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Journal articles on the topic 'New York Singer Building'

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Author: Grafiati

Published: 27 July 2024

Last updated: 30 July 2024

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1

Neumann, Dietrich. "Invisible Tools: Shaping New York City's Skyscrapers." Going high! The pros and cons of city verticalization, no. 25 (October 25, 2022): 49–55. http://dx.doi.org/10.37199/f410020012.

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As Tirana is experiencing probably the biggest building boom in its history, including the planning and building of a number of high-rise buildings, it seems fitting to find out which lessons can be learned from the city where the building type of the skyscraper originated. New York City hosted the buildings that claimed to be the world’s tallest for 66 consecutive years. It began with the Singer Building, followed by the Metropolitan Life, the Woolworth Building and then, of course, after brief interludes from 40 Wall Street and the Chrysler Building, the Empire State Building held the title for 40 years, followed by the World Trade Center. Then the title went to Chicago for 25 years with the Sears (now Willis) Tower, on to Kuala Lumpur with the Petronas Towers and Taipei with Taipei 101 and finally, as we all know, to Dubai. New York City is also the place where a unique and comprehensive, ever changing legal framework has shaped skyscrapers’ forms and urban positions since 1916. That is the year when the Setback Law was introduced as part of the city’s Zoning plan. It mandated that floors step back from the cornice height upwards under a certain angle, determined by the width of the street and the particular area of the city, its zone. Imaginary “sky exposure planes” would limit upwards growth, which Hugh Ferriss beautifully illustrated in a sequence of drawings in 1922, as a natural force at work.

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2

Sandeen, Eric J. "Looking After the Singer Tower: The Death and Life of Block 62." Prospects 30 (October 2005): 597–621. http://dx.doi.org/10.1017/s0361233300002192.

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In early 1968, two development sites lay virtually side by side in Lower Downtown Manhattan. West of Broadway, the clearing of thirty blocks spectacularly announced the Port Authority's intention to build a World Trade Center (WTC) complex. Along Broadway itself, a more modest, two-block site awaited the U.S. Steel Building, later renamed 1 Liberty Plaza. The northern half of this site, bounded by Cortland and Liberty Streets, block 62, had most recently been the address of the Singer Tower, an Ernest Flagg-designed building that, in the eighteen months after its completion in 1908, had been the tallest building in the world. In 1967, it once again attained record status, which it, in fact, retains: the tallest building in the world to be intentionally demolished by its owners.This essay resides in the cultural moment represented by these two sites, these two locations of erasures and reinscription. Instead of looking at what would be built — the intensely analyzed WTC site — let us examine what had been erased next door: a particular aesthetic, an earlier form of corporate capitalism massed in the outline of a grand cityscape. Produced by the burgeoning, international sewing-machine trade in the early 20th century and brought down by the pressures of the international, industrial competition of the 1960s, the life of the Singer Tower takes New York City from the exuberance of the first decade of the century to the decline of city fortunes at the end of American industrial dominance. Its demise is also the result of cultural triage performed by historic preservationists in the years immediately after the passage of New York City's Landmark legislation in 1965.

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3

Rapetti, Valentina. "Channelling the dead: A conversation on Desdemona with Tina Benko." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 305–18. http://dx.doi.org/10.1386/jafp_00033_7.

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Tina Benko is an American stage, screen and television actress who has steadily trodden the Broadway boards for twenty years while starring in films and TV series and teaching acting and movement in New York City. An intensely focused and versatile performer, Benko has played in a broad variety of genres, ranging from screwball and Shakespearean comedies to realistic Russian, Scandinavian and American plays. In this interview, she discusses the factors that attracted her to drama and theatre, her acting training and approach to character-building, and theatre as a space for healing and reconciliation as she experienced it while working in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, and music and lyrics by Malian singer-songwriter Rokia Traoré.

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4

Greschner, Debra. "Bookshelf." Journal of Singing 79, no. 3 (December 30, 2022): 407–11. http://dx.doi.org/10.53830/qwxp2183.

