysler's 71st-floor observation deck. Completion [ ]. The Chrysler Building in 1932 In January 1930, it was announced that the Chrysler Corporation would maintain offices in the Chrysler Building during Automobile Show Week, and the first leases by outside tenants were announced in April 1930, before the building was officially completed.

The building was formally opened on May 27, 1930, in a ceremony that coincided with the 42nd Street Property Owners and Merchants Association's meeting that year. In the lobby of the building, a bronze plaque that read 'in recognition of Mr. Chrysler's contribution to civic advancement' was unveiled. Former Governor Smith, former Assemblyman, and 42nd Street Association president were among those in attendance. By June, it was reported that 65% of the available space had been leased.

By August, the building was declared complete, but the New York City Department of Construction did not mark it as finished until February 1932. The added height of the spire allowed the Chrysler Building to surpass as the tallest building in the world and the Eiffel Tower as the tallest structure. The Chrysler Building was thus the first man-made structure to be taller than 1,000 feet (300 m); and as one newspaper noted, the tower was also taller than the. The Chrysler Building was appraised at $14 million, but was exempt from city taxes per an 1859 law that gave tax exemptions to sites owned by the Cooper Union.

The city had attempted to repeal the tax exemption, but Cooper Union had opposed that measure. Because the Chrysler Building retains the tax exemption, it has paid Cooper Union for the use of their land since opening.

Van Alen's satisfaction at these accomplishments was likely muted by Walter Chrysler's later refusal to pay the balance of his architectural fee. Chrysler alleged that Van Alen had received bribes from suppliers, and Van Alen had not signed any contracts with Walter Chrysler when he took over the project.

Van Alen sued and the courts ruled in his favor, requiring Chrysler to pay Van Allen $840,000, or 6% of the total budget of the building. However, the lawsuit against Chrysler markedly diminished Van Alen's reputation as an architect, which, along with the effects of the Great Depression and negative criticism, ended up ruining his career. Van Alen ended his career as professor of sculpture at the nearby and died in 1954. According to author, 'The Chrysler Building was his greatest accomplishment, and the one that guaranteed his obscurity.' The completed Chrysler Building garnered mixed reviews in the press. Van Alen was hailed as the 'Doctor of Altitude' by magazine, while architect called Van Alen the 'Ziegfeld of his profession', comparing him to popular producer. The building was praised for being 'an expression of the intense activity and vibrant life of our day', and for 'teem[ing] with the spirit of modernism.

The epitome of modern business life, stand[ing] for progress in architecture and in modern building methods.' An anonymous critic wrote in 's October 1930 issue: 'The Chrysler.stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambitions and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.' Negative critics included journalist, who called the Chrysler's design 'distinctly a stunt design, evolved to make the man in the street look up', and, who said that the building 'embodies no compelling, organic idea.' Others compared the Chrysler Building to 'an upended swordfish', or claimed it had a '-like design. Lewis Mumford, a supporter of the and one of the foremost architectural critics of the United States at the time, despised the building for its 'inane romanticism, meaningless voluptuousness, [and] void symbolism'.

The Chrysler Building's distinction as the world's tallest building was short-lived. John Raskob realized the 1,050-foot Empire State Building would only be 4 feet (1.2 m) taller than the Chrysler Building, and Raskob was afraid that Walter Chrysler might try to 'pull a trick like hiding a rod in the spire and then sticking it up at the last minute.' Another revision brought the Empire State Building's roof to 1,250 feet (380 m), making it the tallest building in the world by far when it opened on May 1, 1931. However, the Chrysler Building is still the world's tallest steel-supported brick building.

The Chrysler Building fared better commercially than the Empire State Building did: by 1935, the Chrysler had already rented 70% of its floor area, while the Empire State had only leased 23% of its area and was popularly derided as the 'Empty State Building'. Contrary to popular belief, the Chrysler Corporation was never involved in the construction or ownership of the Chrysler Building, although it was built and designed for the corporation and served as its headquarters until the mid-1950s. It was a project of Walter P. Chrysler for his children. In his autobiography, Chrysler wrote that he wanted to erect the building 'so that his sons would have something to be responsible for'.

