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Bayard–Condict Building
Bayard–Condict Building
Bayard–Condict Building
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Bayard–Condict Building
(detail)
Map
Location65 Bleecker Street
Manhattan, New York City
Coordinates40°43′35″N 73°59′42″W / 40.72639°N 73.99500°W / 40.72639; -73.99500
Built1899
ArchitectLouis Sullivan
Architectural styleChicago School
NRHP reference No.76001236
NYSRHP No.06101.001674[1]
NYCL No.0882
Significant dates
Added to NRHPDecember 8, 1976[3]
Designated NHLDecember 8, 1976[3]
Designated NYSRHPJune 23, 1980[1]
Designated NYCLNovember 25, 1975[2]

The Bayard–Condict Building (formerly the Condict Building and Bayard Building) is a 12-story commercial structure at 65 Bleecker Street in the NoHo neighborhood of Manhattan in New York City. Built between 1897 and 1899 in the Chicago School style, it was the only building in New York City designed by architect Louis Sullivan, who worked on the project alongside Lyndon P. Smith. Located in the NoHo Historic District, the building was designated a New York City landmark in 1975 and a National Historic Landmark in 1976.

The building occupies a rectangular site and has a terracotta facade divided horizontally into three sections. The lower two stories consist of ground-story storefronts with ornate columns, with an arched entrance in the westernmost bay. On the upper stories, piers separate the building vertically into five bays, each with ornate spandrel panels. There are six winged angels just below the cornice at the top of the building. On the inside, the first two stories are used for retail, while the upper floors generally contain large loft-like spaces and a steel structural frame. A mechanical core with elevators, utilities, and stairs is in its western end.

The Bayard Building was developed by the United Loan and Investment Company, who acquired the land in 1897 from the Bank for Savings in the City of New York and named the edifice after the Bayard family. Due to disputes over construction methods, United Loan was forced to give up the building before it was completed, and Emmeline G. H. Condict had acquired it by June 1899. It was sold in 1900, and again in 1920, before coming under the control of the Shulsky family in the 1940s. The storefronts were replaced in the 1960s, followed by the lobby in the 1980s. The facade was restored during the late 1990s and early 2000s.

Site

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The Bayard–Condict Building is at 65 Bleecker Street in the NoHo neighborhood of Manhattan in New York City. It is on the north side of Bleecker Street between Broadway and Lafayette Street, at the northern end of Crosby Street.[4][5] The land lot is rectangular and measures around 8,330 square feet (774 m2), with a frontage of 83.3 feet (25.4 m) and a depth of 100 feet (30 m) along Bleecker Street.[4] The Robbins & Appleton Building adjoins the Bayard–Condict Building on the same block directly to the north, and an entrance to the New York City Subway's Bleecker Street station is immediately to the east. Other nearby structures include the Schermerhorn Building to the northeast, 339 Lafayette Street to the east, and 640 Broadway to the southwest.[4]

Before the early 19th century, what is now NoHo was part of the farms of numerous families, such as the Bayard, Bleecker, Herring, Pero, and Randall families. West–east streets were laid through the area by the early 19th century, and row houses were built along these streets.[6] This was followed by institutions like churches, libraries, and schools in the 1830s and 1840s,[7] then by store and loft buildings in the 1850s, which catered to the area's wealthy population.[8] With the advent of curtain walls, steel frames, and fireproof elevators, these store and loft buildings were being built as tall as 12 stories by the 1890s. The Bayard–Condict Building was among these early high-rise loft buildings.[9]

Architecture

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The Bayard–Condict Building is the only structure in New York City designed by Louis H. Sullivan, who specialized in the Chicago school style of architecture.[10][11][12] Sullivan is sometimes cited as the building's sole architect,[13] although he was assisted by New York architect Lyndon P. Smith.[13][14] Such partnerships were typical for Sullivan; whenever he designed buildings outside his home state of Illinois, he worked with other architects who were licensed in that state.[15][16] It is unknown how or why Sullivan was selected to design the building, but, at the time of its development in the late 1890s, the city's most prominent structures were generally designed by local firms like McKim, Mead & White.[11] George Elmslie helped design the decoration.[14]

The building was one of the first skeleton frame skyscrapers in New York City, and the Department of Buildings raised numerous objections to the design before the plans were finally accepted.[17] Measuring 162 feet (49 m) tall,[16] with 13 stories, it was considered an early skyscraper.[18] It was similar in design to an unbuilt skyscraper for the St. Louis Trust and Savings Bank that was designed in 1895.[19][20] According to Sullivan's protege Frank Lloyd Wright, the Bayard–Condict Building was Sullivan's favorite design.[18]