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Debra Greschner reviews three recent publications. The Empowered Performer: The Musician’s Companion in Building Confidence and Conquering Performance Anxiety by Sharon Stohrer (Monee, IL: KDP, 2022) offers strategies for coping with performance anxiety. A Sketchbook Atlas of the Vocal Tract by Cheri Montgomery (Nashville, TN: S.T.M. Publishers, 2022) provides information about the articulatory process for lyric diction, and provides singers with guided practice on the subject. This is the Voice by John Colapinto (New York: Simon & Schuster, 2021) is an overview of the human voice from myriad perspectives: evolutionary, personal, social, and cultural. Guest reviewer Gwendolyn Alfred recommends A New Perspective for the Use of Dialect in African American Spirituals: History, Context and Linguistics by Felicia Raphael Marie Barber (Lanham, MD: Lexington Books, 2021) as a useful guide for the study and performance of spirituals.

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5

Singer, Ben. "New York, Just like I Pictured It... Ben Singer Responds." Cinema Journal 35, no. 3 (1996): 104. http://dx.doi.org/10.2307/1225768.

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6

Mueller, Darren, and Judith Tick. "Becoming Ella Fitzgerald’s Biographer." Journal of Jazz Studies 15, no. 1 (July 9, 2024): 74–84. http://dx.doi.org/10.14713/jjs.v15i1.286.

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Oral interview from March 13, 2024, W 35th St. in New York City, expanded and edited in June 2024. Becoming Ella Fitzgerald: The Jazz Singer Who Transformed American Song. by Judith Tick. New York, NY: W.W. Norton, 2023. 592pp. $40.00.

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7

Smaglik, Paul. "New York: Building cooperation." Nature 419, no. 6905 (September 2002): 4–5. http://dx.doi.org/10.1038/nj6905-04a.

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8

RAO, NANCY YUNHWA. "Racial essences and historical invisibility: Chinese opera in New York, 1930." Cambridge Opera Journal 12, no. 2 (July 2000): 135–62. http://dx.doi.org/10.1017/s095458670000135x.

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Describing the performances of two Chinese opera groups – the visiting famous opera singer Mai Lan-fang and his troupe on Broadway and the local San Sai Gai troupe in Chinatown – and their reception by non-Chinese Americans, this essay tracks various formations and effects of Chinese images in 1930s New York that were deeply imprinted in popular imagination. The regrettable invisibility of Chinese opera in American music history is a result of such a pre-constructed concept of Chineseness.

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9

Uricchio, William, and Roberta E. Pearson. "Manhattan's Nickelodeons New York? New York! William Uricchio and Roberta E. Pearson Comment on the Singer-Allen Exchange." Cinema Journal 36, no. 4 (1997): 98. http://dx.doi.org/10.2307/1225615.

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10

Bishop, David. "Sexual Wisdom June Singer .Energies of Love; Sexuality Re-visioned. New York, Anchor, 1983." San Francisco Jung Institute Library Journal 5, no. 3 (March 1985): 32–34. http://dx.doi.org/10.1525/jung.1.1985.5.3.32.

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11

kemmerer, Lisa. "Peter Singer, Writings on an Ethical Life, New York, HarperCollins, 2000, pp. xx + 361." Utilitas 15, no. 1 (March 2003): 116–17. http://dx.doi.org/10.1017/s095382080000385x.

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12

Bagchee, Nandini. "Building for Peace in New York City." Journal of Architectural Education 69, no. 1 (January 2, 2015): 73–85. http://dx.doi.org/10.1080/10464883.2015.987077.

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13

Gzyra, Dariusz. "Dlaczego fleksiweganizm? [Recenzja książki Petera Singera Why Vegan? Eating Ethically. New York–London: Liveright Publishing Corporation, 2020]." Zoophilologica, no. 1 (9) (June 22, 2022): 1–6. http://dx.doi.org/10.31261/zoophilologica.2022.09.09.

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Peter Singer jest jednym z najbardziej wpływowych żyjących filozofów. Od połowy lat siedemdziesiątych ubiegłego wieku jego rozważania etyczne związane z relacjami człowieka z innymi czującymi zwierzętami stanowią niezwykle istotny punkt odniesienia dyskusji, nie tylko akademickich. W ciągu dziesięcioleci aktywności filozofa zmieniły się jednak warunki społeczne i status niektórych praktyk, choćby weganizmu, któremu z pozoru jest poświęcona książka Singera Why Vegan? Eating Ethically. Filozof w żadnej z dotychczasowych publikacji nie analizował w sposób pogłębiony i wyczerpujący teorii i praktyki weganizmu. Tym większe były oczekiwania wobec Why Vegan? Niestety, analiza tej publikacji odsłania jej niedociągnięcia i braki.

