Warren & Wetmore

Regarding the Aeolian Hall, the following information can be found in the 1988 AIA Guide to New York City: "City University Graduate Center, CUNY/originally Aeolian Hall . . . 1912. Warren & Wetmore. Redesigned, 1970, Carl J. Petrilli & Assocs. What was once a concert hall and then a five-and-ten is now a bluestone-floored pedestrian arcade forming an elegant shortcut between 42nd and 43rd Streets. . . . George Gershwin introduced Rhapsody in Blue in Aeolian Hall with Paul Whiteman's Orchestra in 1924."

From the description of New Aeolian Hall [33 W. 42nd bet. 5th and 6th Avenues, New York, N.Y.] [graphic] : [floor plans] / Warren & Wetmore, Architects. 1912. (Columbia University In the City of New York). WorldCat record id: 78501036

Finished in 1920, the Commodore Hotel was rebuilt in 1980 and renamed the Grand Hyatt Hotel.

From the description of Hotel Commodore for the New York State Realty & Terminal Co., N.W. Cor. 42nd Street & Lexington Ave. [graphic] : [working drawings] : Job no. 758 / Warren & Wetmore, Archt's. [1916-1918] (Columbia University In the City of New York). WorldCat record id: 81875331

This structure, now destroyed, was finished in 1907.

From the description of Seamen's Church Institute [25 South Street at the South-west corner of] Coenties Slip, New York City [graphic] : [floor plans] : Job number[s] 265 [and] 1064 / Warren & Wetmore, Archt's. [before 1907] (Columbia University In the City of New York). WorldCat record id: 80928514

The original "New Theatre" was built in 1909 by Carrère and Hastings at 25 Central Park West. In 1911 its name was changed to the Century Theater. Thus, the Warren & Wetmore project is the "new" New Theatre.

From the description of The New Theatre, 44th and 45th Streets, New York, N.Y. [graphic] : [floor plans for] Scheme II / C.H. Blackall ; Warren & Wetmore, Architects. April 18, 1911. (Columbia University In the City of New York). WorldCat record id: 78960836

Architects Whitney Warren (1864-1943) and Charles D. Wetmore (1866-1941) are perhaps best known today for their monumental Beaux-Arts Grand Central Terminal in New York City (1904-1912). Their practice, however, included a diverse catalog of building types and architectural styles across the United States and internationally. Partners for more than three decades, their success was built on the far-reaching commercial and social networks that grew from the rapid growth of American cities during the Gilded Age, with long-standing commissions from many of America's most prominent businessmen and families. Educated in architecture at the Ecole des Beaux-Arts in Paris between 1887 and 1894, Whitney Warren maintained a life-long devotion to European classicism, especially in its French variants, and principles of Beaux-Arts planning. Shortly after returning from Paris, Warren's competition entry to design the Newport (Rhode Island) Country Club received first place, and his long career as an architect to New York's society began in earnest. With the subsequent commission for the New York Yacht Club's new headquarters in 1898, Warren invited Harvard-educated Charles Wetmore--lawyer, businessman, and real estate developer--to establish a joint partnership to complete the club and to undertake other architectural projects. From 1898 until retiring in 1931, Warren and Wetmore received multiple commissions from members of their prominent familal and social circles, as well as from leading hoteliers, transportation magnates, and developers, often sharing in the investment as stockholders.

In addition to Grand Central Terminal (in partnership with architects Reed & Stem) and the New York Yacht Club, among the firm's most significant commissions were expansions to the William K. Vanderbilt Estate, "Idle Hour" on Long Island; the Ritz, Vanderbilt, Ambassador and Biltmore hotels in Manhattan and across the United States, Canada, and the Caribbean; opulent Manhattan townhouses for relatives of the Vanderbilts and Astors; elite apartment buildings on Park Avenue and Fifth Avenue; country clubs and tennis and squash courts in Tuxedo Park, Long Island, South Carolina, and Massachusetts; and expansive estates in suburban New Jersey, the Hudson River Valley, and on Long Island. Other major commercial and institutional commissions included the Seamen's Church Institute, Steinway Hall, the Heckscher building, the New Aeolian Hall, and the Chelsea Piers complex, all in Manhattan. In the 1910s and 1920s, Warren & Wetmore were also deeply involved in designing railroad stations and terminals along the New York Central Line and for various Canadian railroad lines, an outgrowth of their association with Reed & Stem. After World War I, Whitney Warren also received considerable acclaim for his carefully conceived reconstruction of the war-damaged library for the University of Louvain in Belgium.

From the description of Warren & Wetmore architectural drawings and photographs, 1889-1938. (Columbia University In the City of New York). WorldCat record id: 269249756

Architects Whitney Warren (1864-1943) and Charles D. Wetmore (1866-1941) are perhaps best known today for their monumental Beaux-Arts Grand Central Terminal in New York City (1904-1912). Their practice, however, included a diverse catalog of building types and architectural styles across the United States and internationally. Partners for more than three decades, their success was built on the far-reaching commercial and social networks that grew from the rapid growth of American cities during the Gilded Age, with long-standing commissions from many of America’s most prominent businessmen and families.

Educated in architecture at the Ecole des Beaux-Arts in Paris between 1887 and 1894, Whitney Warren maintained a life-long devotion to European classicism-especially in its French variants-and principles of Beaux-Arts planning. Shortly after returning from Paris, Warren’s competition entry to design the Newport (Rhode Island) Country Club received first place, and his long career as an architect to New York’s society began in earnest. With the subsequent commission for the New York Yacht Club's new headquarters in 1898, Warren invited Harvard-educated Charles Wetmore-lawyer, businessman, and real estate developer-to establish a joint partnership to complete the club and to undertake other architectural projects. From 1898 until retiring in 1931, Warren and Wetmore received multiple commissions from members of their prominent familal and social circles, as well as from leading hoteliers, transportation magnates, and developers, often sharing in the investment as stockholders.

In addition to Grand Central Terminal (in partnership with architects Reed & Stem) and the New York Yacht Club, among the firm’s most significant commissions were expansions to the William K. Vanderbilt Estate, "Idle Hour," on Long Island; the Ritz, Vanderbilt, Ambassador and Biltmore hotels in Manhattan and across the United States, Canada, and the Caribbean; opulent Manhattan townhouses for relatives of the Vanderbilts and Astors; elite apartment buildings on Park Avenue and Fifth Avenue; country clubs and tennis and squash courts in Tuxedo Park, Long Island, South Carolina, and Massachusetts; and expansive estates in suburban New Jersey, the Hudson River Valley, and on Long Island. Other major commercial and institutional commissions included the Seamen’s Church Institute, Steinway Hall, the Heckscher building, the New Aeolian Hall, and the Chelsea Piers complex, all in Manhattan. In the 1910s and 1920s, Warren & Wetmore were also deeply involved in designing railroad stations and terminals along the New York Central Line and for various Canadian railroad lines, an outgrowth of their association with Reed & Stem. After World War I, Whitney Warren also received considerable acclaim for his carefully conceived reconstruction of the war-damaged library for the University of Louvain in Belgium.

From the guide to the Warren & Wetmore architectural drawings and photographs, 1889-1938, (Columbia University. Avery Architectural and Fine Arts Library, Dept. of Drawings &Archives, )