Later history [ ]. Height comparison of buildings in New York City The Chrysler family inherited the property after the death of Walter Chrysler in 1940, with the property being under the ownership of W.P. Chrysler Building Corporation.

In 1944, the corporation filed plans to build a 38-story annex to the east of the building, at 666 Third Avenue. In 1949, this was revised to a 32-story annex costing $9 million. The annex building, designed by, had a facade similar to that of the original Chrysler Building.

The stone for the original building was no longer manufactured, and had to be specially replicated. Construction started on the annex in June 1950, and the first tenants started leasing in June 1951. The building itself was completed by 1952, and a connecting the two buildings' seventh floors was built in 1959. The family sold the building in 1953 to for its assessed price of $18 million.

The 1953 deal included the annex and the nearby, which along with the Chrysler Building sold for a combined $52 million. In 1957, the Chrysler Building, its annex, and the nearby Graybar Building, across 43rd Street, was sold for $66 million in what was reported to be the largest real estate sale at the time. In 1960, the complex was purchased by and Alex DiLorenzo, who received a from the. In 1961, the building's stainless steel elements, including the needle, crown, gargoyles, and entrance doors, were polished for the first time. A group of ten workers steam-cleaned the facade below the 30th floor, and manually cleaned the portion of the tower above the 30th floor, for a cost of about $200,000.

Massachusetts Mutual obtained outright ownership in 1975 after Goldman and DiLorenzo on the mortgage. The company purchased the building for $35 million. In 1978, they devised plans to renovate the facade, heating, ventilation, air‐conditioning, elevators, lobby murals, and headquarters in a $23 million project. This renovation was completed in 1979. They delegated the leasing of the building's space to the Edward S.

Gordon Company, which leased 750,000 square feet (70,000 m 2) of vacant space within five years. During Massachusetts Mutual's ownership of the Chrysler Building, the tower received two historic designations. The building was designated as a in 1976, and as a in 1978, although the city only landmarked the lobby and facade.

Massachusetts Mutual had opposed the city landmark designation because it 'would cause 'inevitable delay' in moving new tenants into the skyscraper'. At the time, the building had 500,000 square feet (46,000 m 2) of vacant floor space, representing 40% of the total floor area.

In September 1979, the building was sold again, this time to entrepreneur and owner. The spire underwent a restoration that was completed in 1995. The joints in the now-closed observation deck were polished, and the facade restored, as part of a $1.5 million project. Some damaged steel strips of the needle were replaced and several parts of the gargoyles were re-welded together.

The cleaning received the 's Lucy G. Moses Preservation Award for 1997. Cooke died in 1997, and debtors moved to foreclose on the estate's unpaid fees soon after.

And the bought the in 1997–1998 for about $220 million (equal to $340 million in 2017) from a consortium of banks and the estate of Jack Kent Cooke. Tishman Speyer Properties had negotiated a 150-year lease from the Cooper Union, and the college continues to own the land under the Chrysler Building. Cooper Union's name is on the deed.

In 2001, a 75% stake in the building was sold, for US$300 million (equal to $410 million in 2017), to TMW, the German arm of an -based investment fund. In June 2008, it was reported that the Investment Council was in negotiations to buy TMW's 75% economic interest, a 15% interest from Tishman Speyer Properties in the building, and a share of the Trylons retail structure next door for US$800 million.

In July 2008, it was announced that the transaction had been completed, and that the was now 90% owner of the building, with Tishman Speyer retaining 10%. From 2010 to 2011, the building's energy, plumbing, and waste management systems were renovated. This resulted in a 21% decrease in the building's total energy consumption, a 64% decrease in water consumption, and an 81% rate of waste being recycled. In 2012, the building received a Gold accreditation from the, which recognized the building's environmental sustainability and energy efficiency. Architecture [ ]. The building's distinctive crown The Chrysler Building is constructed of masonry with a steel frame, as well as a metal cladding, and contains 3,862 exterior windows. The building is considered a leading example of architecture.