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14

Holliday, Kathryn E. "Verizon Building (Barclay-Vesey Building for the New York Telephone Company)." Journal of Architectural Education 67, no. 1 (March 5, 2013): 156–58. http://dx.doi.org/10.1080/10464883.2013.767135.

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15

Holmes, Leslie. "A Conversation with Jerold Siena, Part 2." Journal of Singing 79, no. 1 (August 22, 2022): 111–16. http://dx.doi.org/10.53830/tyoh5738.

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This column is a conversation between interviewer Leslie Holmes and American tenor and music pedagogue, Jerold Siena, Mr. Siena is a singer of international acclaim who has appeared regularly at some of the world's leading opera houses, including the Metropolitan Opera, Lyric Opera of Chicago, La Monnaie in Brussels, The Bayerische Staatsoper (Munich), Rome Opera, New York City Opera and Teatro di San Carlo (Naples). He has performed under many notable conductors.

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16

Swallow, P. G. "New York Terracotta." Structural Survey 12, no. 4 (August 1994): 31–34. http://dx.doi.org/10.1108/02630809410066465.

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17

Grande, Ernesto, Maura Imbimbo, and Rene B. Testa. "New York Times Building: Role of Selected Features." Journal of Architectural Engineering 20, no. 1 (March 2014): 04013004. http://dx.doi.org/10.1061/(asce)ae.1943-5568.0000133.

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18

Brown, K. "MUSEUMS: In New York City, a Building Blooms." Science 296, no. 5568 (April 26, 2002): 640–41. http://dx.doi.org/10.1126/science.296.5568.640.

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19

Klein, Susan J., Patricia OʼConnor, and John M. Fuhrman. "Injury Prevention Capacity Building in New York State." Journal of Public Health Management and Practice 3, no. 6 (November 1997): 17–24. http://dx.doi.org/10.1097/00124784-199711000-00007.

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20

Merkel, Jayne. "Morphosis Architects' Cooper Union Academic Building, New York." Architectural Design 80, no. 2 (March 2010): 110–13. http://dx.doi.org/10.1002/ad.1053.

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21

Destremau, Blandine. "Bonner Michael, Ener Mine et Singer Amy (eds), Poverty and Charity in Middle Eastern Contexts. State University of New York Press, New York 2003." Revue des mondes musulmans et de la Méditerranée, no. 105-106 (January 15, 2005): 330–33. http://dx.doi.org/10.4000/remmm.2768.

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22

Asare, Masi. "The Black Broadway voice: calls and responses." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 343–59. http://dx.doi.org/10.1386/smt_00047_7.

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Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the generic, idealized ‘Black Broadway voice’. The group details unspoken, misguided industry assumptions that Black singers do not produce multiple kinds of belt sounds, do not use the vocal mix sound, and sing only in a heavy (power) sound virtuosically ornamented with riffs that evokes for (white) listeners a misleadingly monolithic idea of ‘the Black church’. As these artists point out, ‘We do not all go to the same church’; in fact, the ability to fluidly move between more classical (legit) and gospel vocal sounds may actually arise from a singer’s training in the church choir. Collectively these artists have worked on multiple Broadway and off-Broadway shows from The Color Purple to Hamilton and A Strange Loop, major tours and regional productions of shows such as Hair, Ain’t Misbehavin’, and Waitress, and hold songwriting credits from the prestigious BMI musical theatre writing workshop to Netflix. This conversation took place in October 2019.

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23

Yang, Eunhwa, Yong-Cheol Lee, and Qi Li. "Energy disclosure law in New York City." Facilities 36, no. 11/12 (August 6, 2018): 571–83. http://dx.doi.org/10.1108/f-08-2017-0090.