Facade

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The Bleecker Street elevation of the facade is clad in white glazed terracotta over a masonry wall.[21] The facade has relatively undecorated mullions and pilasters, which accentuate its height[21][22] and divide the facade vertically into five bays.[23][24] The Bleecker Street facade is divided horizontally into three sections—an ornamented base, a shaft of identical stacked floors, and a decorated crown—illustrating Sullivan's views on skyscraper design.[25][23] Whereas the protrude mullions and pilasters were intended to draw attention to the columns in the building's superstructure, the superstructure's horizontal beams were deemphasized and covered with wide spandrel panels.[22][26] According to Herbert Muschamp, the emphasis of the vertical elements may have been intended to represent "maximum development of a small urban site by thrusting against gravitational force".[26] Sullivan's ornate floral designs decorate the facade's base and top, as well as the spandrels below each window opening.[5] The facade's other three elevations are made of red brick on common bond.[24]

The lowest part of the Bleecker Street facade contains a concrete water table.[24] The entrance to the building is through the westernmost bay.[24][27] The doorway is flanked by piers, above which are a small cornice and an ornamented lunette with "organic" motifs such as spirals, leaves and tendrils. The lunette is topped by geometric designs and leaves.[27] The base of the building originally contained storefronts separated by octagonal columns, above which were ornate capitals[28] that also depicted leaves.[29] The original columns were removed in 1964[21][28] and restored in 2002.[27] Above each of the ground-story storefronts are spandrel panels with more organic motifs.[27]

On the upper stories, the bays are separated by piers, which correspond to the internal structural system; each bay is topped by a large arch.[23] Above the second floor, each bay contains two sash windows per story, separated by a narrow mullion. There are recessed terracotta spandrels with geometric and organic motifs above the pairs of windows on each story.[24][27] The spandrels above the eleventh floor are decorated with lions' heads.[27] The top two stories (the twelfth and thirteenth) were intended to resemble a single story from the outside.[20][30] On these stories, each bay contains an arch at the twelfth and thirteenth stories, and there is a trefoil motif in the spandrels of each arch. A heavy cornice projects from the facade above the thirteenth floor.[24] The cornice contains decorative soffit panels.[14]

Parapet sculptural details

There are six winged angels just below the cornice.[24][21] For many years, it was widely believed that Silas Alden Condict, a lawyer with religious aspirations who had briefly owned the building, had wanted the angels to be included.[31] Condict allegedly wanted the angels to represent the six working days of the week (excluding the Sabbath).[32] Sullivan had allegedly initially objected to the presence of the angels;[5][12] according to The New York Times, Sullivan had asked Condict, "Do you want a commercial building or do you want a church?"[32] This account is disputed by historians Sarah Landau and Carl W. Condit, who wrote in their 1996 book Rise of the New York Skyscraper that Sullivan had used winged-angel motifs in his design for the Transportation Building at the 1893 World's Columbian Exposition.[31] The sculptures had been depicted in a Brickbuilder magazine article in June 1898,[29] before the Condict family had even bought the building.[27] There are round motifs and leaves above the cornice,[29] but the roof of the building is otherwise flat.[24]

Interior

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According to the Architectural Review, the Bayard–Condict Building was a speculative development "designed to be used for offices or light manufactures as to the upper storeys, and for shops in the ground and first floors".[33] When the Bayard–Condict Building was built, it generally contained large loft-like spaces, as well as a mechanical core with elevators, utilities, and stairs. The lofts could be divided into smaller offices and were illuminated by natural light, which was maximized by the presence of setbacks at the rear of the building.[20]

Originally, the building was to contain brick curtain walls with a uniform thickness of 12 inches (300 mm). The interior would have been supported by a type of freestanding steel frame called the Gray system, which used 14-by-14-inch (360 by 360 mm) columns attached to cast-steel bases. Sullivan and Dankmar Adler had previously used the Gray system in the Prudential (Guaranty) Building, but New York City officials were loath to approve the use of the Gray system.[20] As a result, the curtain wall measured 20 inches (510 mm) thick between the floor slabs for the first and fifth stories; 16 inches (410 mm) thick between the fifth and ninth stories; and 12 inches (300 mm) thick above the ninth story. The interior columns were also thickened, measuring between 24 inches (610 mm) across at the ground story and 13 inches (330 mm) across on the top two stories.[20][34]

By the late 20th century, the building was accessed through the westernmost bay on Bleecker Street, which led to a north–south hallway. The hallway had terrazzo floors, plastic wall tiles, and acoustical ceiling tiles. A pair of elevators was positioned at the center of the hallway, while the rear end of the hallway had a stairway adjacent to a storefront. The staircase had an ornate balustrade between the basement and third story, stucco-and-plaster walls, and a plaster ceiling. On the upper stories, there was a hallway on the western end of each story connecting to the elevators and stair. The remainder of each story was divided into office or industrial space, with tile floors, plaster walls, and plaster ceilings.[24] Ceiling heights range from 15 feet (4.6 m) on the first floor to 9.5 feet (2.9 m) on the 12th floor.[30][a]