The exterior of the building has about fifty ornaments protruding from the building's corners on five different floors in a way similar to the of. The corners of the 61st floor are graced with eagles, (a nod to the, the ), while the 31st-floor contains gargoyles and replicas of the 1929 Chrysler at its corners. The Chrysler Building uses silvery 'Enduro KA-2' metal extensively in its design. The metal is an developed in Germany by and marketed under the 'Nirosta' (a German for nicht rostender Stahl, meaning 'non-rusting steel'). The Nirosta steel, whose first use in an American project was in the Chrysler Building, was also referred to as '18-8 stainless steel' because it was composed of 18% and 8%. Nirosta was used in the exterior ornaments, the window frames, the crown, and the needle. The steel was an integral part of Van Alen's design, as E.E.

Thum explains: 'The use of permanently bright metal was of greatest aid in the carrying of rising lines and the diminishing circular forms in the roof treatment, so as to accentuate the gradual upward swing until it literally dissolves into the sky.' Stainless steel producers used the Chrysler Building to experiment with the durability of stainless steel in architecture. In 1929, the created a inspection committee. Its members saw the Chrysler Building as the best location to study the effect of the environment on stainless steel, so they created a smaller subcommittee to examine the building's panels every five years. The inspections were canceled after 1960 because the panels had shown minimal deterioration. Exterior [ ] Setbacks [ ].

And (31st floor) The Chrysler Building does not have with decorative bases, plain shafts, and decorative, which were standard for skyscrapers of the 1920s; instead, the entire skyscraper exhibits ornate ornamental features, including contrasting brickwork, which is mostly white, with dark gray brick used as a horizontal decoration to highlight the rows of windows. The building's height and the legally mandated setbacks influenced Van Alen in his design.

The walls of the lowermost sixteen floors rise directly from the sidewalk property lines, except for a recess on one side that gives the building a 'U'-shaped floor plan above the fourth floor. There are setbacks on floors 16, 18, 23, 28, and 31, making the building compliant with the Zoning Law of 1916. This gives the building the appearance of a on one side and a U-shaped on the other.

Above the 31st floor, there are no more setbacks until the 60th floor, above which the structure is funneled into a shape that 'blends the square shaft to the ', according to author and photographer. Although the shape of the Chrysler Building was influenced by the zoning law, it also satisfied utilitarian and aesthetic aims. The floor plans of the first sixteen floors were as large as possible to optimize the amount of rental space nearest ground level, which was seen as most desirable. The U-shaped cut above the fourth floor served as a shaft for air flow and illumination. Whereas the lowermost three shafts were strictly in accordance with regulations, the area between floors 28 and 31 satisfied multiple purposes. According to Robinson, 'they add visual interest to the middle of the building, preventing it from being dominated by the heavy detail of the lower floors and the eye-catching design of the finial. They provide a base to the column of the tower, effecting a transition between the blocky lower stories and the lofty shaft.'

Designs between setbacks [ ] The ground floor exterior is covered in polished from Shastone, while the three floors above it are done in from Georgia. There are two main entrances, on Lexington Avenue and on 42nd Street, each three floors high with Shastone granite surrounding each -shaped entryway. At some distance into each main entryway, there are revolving doors located 'beneath intricately patterned metal and glass screens', designed so as to embody the Art Deco tenet of amplifying the entrance's visual impact.

A smaller side entrance on 43rd Street is only one story high. There are storefronts consisting of large Nirosta-steel-framed windows at ground level, with office windows on the second through fourth floors. The west and east elevations of the building contain the air shafts above the fourth floor, while the north and south sides contain the receding setbacks. Below the 16th floor, the facade is clad with white brick interrupted by white-marble bands in a manner similar to a. The windows, arranged in grids, do not have, the frames being flush with the facade. Between the 16th and 24th floors, the exterior exhibits vertical white brick columns that are separated by windows on each floor. This visual effect is made possible by the presence of aluminum between the columns of windows on each floor.