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Purpose This paper aims to primarily analyzing the state and pattern of current energy benchmarking progress on commercial buildings since the New York City’s energy disclosure law, Local Law 84: Benchmarking has been implemented. It then compares the yearly benchmarking progress of Leadership in Energy and Environmental Design (LEED)-certified and non-LEED-certified buildings as well as ENERGY STAR-certified and non-ENERGY STAR-certified. Design/methodology/approach For thorough analytics, the authors combined and examined four sources of data: New York City Local Law 84: Benchmarking, Primary Land Use Tax Lot Output, US Green Building Council and US Environmental Protection Agency. The data sets were combined using two primary keys: the Borough, Block, Lot (BBL) number and the building address. Four years of energy use intensity values were obtained and normalized by shrinking the range of deviance in weather. Findings The findings indicate a significant improvement in the benchmarking progress when controlling building size, building type, year of construction or the most recent renovation and the presence of renovation. Interestingly, there is no significant difference in the energy benchmarking progress between LEED- and non-LEED-certified buildings. Possible reasons are explored and discussed. Originality/value From a methodological perspective, the study benefited from data disclosure as well as open data sources and used secondary data with a relatively large sample size. Many studies in the construction industry are based on the case-study approach, which may affect generalizability and causality of research findings. This unique approach illustrates the potential of secondary data analysis in the industry.

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24

Kelling, Clayton L., Jane E. Kennedy, Kristine K. Rump, Lisa C. Stine, Prem S. Paul, and James E. Partridge. "Monitoring bovine viral diarrhea virus vaccines for adventitious virus, using T1 ribonuclease viral RNA oligonucleotide fingerprinting." American Journal of Veterinary Research 52, no. 8 (August 1, 1991): 1237–44. http://dx.doi.org/10.2460/ajvr.1991.52.08.1237.

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Summary Viral rna oligonucleotide fingerprinting was used to discriminate 3 cytopathic vaccine bovine viral diarrhea viruses (bvdv) grown in medium supplemented with serum contaminated with noncytopathic bvdv from the same 3 viruses grown in cell culture free of bvdv. Oligonucleotide fingerprinting also effectively discriminated between reference Singer bvdv, nadl bvdv, and New York-1 bvdv grown in bvdv-free noncontaminated or bvdv-contaminated cell cultures. Oligonucleotide fingerprint mapping of viral rna maybe used to determine the purity of virus stocks, as well as that of bvdv vaccines.

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25

Kao, Philip. "One of the Mad Ones. Volume 4. 99 minutes. New York: Traditional Healing Productions. 2011. (Philip Singer)." Ethos 39, no. 4 (November 8, 2011): 1–2. http://dx.doi.org/10.1111/j.1548-1352.2011.01222.x.

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26

Chappell, Sally A. Kitt. "A Reconsideration of the Equitable Building in New York." Journal of the Society of Architectural Historians 49, no. 1 (March 1, 1990): 90–95. http://dx.doi.org/10.2307/990500.

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Conventional opinion has held that the Equitable Building (1912-1915) at 120 South Broadway in New York was the embodiment of all that was wrong with skyscrapers, and that it was thus a major cause of the 1916 zoning ordinance which restricted the height, size, and arrangement of buildings in the city. A closer look at the evidence reveals that a blueprint for the zoning regulation was complete in 1913 when the Equitable had just been begun. In the clash of conflicting ideologies surrounding the zoning movement, the Equitable was more a convenient symbol, a handy scapegoat in the heat of contemporary rhetoric, than a principal cause of the new ordinance. The earlier misjudgment has obscured the building's place in two other areas in the history of architecture: elevator engineering, and the adaptation of management techniques to building construction.

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27

Buchanan, Camilla, Mariana Amatullo, and Eduardo Staszowski. "Building the Civic Design Field in New York City." Revista Diseña, no. 14 (February 4, 2019): 158–83. http://dx.doi.org/10.7764/disena.14.158-183.

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28

Canady, Valerie A. "California, New York state commit to building peer workforce." Mental Health Weekly 31, no. 47 (December 10, 2021): 3–4. http://dx.doi.org/10.1002/mhw.33042.

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29

Moga, Steven T. "New York Recentered: Building the Metropolis from the Shore." Planning Perspectives 36, no. 2 (February 28, 2021): 430–32. http://dx.doi.org/10.1080/02665433.2021.1888573.

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30

Bujaki, Merridee L. "Parallel Challenges Building the New York and Rideau Canals." International Journal for the History of Engineering & Technology 84, no. 1 (January 2014): 30–51. http://dx.doi.org/10.1179/1758120613z.00000000035.

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31

Soll, David. "New York Recentered: Building the Metropolis from the Shore." Journal of American History 107, no. 1 (June 1, 2020): 230–31. http://dx.doi.org/10.1093/jahist/jaaa111.