History

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The Bayard–Condict Building was constructed on the former site of the Bank for Savings in the City of New York, also known as the Old Bleecker Street Bank.[35] That bank relocated to Fourth Avenue in the late 19th century.[36]

Development

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Entry and lower facade as depicted in the Historic American Buildings Survey

The United Loan and Investment Company had been incorporated in 1895 to sell securities, land, and mortgages for a commission; it was authorized to trade real estate in 1897.[15] That September, United Loan acquired a 83.6-by-100-foot (25.5 by 30.5 m) site on the north side of Bleecker Street from the Bank for Savings. The site reportedly cost $200,000, most of which was covered by a $150,000 mortgage from the Bank of Savings, which was to come due in three years.[35][37] United Loan immediately announced plans to erect the 12-story Bayard Building[15] at a cost of $100,000.[35] The edifice was to be named after the Bayard family, an early settler of the colony of New Netherland, whose area included modern-day New York.[15][38] Although the family was not involved with the project,[15] Landau and Condit wrote that the structure directly referenced William Bayard Jr., the Bank for Savings' first president.[38] Louis Sullivan, working with Lyndon P. Smith of New York state, had been hired to design the structure during mid-1897.[15]

The partnership of Sullivan & Smith submitted plans for a 12-story structure at 65–69 Bleecker Street[b] to the New York City Department of Buildings on September 17, 1897,[20] and The New York Times announced these plans on September 23.[40] The building was to be a fireproof structure with a terracotta facade and would contain numerous elevators.[20][39] The New York Times estimated the building would cost $400,000,[40] while the Chicago Daily Tribune gave a cost of $275,000.[39] According to trade publication The Construction News, the building was to cost between $250,000 and $275,000.[41] After disputes over various aspects of the planned building were resolved, United Loan began erecting the Bayard Building in December 1897.[20] Although Sullivan never again designed another building in New York City, the reason for this is unclear. The Blue Guide New York said Sullivan had a hard time getting the Bayard Building to meet the city's building codes, while Carl Condit stated that the building's remote location on Bleecker Street may have been a factor.[42]

The Bank for Savings initiated foreclosure proceedings on the property in December 1898.[43] In April 1899, Charles W. Rice of the Perth Amboy Terra Cotta Company acquired the building at a foreclosure auction for $327,000,[36][44] wiping out United Loan's investment in the structure.[45] Rice had been one of the building's material contractors, and he had purchased the building to satisfy $150,000 in liens.[36] Emmeline G. H. Condict bought the building in June 1899 from Chase Mellen for $37,000, taking out a $310,000 mortgage on the property.[46] The building was completed in December 1899.[20] The tenth floor was severely damaged in a fire in March 1900,[47][48] and the Condict family sold the building that May to its builder, Charles T. Wills.[20]

20th century

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Sources disagree on the building's original name. Landau and Condit described the structure as being known as the "Bayard Building" when it was completed,[18] while the New York City Landmarks Preservation Commission (LPC) said that it was already known as the "Condict Building" when it opened in December 1899.[20] A 1901 directory listed the Bayard Building as an office building at 65–67 Bleecker Street, adjacent to another office building, the Condict Building at 69 Bleecker Street.[20] A New York Times article about the 1900 fire identified 65–67 Bleecker Street as the Condict Building,[49] while the Brooklyn Times Union described the Condict Building as occupying "65, 67 and 69 Bleecker Street".[48] In its early years, the Condict Building operated as a commercial loft structure.[50][51] The Wills estate continued to own the Condict Building until January 1920, when the estate sold the building to Heidelberg, Wolff & Co.[50] for $450,000.[51]

Elgin Shulsky acquired the building during the 1940s.[28][52] At the end of that decade, the capitals above the columns at ground level were covered with plaster and cinder blocks. This blunted the effect of Sullivan's original storefronts, which had been designed as full-height glass panels between small columns.[53] The popularity of ornate facades, such as that of the Condict Building, had declined significantly by the late 1950s, prompting the Municipal Art Society to select the building as one of several in the city that were "worthy of preservation".[54] Elgin Shulsky replaced the original storefronts with generic commercial aluminum storefronts, designed by Gustave W. Iser, in 1964.[53] The neighborhood was largely occupied at the time by warehousing and light manufacturing firms.[28] One of the original capitals was preserved in the Brooklyn Museum, while a group led by Ivan Karp obtained another capital for the collection of the Anonymous Arts Museum.[53] The capital in the Brooklyn Museum's collection became part of a sculpture garden.[55]