There are abstract reliefs on the 20th through 22nd-floor spandrels, while the 24th floor contains 9-foot (2.7 m) decorative pineapples. Above the third setback, consisting of the 24th through 27th floors, the facade contains horizontal bands and zigzagged gray-and-black brick motifs. Above the fourth setback, between the 27th and 31st floors, the shaft starts to appear. At each corner of the 31st floor, large car-hood ornaments made of Nirosta steel serve as visually striking objects that make the base look larger. These corner extensions help counter a common optical illusion seen in tall buildings with horizontal bands, whose taller floors would normally look larger. The 31st floor also contains a gray and white frieze of hubcaps and fenders, which symbolizes both the Chrysler Corporation and serves as a visual signature of the building's Art Deco design.

The bonnet embellishments take the shape of and resemble hood ornaments installed on Chrysler vehicles at the time. The shaft of the tower was designed to emphasize both the horizontal and vertical: each of the tower's four sides contains three columns of windows, each framed by bricks and an unbroken marble pillar that rises along the entirety of each side.

The spandrels separating the windows contain 'alternating vertical stripes in gray and white brick', while each corner contains horizontal rows of black brick. Interior [ ] The interior of the building contains several innovative elements. The partitions between the offices are soundproofed and divided into interchangeable sections, so that the layout of any could be changed quickly and comfortably. Pipes under the floors carry both telephone and electricity cables.

There are 32 elevators in the skyscraper, clustered into groups of six or eight. At the time of opening, 28 of these elevators were for passenger use. Each bank serves different floors within the building, with several 'express' elevators going from the lobby to a few landings in between, while 'local' elevators connect the landings with the floors above these intermediate landings. As per Walter Chrysler's wishes, the elevators were designed to run at a rate of 900 feet per minute (270 m/min), despite the 700-foot-per-minute (210 m/min) speed restriction enforced in all city elevators at the time. This restriction was loosened soon after the Empire State Building opened in 1931, as that building had also been equipped with high-speed elevators.

The Chrysler Building also had three of the longest elevator shafts in the world at the time of completion. Over the course of a year, Van Alen painstakingly designed these elevators with the assistance of L.T.M. Ralston, who was in charge of developing the elevator cabs' mechanical parts.

The cabs were manufactured by the, while the doors were made by the Tyler Company. The dimensions of each elevator were 5.5 feet (1.7 m) deep by 8 feet (2.4 m) wide. The doors are made of metal and covered with eight types of exotic woods. When the doors are closed, they resemble 'tall fans set off by metallic palm fronds rising through a series of silver parabolas, whose edges were set off by curved lilies' from the outside, as noted by Curcio. However, when a set of doors is open, the cab behind the doors resembles 'an exquisite Art Deco room'. These elements were influenced by Egyptian designs, which significantly impacted the Art Deco style. According to Vincent Curcio, 'these elevator interiors were perhaps the single most beautiful and, next to the dome, the most important feature of the entire building.'

Even though the woods in the elevator cabs were arranged in four basic patterns, each cab had a unique combination of woods. One writer stated that 'if anything the building is based on patterned fabrics, [the elevators] certainly are. Three of the designs could be characterized as having 'geometric', 'Mexican' and vaguely 'art nouveau' motifs, which reflect the various influences on the design of the entire building.' The roof of each elevator was covered with a metal plate whose design was unique to that cab, which in turn was placed on a polished wooden pattern that was also customized to the cab. Hidden behind these plates were ceiling fans. Curcio wrote that these elevators 'are among the most beautiful small enclosed spaces in New York, and it is fair to say that no one who has seen or been in them has forgotten them'.

Curcio compared the elevators to the curtains of a Ziegfeld production, noting that each lobby contains lighting that peaks in the middle and slopes down on either side. The decoration of the cabs' interiors was also a nod to the Chrysler Corporation's vehicles: cars built during the building's early years had dashboards with wooden moldings. Both the doors and cab interiors were considered to be works of extraordinary. Basement [ ] On the 42nd Street side of the Chrysler Building, a staircase from the street leads directly under the building to the station. It is part of the structure's original design.

The, which at the time was the operator of all the routes serving the 42nd Street station, originally sued to block construction of the new entrance because it would cause crowding, but the pushed to allow the corridor anyway. Chrysler eventually built and paid for the building's subway entrance.

