Hotel Lafayette, Washington Street and Clinton Street, Buffalo, NY : 無料・フリー素材/写真
Hotel Lafayette, Washington Street and Clinton Street, Buffalo, NY / w_lemay
| ライセンス | クリエイティブ・コモンズ 表示-継承 2.1 |
|---|---|
| 説明 | Initially built in 1902-1904, this Renaissance Revival-style seven-story hotel, long considered one of the finest hotels in the United States, was designed by Louise Bethune, an early female architect of the firm Bethune, Bethune and Fuchs, and was subsequently expanded under the direction of the original firm in 1906-1912, and then expanded further and renovated under the direction of Esenwein and Johnson in 1916-1917 and 1924-26. The site previously contained several buildings, most notably being the small brick Greek Revival-style Eglise Francaise St. Pierre, or the French Church, which had stood on the site since 1844, and was demolished in 1900. The hotel was previously intended be designed by Henry Ives Cobb, was to be nine stories tall, and was intended to be open for guests during the 1901 Pan-American Exposition, but the investors pulled out before the hotel could be completed, leaving part of the foundation and an excavated plot of dirt for about a year, until a new group of investors took on the project. The initial section of the hotel was just the western half of the present building, which is the end closest to Lafayette Square, for which the hotel was named. The section added between 1906 and 1912 contained hotel rooms with private bathrooms, a feature absent from the original section of the hotel, prompting renovations under the direction of the more experienced firm Esenwein and Johnson, whom had previously been commissioned to add a semi-circular canopy over the main entrance. The addition of bathrooms and replacement of communal bathing facilities with hotel rooms was carried out in a manner coordinated and organized to ensure that hotel operations could continue without interruption. A ballroom was added to the south side of the hotel’s 1912 addition under the direction of Esenwein and Johnson in 1916-1917, which extended the hotel to an adjacent alleyway, and the firm designed another addition that was built on the south side of the original building in 1924, adding additional hotel service space, guest rooms, and a billiard room that later became a bar, which stood seven stories high above the street, but was only two stories tall to the east, so as to not block the hotel’s south-facing light courts. Further renovations were carried out to the hotel from 1924-1926. A notable event occurred in 1919, when an organization known as Quota International, an international women’s service organization was founded at the hotel. Quota International operated until 2020, when declining membership led to the dissolution of the organization. The building’s elevators were replaced in 1928-1929, with the new shafts filling in the south ends of the easternmost and westernmost light wells, the lobby was renovated in the Art Moderne style in 1942, and the hotel’s main dining room was renovated in 1946. In 1952, all the guest room windows were replaced, in 1953, a 318-foot-tall antenna was installed atop the roof of the 1912 eastern wing of the building to house telecommunications equipment, and in 1956, the iron canopies over the entrances were removed, and replaced with new, more modern canopies. The hotel was sold by the original proprietors, the Yates family, to the Carter hotel chain in 1962, and in 1970, the interior was renovated with the installation of drop ceilings in the common areas, before the hotel was sold, again, in 1978.The hotel features a tripartite composition of the facade with a rectangular footprint, minus a chamfered corner at the most prominent end of the building facing Lafayette Square. The building features two interior light courts in the 1904 wing and 1912 wing, which allow access to light and air from the rooms on the north side of the building. Most of the building’s windows are one-over-one double-hung windows, varying in size, with smaller windows on the original building originally being on the exterior of bathrooms, with fixed windows at the base and in the oriel at the primary corner of the building. The hotel features a terra cotta-clad first floor with a stone base, featuring arched bays with cartouches above the centers on the 1904 and 1912 buildings, with tripartite windows with transoms in most bays and recessed entry doors with arched transoms in one bay along Clinton Street, and one bay along Washington Street, with the bay at the chamfered corner of the building being unique and featuring decorative trim, a cartouche above the transom, and being the only bay that is rectangular in shape. The terra cotta cladding extends the sill line of the second story windows, where a band of decorative patterned belt coursing runs along the top of the cladding, with the terra cotta continuing for an additional course on most of the second floor, except at the corner window bays, where the terra cotta cladding extends to the roof as continuous decorative trim around the windows, including at the original northeast corner of the building prior to the 1912 addition, which is now in the middle of the north facade. The terra cotta cladding also continues all the way to the roof at the chamfered corner of the building, covering the entire face of this portion of the building. The second floor features red brick cladding, larger windows than the floors above, with decorative terra cotta trim around the windows, decorative cast iron railings at the base of the larger windows, pediments containing decorative reliefs with cartouches above most of larger windows, except those at the corners, a band of terra cotta belt coursing running continuously above the top of the second story windows, and a terra cotta balcony at the chamfered corner of the building, which features decorative carved patterns on the face of the balcony and the brackets below, a cast iron railing, and a door to the balcony with sidelights and a tripartite transom, with a decorative terra cotta surround. Between the third and sixth floors, the building is simpler, with most of the facade being clad in red brick with windows featuring keystones and sills, with the windows at the corners of the building featuring more extensive and ornate trim surrounds, quoins at the corners of the building, terra cotta juliet balconies with cast iron railings at the central window bays of the facades, and, at the chamfered corner of the building, a four-story oriel window