The LPC first hosted a public hearing on whether to designate the building as a city landmark in 1966, but the structure was not designated because the owners objected to it.[21] The LPC hosted further hearings in 1970, 1974, and 1975[21][2] before it designated the Bayard–Condict Building as a city landmark on November 25, 1975.[10][56] The LPC designated the Bayard–Condict Building largely on the grounds that it was Sullivan's only New York City building.[57] The Shulsky family immediately sued the LPC, claiming that "the vast majority of the population in the City of New York and the United States of America have no knowledge whatsoever" of the building's existence, but the lawsuit stalled.[21] The building's owners also objected when preservationist Carolyn Pitts nominated the building for National Historic Landmark designation the next year. Despite the owners' claim that the building was "run-down" and "undistinguished", Pitts surreptitiously created a report on the building and submitted it to the United States Department of the Interior,[58] which approved the nomination the same year.[59][60]

The building continued to be largely occupied by commercial tenants through the late 20th century. By the early 1980s, the Shulsky family was replacing the industrial tenants with office tenants, as the owners wished to refurbish the building.[21][28] Among the tenants who moved out was the building's largest occupant, a company specializing in ribbons and artificial flowers.[61] The vacant space was rented to office tenants for as low as $8 per square foot ($86/m2).[28] Subsequently, the Shulsky family renovated the lobby to designs by Edgar Tafel, whose mentor Frank Lloyd Wright had studied under Sullivan.[61][21] Elgin Shulsky's son Marvin Shulsky took over the building's management in the 1980s.[52]

Restoration

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Entrance (2010)

In 1996, New York City-based architecture and engineering firm Wank Adams Slavin Associates designed and oversaw a restoration of the Bayard–Condict Building's facade.[11] The project cost $800,000.[11][28] Of the 7,000 glazed architectural terra-cotta tiles, 1,200 had to be replaced.[11] Marvin Shulsky said at the time: "I figured I had a choice: cover the whole thing in $10's and $20's or redo the terra cotta."[28] In addition, replicas of the original capitals at ground level, modeled after the capital in the Anonymous Arts Museum's collection, were installed.[28] By then, the building was nearly fully occupied by tenants such as the Andy Warhol Foundation for the Visual Arts, Carl Fischer Music, the literary agency of Sterling Lord, cosmetics firm The Estée Lauder Companies, and USA Films.[28] The LPC further designated the building as part of the NoHo Historic District in June 1999.[62]

The Greenwich Village Society for Historic Preservation gave its Village Award in 2003 to the contractors who restored the building.[63] By 2013, Marvin Shulsky's son-in-law Lawrence Ellenberg had taken over the building and was adding an elevator.[52] During the early 21st century, the building's tenants included the Council of Fashion Designers of America,[64] a law firm,[65] and an ice cream shop.[66]

Critical reception

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When the Bayard–Condict Building was completed, it was a radical design for its time, since it contravened the strictures of American Renaissance architecture which were the accepted status quo. However, it had little influence on architectural design in New York City, because of its location in the industrial area that Bleecker Street was during that period.[5] Russell Sturgis said the structure "exemplifies the growth of modern American building connected with the steel cage construction", saying that the design was clearly intended to be that of a skyscraper.[67] Montgomery Schuyler wrote: "There is nothing capricious in the general treatment of this structure. It is an attempt, and a very serious attempt, to found the architecture of a tall building upon the facts of the case."[67][68] A reporter for The Wall Street Journal wrote that, following the building's completion, the public saw Louis Sullivan "as the architect who had solved the problem of what to do with the skyscraper".[21]

The building was still largely lauded in the late 20th century. A reporter for the New York Daily News described the Bayard–Condict Building in 1964 as having "the appearance of a large commercial structure from the 1897–98 period", despite its significance as Sullivan's only New York City building.[69] The same year, the Times said the building "is still in every important textbook of the American skyscraper".[53] In designating the Bayard–Condict Building as a city landmark in 1975, the LPC wrote that the structure was "the most significant commercial building utilizing skyscraper structural techniques in New York City".[21][2] Paul Goldberger described the Bayard–Condict Building's cornice in 1976 as "perhaps the finest cornice in all of New York".[70] In his 1994 book New York, a Guide to the Metropolis, Gerard Wolfe wrote that the Bayard–Condict Building was a "startlingly ornate" structure that was tucked onto a side street.[71]

The building also received positive commentary after its renovation in the 1990s and 2000s. According to Herbert Muschamp in 2001, the building "stands as a reminder that private clients, including developers, were once more eager than the cultural organizations to embrace progressive ideals".[26] A 2003 Miami Herald article described the Bayard–Condict Building as "massive and delicate",[72] while the Chicago Tribune wrote that the building was "a study in terra-cotta ornamentation".[73] The architect Chad Smith wrote for the Village Voice in 2005: "It is new because it is modern—both for its forward-looking design and because it was (and is) an innovative solution to 19th-century problems. It feels fresh because it is still so completely a building of its age."[74] The Bayard–Condict Building's architecture also inspired the design of other structures, including a nearby office building in SoHo designed by Marcello Porcelli and Cookfox during the 2010s.[75]