Work on the new entrance started in March 1930 and it opened along with the Chrysler Building two months later. The basement also had a 'hydrozone water bottling unit' that would filter tap water into drinkable water for the building's tenants. The drinkable water would then be bottled and shipped to higher floors. Above the 60th floor [ ]. Detail of the Art Deco ornamentation at the crown The Chrysler Building is renowned for, and recognized by, its terraced crown, which is an extension of the main tower. Composed of seven radiating terraced arches, Van Alen's design of the crown is a cruciform of seven concentric members with transitioning setbacks, mounted one behind another.

The entire crown is clad with Nirosta steel, ribbed and riveted in a radiating pattern with many triangular vaulted windows, transitioning into smaller segments of the seven narrow setbacks of the terraced crown. Due to the curved shape of the dome, the Nirosta sheets had to be measured on site, so most of the work was carried out in workshops on the building's 67th and 75th floors. According to Robinson, 'Its 'dormers', each smaller and higher than the previous one, continue the wedding-cake layering of the building itself. This concept is carried forward from the 61st floor, whose eagle gargoyles echo the treatment of the 31st, to the spire, which extends the concept of 'higher and narrower' forward to infinite height and infinitesimal width. This unique treatment emphasizes the building's height, giving it an other worldly atmosphere reminiscent of the fantastic architecture of Coney Island or the Far East.'

Illumination of the building at night Above the 71st floor, the stories of the building are designed mostly for exterior appearance, functioning mainly as landings for the stairway to the spire and do not contain office space. These uppermost floors serve as landings of the staircase leading to the needle. They are very narrow, have low and sloping roofs, and are only used to house radio transmitters and other mechanical and electrical equipment. For example, the 73rd floor houses the motors of the elevators and a 15,000-US-gallon (57,000 L) water tank, of which 3,500 US gallons (13,000 L) are reserved for extinguishing fires. Television station (Channel 2) originally transmitted from the top of the Chrysler Building starting in 1938, continuing through the early 1950s, when it started transmitting from the Empire State Building due to competition from 's transmitter. For many years, and also used the Chrysler Building as a transmission site, but they also moved to the Empire State Building by the 1970s. Since then, there have not been any commercial broadcast stations located at the Chrysler Building.

There are two sets of lighting in the top spires and decoration. The first are the V-shaped lighting inserts in the steel of the building itself. Added later were groups of floodlights that are on mast arms directed back at the building. This allows the top of the building to be lit in many colors for special occasions. The tube lighting atop the building was added in 1981, although it had been part of the original design.

Until 1998 the lights were turned off at 2 a.m., but columnist convinced Tishman Speyer to keep the lights on until 6 a.m. Since 2015, the Chrysler Building and other city skyscrapers have been part of the 's Lights Out program, wherein the building turns off its lights during seasons. Chrysler Trylons Chrysler Center is the name of the building complex consisting of the Chrysler Building, Chrysler Building East, and the commercial pavilion located between the two, called Chrysler Trylons.

In 1998, Tishman Speyer acquired the entire complex and proceeded to renovate it completely over the next two years. The Chrysler Building annex at 666 Third Avenue, also known as the Kent Building at the time, was renovated and renamed Chrysler Building East. This building, built in 1952, is 432 feet (132 m) high and has 32 floors. The mechanical systems were modernized and the interior was modified. Renowned architect replaced the glass facade with darker glass and added a 135,000 square feet (12,500 m 2) extension.

After the addition, the total area of this building was 770,000 square feet (72,000 m 2). Finally, a new building, which was also designed by Philip Johnson, was built between the original skyscraper and the annex.

This became the Chrysler Trylons, a commercial pavilion three stories high with a retail area of 22,000 square feet (2,000 m 2). Its design, consisting of three triangular glass pyramids that intersect each other, was inspired by the triangular windows of the Chrysler Building's crown. The building's design was so complex that a replica was built at,. Johnson designed Chrysler Trylons as 'a monument for 42nd Street [.] to give you the top of the Chrysler Building at street level.'

