In his 1913 article for the Architectural Record on "The Towers of Manhattan," he praised the Gothic architecture style of the Woolworth Building, designed by Cass Gilbert (1859-1934) and kind words for the Beaux-Arts Singer Building, by Ernest Flagg, and for Napoleon Le Brun & Sons' Metropolitan Tower, which was inspired by the early Renaissance art of the Piazza San Marco in Venice.
In other words, while recognizing the impact of technology and the presence of revival styles, Schuyler was aware of an underlying set of conditions that produced a sequence of solutions.
hutongs are a type of narrow street or alley, commonly associated with northern chinese cities, most prominently beijing.
recently, a growing number of hutongs are being renovated by contemporary chinese architects in order to house new programs.
In this crusade, he was joined by American architects George B.
Post and Ernest Flagg (1857-1947), who agreed that there was a real danger to the city in unregulated practices. Knickerbocher Boyd, President of the Philadelphia Chapter of the American Institute of Architects, that suggested controlling the over-all height of a building by the width of the street.
In this article we investigate whether a new view of skyscraper history can be conceived which would take into account both the influence of technology and the role of revival and more modern modes.
The approach used here is based primarily on architectural form as dictated by the ever-growing size and height of skyscrapers responding to broad cultural forces operating in the nineteenth and twentieth centuries.
In 1899, Montgomery Schuyler, the eminent critic of the Architectural Record, wrote an article on the subject of progressive American Architecture called "The Skyscraper Up-to-Date," in which he lamented that the element of experiment seemed to have disappeared from the design of the skyscraper.But Schuyler was primarily an architectural critic and not a historian, and, therefore, he apparently missed the signs of where his thoughts and remarks were leading.He saw the changes taking place but, perhaps because he was too close to the scene, he seems to have not been able to see it in historical perspective.These included the elevator, cage and skeleton construction, fireproof protection for columns and beams, isolated footings and caisson foundations, and the rest.Without quite realizing the significance of his insight, Schuyler was actually laying the groundwork for an approach to the history of skyscraper art that has been neglected until now.