See also

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bayard–Condict Building

View on Grokipedia
from Grokipedia
The Bayard–Condict Building is a 12-story early located at 65-69 in the NoHo neighborhood of , , designed by pioneering architect Louis H. Sullivan and completed in 1899. It stands as Sullivan's sole commission in and represents a landmark example of architectural style, featuring a steel-frame structure clad in white terra cotta with intricate organic ornamentation that emphasizes verticality and structural expression. Commissioned in 1897 by the United Loan and Investment Company as an office building, the project faced challenges from New York City's Building Department regulations but was realized through Sullivan's collaboration with local architect Lyndon P. Smith. The building's tripartite composition—divided into a base with a grand entrance, a uniform shaft of office floors, and an attic crowned by a prominent adorned with angelic figures—embodies Sullivan's philosophy of "," blending modern engineering with decorative elements inspired by nature, such as foliate motifs and geometric patterns. Its rectangular plan, five-bay-wide Bleecker Street facade, and use of mass-produced terra cotta as a curtain wall marked a departure from the era's prevailing classical styles, introducing Chicago-inspired innovations to the East Coast skyline. Historically, the structure derives its name from early 20th-century owners and Emmeline Bayard Condict, though it was sold to Charles T. Wills in 1900 and later managed by the Kerway Realty Company. As one of Sullivan's post-Adler independent works—alongside icons like the Wainwright and Guaranty Buildings—it played a pivotal role in the evolution of design, influencing modern architects such as and establishing Sullivan's reputation as the "father of the " for his emphasis on visual coherence and upward soar. The building's interior includes functional elements like floors, metal fire stairs with ornate balusters, and adaptable office spaces that reflect its original commercial purpose. Recognized for its architectural and sculptural merits, the Bayard–Condict Building was designated a Landmark by the Landmarks Preservation Commission in 1975 and listed on the in 1976, underscoring its status as a prophetic yet controversial early modern structure in a city dominated by more ornate Beaux-Arts contemporaries. Today, it remains a preserved testament to the transition from 19th-century architecture to 20th-century modernism, highlighting Sullivan's innovative solutions to the functional and aesthetic demands of urban high-rises.

Location

Site Details

The Bayard–Condict Building is situated at 65-69 in the NoHo neighborhood of , . Its precise geographic coordinates are 40°43′35″N 73°59′42″W. The structure occupies a rectangular lot measuring 8,350 square feet, with a frontage of 83.5 feet along and a depth of 100 feet. This plot borders the Robbins & Appleton Building to the north and the subway station (serving the B, D, F, M, and 6 lines) to the east. The building itself features a 12-story rectangular that rises to a height of 162 feet, filling much of the lot while adhering to early 20th-century for light and air at the rear.

Surrounding Context

The NoHo area, encompassing the site of the Bayard–Condict Building at 65-69 , originated in the early as part of a rural of farmland and estates owned by prominent families such as the Bayards and Bleeckers, known collectively as Sandy Hill. This region featured scattered farmhouses and grand residences that transitioned into a fashionable residential district during the to , with the development of Federal and Greek Revival-style homes reflecting Manhattan's northward urban expansion. By the 1850s, however, the area began shifting toward commercial use, as residential structures gave way to shops and stores amid the post-Civil War economic boom, marking the onset of broader industrialization. This transformation accelerated in the 1860s through 1890s, driven by proximity to burgeoning manufacturing districts in and the influx of industries like textiles and garments, which converted former residential blocks into store-and-loft buildings for wholesale and production activities. The late saw intensified commercial development, with the construction of multi-story structures to accommodate growing needs, further fueled by improved transportation including the extension of elevated railroads and the impending subway system. The opening of the Interborough Rapid Transit (IRT) subway line in 1904, particularly the station nearby, significantly enhanced accessibility and spurred office conversions and taller commercial edifices, solidifying NoHo's role as a vital commercial hub. The area's historical significance is underscored by its inclusion in the NoHo , designated by the Landmarks Preservation Commission on June 29, 1999, which encompasses over 125 buildings and preserves the 19th- and early 20th-century commercial architecture that defines the neighborhood's streetscapes. This designation highlights the district's intact representation of retail, wholesale, and manufacturing history through diverse architectural styles and materials, such as cast-iron and terra-cotta facades, ensuring the preservation of NoHo's urban fabric amid modern development pressures. The Bayard–Condict Building received individual status in 1975, contributing to the broader contextual protection of this evolving commercial enclave.