After these modifications, the total leasable area of the complex was 2,062,772 square feet (191,637.8 m 2). The total cost of this project was about one hundred million dollars. This renovation has won several awards and commendations, including an rating from the; a LEED Gold designation; and the Skyscraper Museum Outstanding Renovation Award of 2001. Representation and influence [ ] Critical reception [ ] George H. Douglas writes that the building 'remains one of the most appealing and awe-inspiring of skyscrapers'.

Architect called the building 'hot jazz in stone and steel'., an architectural critic, noted that the building had 'a wonderful, decorative, evocative aesthetic', while another architectural critic,, noted the 'compressed, intense energy' of the lobby, the 'magnificent' elevators, and the 'magical' view from the crown. The city's Landmarks Preservation Commission said that the tower 'embodies the romantic essence of the New York City skyscraper'. The travel guide gave the building an 'exceptional' recommendation, with author writing, 'In the Chrysler Building we see the roaring-twenties version of what Alan Greenspan called 'irrational exuberance'—a last burst of corporate headquarter building before stocks succumbed to the thudding crash of 1929.' As icon [ ] The Chrysler Building appears in several films set in New York and is often considered one of the best buildings in the city. In a 2001 survey, architectural critics ranked the Chrysler as the third best building in the country. In the summer of 2005, the in asked 100 architects, builders, critics, engineers, historians, and scholars, among others, to choose their 10 favorites among 25 of the city's towers.

The Chrysler Building came in first place, as 90% of respondents placed the building among their top 10 favorite buildings. In 2007, the building ranked ninth among 150 buildings in the AIA's. The Chrysler Building is also well-reputed as an Art Deco icon. New York City 2010 described the building as being 'one of the great art deco masterpieces': 123 which 'wins many a New Yorker's vote for the city's most iconic and beloved skyscraper'.: 129 Frommer's states that the Chrysler was 'one of the most impressive Art Deco buildings ever constructed'. Meanwhile, ' 2016 edition states that the Chrysler Building is thought to be among the city's 'most beautiful' buildings. Its distinctive profile has inspired similar skyscrapers worldwide including in and the in. In popular culture [ ].

View up the building The Chrysler Building can be seen in numerous films, but almost never appears as a main setting in these films., an architect and author, jokingly says that 'the Award for Best Supporting Skyscraper' should go to the Chrysler Building. The building was supposed to be featured in the 1933 film, but only makes a at the end of the movie, since the producers decided to depict the Empire State Building, instead, for most of the film. The Chrysler Building notably appears in the background of (1978); as the setting of much of (1982); in the initial credits of (1987); and during or after apocalyptic events in (1996), (1998), (1998), and (2001). The building also appears in other films, such as (2002), (2007), (2002), and (2012). The Chrysler Building also appears in many photo shoots.

In December 1929, Walter Chrysler hired the photographer to take pictures of the building for publicity purposes. She took the images from a scaffold 400 feet (120 m) meters high and worked in a studio at ground level until she was evicted in 1934. According to one account, Bourke-White wanted to live in the building for the duration of the photo shoot, but the only person who could actually live in the building was the janitor, so she was instead relegated to co-leasing a studio with In 1930, several of her photographs were used in a special report on skyscrapers in the then-new magazine. In 1934, Bourke-White's partner Oscar Graubner took a famous photo called 'Margaret Bourke-White atop the Chrysler Building', which depicts her taking a photo of the city's skyline while sitting on one of the 61st-floor eagle ornaments. On October 5, 1998, auctioned the photograph for $96,000.

In addition, during a January 1931 dance organized by the Society of Beaux-Arts, six architects, including Van Alen, were photographed while wearing costumes resembling the buildings that each architect designed. The building is also mentioned in the lyrics of several songs, as well as in the number ' for the musical. Tenants [ ] In the early days of the building, several large tenants leased space in the Chrysler Building. The Chrysler Corporation moved into the building in 1930 and used the tower as its division headquarters until the 1950s.

The oil company and the magazine magnate were also two of the original tenants. Texaco moved out in 1977 because it wanted a more suburban workplace, in, for its employees. Luce's company Time Inc. Was headquartered in the building until 1937, when it moved to due to the latter containing more office space.

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