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32

Kesselman, Martin. "Web 2.0 Expo in New York: building online communities." Library Hi Tech News 25, no. 9 (October 24, 2008): 5–6. http://dx.doi.org/10.1108/07419050810946178.

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33

Crocker, Jarle. "The Neighbors Building Neighborhoods Initiative in Rochester, New York." National Civic Review 89, no. 3 (2000): 259–66. http://dx.doi.org/10.1002/ncr.89309.

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34

Connolly, Kathleen Honora. "Deaf Culture and the Performing Arts in Spain: Rozalén and La Niña de los Cupones." Journal of Gender and Sexuality Studies / Revista de Estudios de Género y Sexualidades 45, no. 1 (May 1, 2019): 73–94. http://dx.doi.org/10.14321/jgendsexustud.45.1.0073.

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Abstract This paper analyzes how singer-songwriter Rozalén, her collaborator Beatriz Romero, and Deaf flamenco performer María Ángeles Narváez (La Niña de los Cupones) create performances that reach both Deaf and hearing audiences. I will consider how these performances can be transformative in building new interpretive frameworks in Spanish society in which to incorporate Deaf language and culture. These frameworks challenge models of disability that pathologize individuals with impairments and expand upon traditional performance practices and aesthetics in order to incorporate Spanish Sign Language.

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35

Jasińska, Anna, and Artur Jasiński. "NEW BUILDING OF THE WHITNEY MUSEUM OF AMERICAN ART IN NEW YORK." Muzealnictwo 59 (March 30, 2018): 19–27. http://dx.doi.org/10.5604/01.3001.0011.7190.

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On the 1st of. May 2015, in Meatpacking District of West Manhattan, the new building of the Whitney Museum of American Art was opened. It is the fourth location of this well-known New York museum, which was established in 1930, by Gertrude Vanderbilt Whitney. The Whitney possesses the world’s largest collection of American art and focuses on exhibiting living artists. Spectacular, industrial in character architecture signed by Renzo Piano has met with mixed reactions. The building is functional and well connected with the post-industrial site, however, not appreciated by everyone. Similar situation happened forty years ago, when Centre of Georges Pompidou, designed by Renzo Piano and Richard Rogers, pioneers of high-tech architecture, was widely criticised. Only popularity, high attendance and commercial success of famous Paris facility changed that negative opinion. Is the New Whitney following the same path – time will tell.

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36

Fortoul van der Goes, Teresa I. "El sendero que marca el destino." Revista de la Facultad de Medicina 63, no. 4 (July 10, 2020): 60–61. http://dx.doi.org/10.22201/fm.24484865e.2020.63.4.08.

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Donna Summer was in the places that allowed her reaching the goals she had set for herself: her debut as a singer in her church choir at the age of 10 where she replaced the vocalist who didn't show up; the role for which she auditioned and that led her to success in Europe and later to her death, as fate took her back to the United States, particularly when established her residence in New York City at the time of the fateful 9/11, an event that probably influenced the cause of her death: an aggressive lung cancer.

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37

Berg, Wesley, and Gerry Paulson. "Mrs. J.B. Carmichael and the Edmonton Civic Opera Society, 1935-1971." Canadian University Music Review 17, no. 2 (March 12, 2013): 30–48. http://dx.doi.org/10.7202/1014785ar.

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Born in Indiana and trained as a singer, violinist, and conductor in Chicago and New York, Beatrice van Loon travelled to Edmonton, Alberta, in the fall of 1920 as the leader of an all-female ensemble. She married a local dentist and as Mrs. J.B. Carmichael played in the Edmonton Symphony Orchestra and conducted an orchestra at the University of Alberta until 1934. She founded the Edmonton Civic Opera Society in 1935 and worked as its artistic director until her death in 1964. For more than four decades she gave unstintingly of herself to audiences and music students in her adopted city.

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38

Martin, Vanessa. "Poverty and Charity in Middle East Contexts. Edited by Michael Bonner, Mine Ener and Amy Singer. pp. 345. New York, State University of New York Press, 2003." Journal of the Royal Asiatic Society 15, no. 3 (November 2005): 366–67. http://dx.doi.org/10.1017/s1356186305275569.

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39

Smith, W. Rand. "Is Socialism Doomed? The Meaning of Mitterrand. By Daniel Singer. New York: Oxford University Press, 1988. 324p. $24.95." American Political Science Review 83, no. 2 (June 1989): 675–77. http://dx.doi.org/10.2307/1962458.