Architectural Features

Exterior Design

The Bayard–Condict Building exemplifies the architectural style, characterized by its innovative use of a and a non-historic, modern aesthetic that emphasizes verticality and functional expression. Designed primarily by , with collaboration from Lyndon P. Smith and ornamentation by George Elmslie, the structure stands 13 stories tall (though often cited as 12 habitable stories due to the treatment of the upper levels), reaching approximately 162 feet in height. Its steel skeleton is clad in a curtain wall system, marking an early adoption of such technology in skyscrapers. The primary Bleecker Street facade, five bays wide, is sheathed entirely in white glazed terracotta produced by the Perth Amboy Terra Cotta Company, creating a luminous contrast against the red brick on the side elevations. This facade is divided into three vertical sections: a two-story base featuring retail spaces with large display windows framed by ornate piers and Sullivan's signature sinuous "S"-shaped spandrels; a shaft composed of slender, uninterrupted molded piers that rise the full height, separating paired double-hung windows with geometric mullions and spandrel panels adorned in intricate organic motifs like foliage, tendrils, and spirals; and a crowning attic level topped by a heavy projecting cornice supported by six terra cotta winged angels symbolizing commerce and protection, with the angels' outstretched butterfly-like wings and foliate details adding a dramatic flourish. The vertical emphasis is achieved through the continuous piers, which unify the composition and accentuate the building's height without historicizing ornament. The side elevations, in simpler red brick laid in common bond, provide a subdued to the richly detailed front, with minimal terracotta accents limited to the base and corners for structural expression. Elmslie's contributions to the ornamentation infuse the terracotta elements with exuberant, nature-inspired designs, including lions' heads and in the upper arches, reflecting Sullivan's of form following function while elevating the exterior to a sculptural plane. This design supports the interior's open spaces by allowing expansive window areas for .

Interior Layout

The Bayard–Condict Building's interior is organized to support commercial functionality, with the dedicated to retail spaces featuring large display windows for visibility and ornamental entrances that facilitate access. These elements create an open, inviting at street level, historically accommodating stores and banks with ample space and from the expansive glazing. From the third story upward, the upper floors consist of loft-like offices designed for light manufacturing or professional use, characterized by high ceilings and large windows that maximize natural illumination and ventilation. These spaces allow for flexible partitioning to suit various tenants, promoting an efficient, adaptable environment typical of late-19th-century commercial lofts. A central mechanical shaft houses two passenger elevators, a metal fire stairway, and utilities, enabling open floor plans around this core for unobstructed spatial flow across the 12 original stories. The top two original stories function internally as a single level, forming a gallery surrounding a central well lighted from above to enhance usability. Structural integrity is maintained through preserved original cast-iron columns—varying from 24 inches in diameter at the ground floor to 13 inches at the upper levels—and wood-beam floors that support the steel skeletal frame.

Historical Development

Planning and Construction

The Bayard–Condict Building was developed by the United Loan and Investment Company, a firm incorporated in that expanded into ventures by the late under president Robert Avery. The company acquired the site at 65–69 Bleecker Street from the Bank for Savings in August 1897, intending to erect a modern office structure to capitalize on the growing demand for loft spaces in . This acquisition marked the inception of the project, planned and constructed between 1897 and 1899 as one of the city's early steel-framed skyscrapers. In the summer of 1897, the United Loan and Investment Company commissioned architect Louis H. Sullivan to design the building, marking his sole project in and an opportunity to apply his principles—emphasizing structural honesty, vertical expression, and innovative use of materials—to the denser urban context of the East Coast. Sullivan collaborated with New York-based associate architect Lyndon P. Smith, submitting plans to the Department of Buildings on September 17, 1897, for a 12-story structure rising 162 feet. The design reflected Sullivan's expertise in tall building construction, honed through earlier works like the in , adapting skeletal steel framing and curtain walls to meet New York's regulatory demands for fireproofing and stability. Construction commenced in December 1897 under Charles T. Wills, but faced significant challenges from New York City's stringent building codes, which rejected Sullivan's proposed column system and mandated thicker walls, thereby reducing rentable interior space and exacerbating financial strains on the developer. These issues culminated in the Bank for Savings recalling the construction mortgage in June 1899 amid ongoing delays and cost overruns, leading to the property's transfer to Emmeline G. H. and Silas A. Condict before full completion. Despite these setbacks, the building was finished in December 1899 and opened as a rental office loft structure, ready for tenants in the burgeoning commercial district.