with rounded edges, an arched top, and cartouches arranged around the top of the oriel window on the sixth floor. The seventh floor features a band of terra cotta belt coursing at the sill line of the windows, with alternating courses of terra cotta and red brick, terra cotta trim surrounding the larger windows, cartouches flanking the central window bays, and reliefs between the paired windows at the corners of the building. The top of the building features a parapet with a cornice featuring brackets and dentils, and a band of trim at the top, with an antenna and a sign with the words “Hotel Lafayette” at the east and west ends of the building, respectively. The 1916-1917 ballroom addition has a simpler version of the design of the earlier sections of the hotel, with quoins at the edges of the main facade, a large window flanked by terra cotta quoins with a pediment featuring brackets with wreaths and a cartouche above, and a base with a service dock, pilasters, and stone cladding. The 1924 addition, similar to the 1916-1917 addition, features red brick and terra cotta trim, with quoins on the second floor and seventh floor, a terra cotta base with a storefront, terra cotta sills and decorative lintels, and a cornice with dentils and cartouches at the top. The sides of the building are clad in red brick, and largely devoid of detail, and the building is capped with a low-slope roof.Inside, the hotel’s public spaces have been restored to how they appeared in 1946, and the more notable public spaces will be mentioned in this section. The lobby features an Art Moderne design with simple cylindrical columns, terrazzo flooring, bronze railings, red marble base, elevator doors, and fixtures, a cove ceiling that curves around the center of the space, long geometric lines that emphasize the vertical and horizontal, inlaid wood murals, Art Deco-style chandeliers, stone cladding on the exterior of the elevator wall, a bronze letterbox, decorative bronze elevator indicators and decorative bronze panels above the elevators, and a decorative Art Deco-style clock. The Grand Hallway, also known as Peacock Alley, features decorative murals that have been painstakingly restored, red marble pilasters and wainscoting, decorative plaster ceiling beams, a mosaic tile floor, red marble doric pilasters, stained glass skylights with fleur-de-lis motifs, cartouches, and egg and dart moulding, with part of the hall having been renovated in the Art Moderne style along with the lobby in 1942. The Grill or Lafayette Room features a vaulted ceiling, decorative wooden columns with volutes, wooden paneling, a decorative brass railing at the balcony, and original chandeliers and sconces, though the original fireplaces with decorative wooden surrounds have been lost. The Crystal Ballroom features a cross beam ceiling, corinthian columns and pilasters, original chandeliers, a partially intact original mosaic tile floor, and original wall sconces, as well as a balustrade installed during renovations to the space in 1946, which also raised part of the floor in the room. The foyer for the Grand Marquis ballroom features corinthian pilasters with chamfered corners, paneled walls, broken curved pediments with modillions and egg and dart moulding over the doors with urns, leaded glass windows, and a mosaic tile floor. The Grand Marquis Ballroom, added in 1916-1917, features a ceiling with plaster beams supported by fluted corinthian pilasters, patera, ribbons, and festoons at the top of the wall paneling, crystal chandeliers, decorative door trim, dentils at the ceilings, ceiling medallions, and a semi-circular alcove with a half-dome ceiling at the west end of the space. The Automobile Club Room features a post and beam ceiling, square wooden columns with stylized gutter and egg and dart moulding on the capitals, wooden, plaster, and stone paneling on the walls, a distinctive polychromatic color scheme, original globe chandeliers, festoons at the top of the plaster wall paneling, and a mosaic tile floor. The restaurant space features wooden columns and pilasters, with decorative capitals, a ceiling with beams running between columns and pilasters with cartouches in the middle of each vertical face of each beam, original chandeliers and wall sconces, fanlight mirrored faux transom panels over the doorways, with decorative trim surrounds, wooden paneling, a partially original tile floor, and several contemporary alterations made during the restoration, including the addition of raised seating areas, a mezzanine, an enclosure for the restaurant kitchen, and the addition of a large portrait of former US President Theodore Roosevelt. Finally, the former Lafayette Tap Room in the first floor of the 1924 addition features a barrel vaulted ceiling with decorative strapwork patterned plaster in the bar section, with a simpler vaulted ceiling in the dining room section, original chandeliers in the bar, an original tile floor, wooden paneling, including around the bar, large structural pilasters with thinner pairs of decorative fluted trim pilasters on the exterior faces in the dining room, leaded glass windows and wooden trim at the vestibule that separates the dining room from the bar area, wall murals, and contemporary alterations to the dining room, including new light fixtures and a raised seating area enclosed by a railing.The hotel has been very well preserved due to the quality of the stewardship of the building over time, as well as the lasting quality of its reputation over much of the 20th Century. Though it was altered in the 1940s, these alterations helped keep it attractive to visitors, and was done with a high-quality design style that worked with the building’s original design in other sections of the building. The hotel was listed on the National Register of Historic Places in 2010, and was then rehabilitated in 2010-12 under the ownership of developer Rocco Termini and the direction of architect Jonathan Morris of Carmina Wood Morris. The rehabilitation restored many of the hotel’s notable interior public spaces and the exterior of the building, while modernizing building systems and the guest accommodations, now offering 57 hotel rooms, 92 apartments, plus amenities for the hotel and apartments and event space. The building additionally has several commercial retail tenants on the ground floor, which compliment the apartments and hotel in the building. |
| 撮影日 | 2022-07-31 15:24:35 |
| 撮影者 | w_lemay , Chicago, IL, United States |
| タグ | |
| 撮影地 | Buffalo, New York, United States 地図 |