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40

DeSimone, Stephen V., and A. Christopher Cerino. "IAC/InterActiveCorp Headquarters, New York." Structural Engineering International 18, no. 1 (February 2008): 7–10. http://dx.doi.org/10.2749/101686608783726623.

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41

DePaola, Edward M., and Andrew D. Mueller-Lust. "One Bryant Park, New York." Structural Engineering International 18, no. 1 (February 2008): 35–39. http://dx.doi.org/10.2749/101686608783726768.

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42

Durán Fernández, José. "Nueva York 1916. La ciudad sin límites | New York 1916. Unlimited city." ZARCH, no. 8 (October 2, 2017): 90. http://dx.doi.org/10.26754/ojs_zarch/zarch.201782148.

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La Ciudad de Nueva York fue pionera en la aplicación de un sistema de planificación de control urbano que pusiera orden y concierto a una ciudad que rebasa los 5 millones de habitantes a principios del siglo XX. Tal complejo organismo urbano, inédito hasta ese momento, fue objeto del más ambicioso plan urbano sobre una ciudad construida.Este artículo se destina al estudio de este originario plan urbano de 1916, el cual sentaría las bases, unas ciertamente visionarias otras excesivas, de la construcción de la Ciudad de Nueva York en todo el siglo XX. La Building Zone Resolution se creó con dos fines: resolver los problemas de congestión humana en un espacio reducido, la ciudad del presente, y proponer una visión del espacio urbano en las décadas venideras, la ciudad del futuro.El artículo es un compendio de diez textos cortos y un epílogo, que junto a sus respectivos diez documentos gráficos, construyen el corpus de la investigación. El lector pues se enfrenta a un ensayo gráfico formado por pequeños capítulos que le sumergirán en los orígenes de la primera ciudad vertical de la historia.PALABRAS CLAVE: Nueva York; Planeamiento; Visión urbana.The city of New York was a pioneer in the implementation of an urban control planning system that set in order a city that exceeds five million people in the early twentieth century. Such complex urban organism – invaluable until that moment – was the target for the most ambitious urban planning on a built city.This paper focuses on the study of this initial urban planning from 1916, which would set the basis, certainly some visionary yet others excessive, for the building of New York City throughout the 20th century. The Building Zone Resolution was created with two purposes: to solve the issues related to the human bundle in a limited space, the city of the present, and to aim a vision of the urban space in the forthcoming decades, the city of the future.The article is a compendium of ten short texts and one epilogue, which in combination with ten graphic documents, frame the corpus of this investigation. Thus, the reader will face a graphic essay composed by a series of brief chapters that highlight the beginning of the first vertical city in history.KEYWORDS: New York; Planning; Urban vision.

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43

Benyaminov, Zoya Susan, Merins Sadiku, and Mishka Stueber. "Re-Assessing the New York City Seismic Design Building Code." Journal of Environment and Ecology 8, no. 1 (July 31, 2017): 152. http://dx.doi.org/10.5296/jee.v8i1.10940.

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This paper addresses the need for reassessment and revision of the New York City Seismic Design Building Code to include reinforcing existing structures that were built before 1995. Although earthquakes in New York City are rare, the combination of its geology and pedology allow for little damping and the lack of adequate reinforcement in existing structures have the potential to amplify the consequences of otherwise small events. The NYC Building Code of 1995 requires new structures to be designed against seismic activity, but does not require the addition of seismic reinforcement for existing buildings. In an effort to fill this gap, a case study of Brooklyn Brownstones is presented, illustrating the concern for unreinforced masonry (URM) buildings and describing the cultural and economic implications of reassessment. This case study, in combination with a literature review and commentary, supports the need for an updated seismic building code. Reassessment will not only preserve culturally significant structures like the Brooklyn Brownstone, but also provide standards for a more resilient infrastructure that will keep New York City operating through greater magnitude events.

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Orr, Emily M. "The Craftsman Building: Gustav Stickley’s “Home” in New York City." Journal of Modern Craft 10, no. 3 (September 2, 2017): 273–91. http://dx.doi.org/10.1080/17496772.2017.1394526.

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Olivo, Y., A. Hamidi, and P. Ramamurthy. "Spatiotemporal variability in building energy use in New York City." Energy 141 (December 2017): 1393–401. http://dx.doi.org/10.1016/j.energy.2017.11.066.