20th-Century Events

Shortly after its completion in December 1899, the Bayard–Condict Building suffered a significant on , 1900, which originated on the tenth floor and caused extensive damage to the upper levels, though the distinctive terra-cotta facade remained largely unaffected. The incident highlighted early vulnerabilities in the building's fireproofing despite its innovative steel-frame construction, but repairs were promptly undertaken without major structural alterations. Ownership of the building transitioned rapidly in its early years. In June 1899, the property was acquired by Emmeline G. H. Condict and her husband , who renamed it the Condict Building after recalling the original mortgage. By May 1900, it was sold to Charles T. Wills, the original builder, who retained control until 1920. The property then passed through several hands before being acquired by the Shulsky family in 1941, with Elgin Shulsky as president of Kerway Realty Company; under their stewardship, the building was leased primarily to garment industry tenants, reflecting the surrounding NoHo area's industrial character. Throughout the , the Bayard–Condict Building served mainly as loft and office space suited for light manufacturing, with its open, light-filled floors accommodating various commercial activities. During , like many similar structures in , it was adapted for heightened industrial production to support wartime needs. By the mid-century, particularly in the , maintenance declined amid broader in , including unsympathetic alterations such as the replacement of the original ground-floor storefronts, which compromised Sullivan's design integrity and spurred growing preservation advocacy. This advocacy culminated in formal recognitions that underscored the building's historical value. It was designated a New York City Landmark by the Landmarks Preservation Commission on November 25, 1975, following public hearings where supporters highlighted its architectural significance despite the owner's opposition. The following year, on December 8, 1976, it was named a , affirming its role as Louis Sullivan's sole New York commission and a key example of early design.

Preservation Efforts

The preservation of the Bayard–Condict Building gained momentum following its designation as a New York City Landmark in 1975 and a National Historic Landmark in 1976, which established legal protections and encouraged ongoing stewardship. Initial restoration efforts focused on the facade, beginning in 1996 under the direction of Wank Adams Slavin Associates and executed by Richardson & Lucas, to address decades of weathering on the terracotta cladding. The six-year project, completed around 2002, cost $800,000 and was primarily funded by the building's owner, Marvin R. Shulsky, with support from preservation grants; it involved inspecting all 7,000 terracotta pieces, repairing over 1,000 cracked or deteriorated elements using epoxy and fiberglass, and replacing only about 30 tiles to maintain authenticity. These works repaired specific details, such as recrafting angel thumbs and a lion-head panel, ensuring the building's structural integrity without compromising its original ornamentation. In 2002, the ground-level retail facades underwent targeted updates to restore Louis Sullivan's original ironwork design, led by Sawicki Tarella and approved by the Landmarks Preservation Commission. This phase removed non-original modifications from the mid-20th century, including 1960s granite and aluminum storefronts and column capitals excised in 1964, which were replicated using a surviving original capital discovered in the basement. The restoration earned the Greenwich Village Society for Historic Preservation's Village Award in 2003 for exemplary conservation work. Ongoing maintenance adheres to requirements, which mandate regular inspections and prohibit major alterations to preserve the building's historical fabric. Since 2000, the structure has continued in use as commercial offices, with upper floors occupied by tenants such as and the Council of Fashion Designers of America (as of 2025), emphasizing non-invasive techniques like repairs to support sustainable preservation.

Legacy

Architectural Significance

The Bayard–Condict Building occupies a singular place in American architectural history as the only structure in New York City designed by , the preeminent architect of . Completed in 1899, it embodies Sullivan's pioneering approach to skyscraper design, transplanting the functionalist and expressive principles honed in Chicago—such as the emphasis on structural honesty and verticality—to the East Coast's burgeoning skyline. This rarity underscores its role in challenging New York's then-dominant Beaux-Arts aesthetic, introducing a modern alternative that prioritized form following function over classical ornamentation. Among its key innovations, the building features an early and extensive use of terracotta cladding across its entire facade, selected for its fire-resistant properties and ability to articulate the underlying steel frame with lightweight, decorative panels produced by the Perth Amboy Terra Cotta Company. This material not only enhanced durability in a fire-prone urban environment but also allowed for intricate, organic motifs that contrasted with the smooth structural piers, creating a dynamic interplay of texture and form. The vertical emphasis is particularly pronounced through slender, uninterrupted piers that ascend the full height of the 12-story structure, culminating in arched spandrels and a cornice supported by symbolic angelic figures; this design prefigures the taut, upward-soaring silhouettes of later modernist high-rises by emphasizing height as an inherent structural virtue. Historically, the Bayard–Condict exemplifies the shift from load-bearing masonry walls to skeletal steel-frame construction in commercial office buildings, adapting Chicago's advances to New York's denser regulatory landscape—initial plans for an innovative Gray system fireproofing were modified to comply with local codes. As one of the city's earliest skeleton-frame , it demonstrated how steel enabled taller, more open interior lofts while the non-structural terracotta curtain wall freed the facade for expressive rather than supportive purposes, marking a pivotal in urban during a period of rapid industrialization. The building's influence extended through Sullivan's young associate George Elmslie, who contributed to its terracotta ornamentation and later applied similar organic, foliate designs in his independent projects with William Gray Purcell, perpetuating Sullivan's decorative legacy into the early 20th century. In the broader context of NoHo's , it remains a distinctive outlier amid an otherwise Beaux-Arts-heavy milieu of cast-iron and masonry lofts, enriching the neighborhood's narrative as a hub of 19th-century commercial innovation.