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Wood, Alex Ander. "The Structural Ironworkers of New York City, 1845–1895." Buildings & Landscapes: Journal of the Vernacular Architecture Forum 30, no. 1-2 (September 2023): 59–79. http://dx.doi.org/10.1353/bdl.2023.a911884.

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abstract: This article examines the life and work of New York City’s ironworkers, who erected the city’s first tall buildings, factory lofts, and other iron-framed structures. It chronicles the development of iron construction and the fortunes of the trade; analyzes the skills, tools, and machinery ironworkers used on the job; and describes their efforts to improve their lot in solidarity with other workers. Using project records, newspapers, and labor publications, this article reconstructs the history of a new building trade in a period of momentous change in the building industry.

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Muradyan, Anahit. "Models of verbal stems combinations in modern armenian language." JOURNAL FOR ARMENIAN STUDIES 5, no. 59 (December 16, 2022): 25–37. http://dx.doi.org/10.24234/journalforarmenianstudies.v5i59.12.

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Consequently, while summarizing the effects of study of compositions word-building patterns, formed by verbal stems, one can state that the verbal stems have quite flexible word-building opportunities for formation of compound words and the new nouns and adjectives formed by them considerably enrich the word-stock of the Armenian language.As research showed the considerable part of stems, taking part in the word-building of the modern Armenian language were inherited to us from the ancient Armenian language (grabar). As for the verb stems of those morphological components in which the verb stem is a derivative, then It should be noted that the verb stem in most cases isa compound stem, since verbs in rare cases serve as a complement to other parts of speech. There are also compound words in the Armenian language, the first component which are the verb stem or participle . The models noun+verb, adjective+verb, adverb+verb, verb+noun are predominantly effective in the morphological models of the verbal stems. Compositions formed by these models in the process of transformation into syntactical combination can express subject and predicate, attributive-definite, object and circumstantial relations. In objective relations, many semantic groups can be distinguished. Compound words, the first components of which are the names of products or objects: winemaker, butcher, lumberjack seller, etc. Compound words, the first components of which are the names of various animals: shepherd, cowshed, cattle breeder, beekeeper and others. Compound words, the first components of which are the names of celestial bodies: sunmeter, lunar rover, astronaut, etc. Complications, the first components of which are concepts related to different areas of art: duduk player, singer, theater-goer, pianist, singer, actor, etc.

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Letzter, Jonathan. "The Brutalist Figure—Grid: Exploring New York Brutalism." Architecture 4, no. 2 (May 22, 2024): 316–41. http://dx.doi.org/10.3390/architecture4020019.

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The grid plays a prominent role in architecture, aiding in space organization and influencing all aspects of planning, ranging from urban design to intricate building details. This paper posits that the grid receives heightened emphasis in Brutalism, particularly in constructivist Brutalism, where materials and construction are intentionally exposed. A question arises regarding the grid’s characteristics—despite its subtle appearance, the grid can sometimes be deceptive, ambiguous, and manipulative. The paper analyzes the merits and drawbacks of employing the grid in architecture, shedding light on its contributions to both structural and perceptual comprehensibility, as well as its role in increasing usefulness. To illustrate the application and perception of the grid, the paper examines two primary planning levels: urban planning and building design. The case studies focus on examples from New York City housing developments, specifically those constructed between the 1950s and the 1970s, and projects by architect I. M. Pei, which offer valuable insights into practical implementation. The paper concludes that while the grid can establish order, it may also engender an “uncanny” feeling.

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Salaymeh, Lena. "Charity in Islamic Societies. By Amy Singer (New York, Cambridge University Press, 2008) 264 pp. $90.00 cloth $32.99 paper." Journal of Interdisciplinary History 40, no. 4 (April 2010): 640–42. http://dx.doi.org/10.1162/jinh.2010.40.4.640.

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Hübsch, P. "R. Singer, Hydropus (Basidiomycetes - Tricholomataceae - Myceneae), Flora Neotropica Monograph No. 32. 153 S., 26 Taf. New York 1982. The New York Botanical Garden. $ 25.00. ISBN: 0-89327-245-0." Zeitschrift für allgemeine Mikrobiologie 24, no. 10 (January 24, 2007): 718. http://dx.doi.org/10.1002/jobm.19840241013.

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