Critical Reception

Upon its completion, the Bayard–Condict Building received acclaim from prominent s for its innovative approach to design. Architectural historian Russell Sturgis, writing in 1898, praised the structure as exemplifying "the growth of modern American building connected with the steel cage construction," emphasizing its "careful thinking-out of the problem" in basing ornamentation on slender metal uprights and ties, which he viewed as "the architectural treatment of the future metal building." Similarly, Montgomery Schuyler, in 1899, described it as "the nearest approach yet made, in New York, at least, to solving the problem of the sky-scraper," noting its ornament's "aesthetic... attractiveness" as a promising foundation for future designers. French critic Jean Schopfer echoed this in 1900, calling it "the best yet erected." In the mid-20th century, the building gained recognition within preservation movements as a key work of Louis H. Sullivan. Historian Hugh Morrison, in his 1935 biography, positioned Sullivan as the "Prophet of ," with the Bayard–Condict exemplifying his visionary style. This view was reinforced in the 1976 nomination, which highlighted the structure's prophetic influence on Eastern critics for its simplicity and departure from historical conventions, though Schuyler noted a defect in its emphasis on verticality at the expense of horizontal elements. Sturgis, revisited in the nomination, critiqued the top arches as "most unfortunate," arguing they detracted from an otherwise "completely realistic" facade. Modern assessments have continued to celebrate the building's design elements. Architecture critic Paul Goldberger, in 1976, lauded its cornice as "perhaps the finest cornice in all of New York," underscoring its exuberant yet controlled ornamentation. Historian Paul Sprague later characterized the ornament as featuring "a continuous and unimpeded undulating movement," which unifies the facade's vertical emphasis with organic motifs. Critics have reached a broad consensus on the Bayard–Condict Building's enduring value, particularly its organic foliate ornamentation that contrasts with the rigid verticality of the , creating a harmonious expression of structure. This interplay is seen as advancing aesthetics beyond classical revivalism, with Schuyler praising its "realism" in cladding that "clings so closely to the underlying structure." Minor critiques focus on specific details, such as the perceived overemphasis on vertical lines isolating it somewhat from Sullivan's more balanced works, yet its status as his sole New York commission amplifies its unique role in his oeuvre. In 21st-century scholarship, it remains noted for its relevance in discussions of , with the 1990s renovation restoring its terra-cotta details to highlight sustainable adaptation of early modern materials. As of , the building continues to attract firms, with Leong Leong relocating to its 8th floor, underscoring its ongoing relevance in contemporary design circles.

References

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  2. https://npgallery.nps.gov/NRHP/GetAsset/NHLS/76001236_text
  3. https://smarthistory.org/louis-sullivan-bayard-skyscraper/
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  5. https://www.skyscrapercenter.com/building/bayard-condict-building/15983
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  7. https://citydays.com/places/bayard-condict-building/
  8. https://s-media.nyc.gov/agencies/lpc/lp/2039.pdf
  9. https://tile.loc.gov/storage-services/master/pnp/habshaer/ny/ny0300/ny0350/data/ny0350data.pdf
  10. https://www.nyclgbtsites.org/site/louis-sullivan-the-bayard-condict-building/
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  12. https://www.nytimes.com/1996/08/25/realestate/an-angel-crested-mystery-solved.html
  13. https://www.preservationstudio.com/commercial
  14. https://www.newyorkitecture.com/bayard-condict-building/
  15. https://www.nytimes.com/2002/01/09/business/commercial-real-estate-a-sullivan-is-restored-with-honor.html
  16. https://www.chicagotribune.com/2002/01/13/chicago-architects-historic-ny-building-is-restored/
  17. http://daytoninmanhattan.blogspot.com/2010/07/louis-sullivans-1899-bayard-building-65.html
  18. https://www.villagepreservation.org/events/annual-meeting-and-village-awards/
  19. https://www.commercialsearch.com/commercial-property/us/ny/new-york/the-bayard-condict-building/
  20. https://www.metro-manhattan.com/buildings/65-bleecker-street-bayard-condict-building/
  21. https://hdc.org/buildings/bayard-condict-building/
  22. https://www.nytimes.com/1976/05/07/archives/metropolitan-baedeker-astor-place-a-mingling-of-theaters-ghosts-and.html
  23. https://leong-leong.com/archive/news/
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