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up in a diaper, or lozenge pa<ern. The middle stratus, comprising a majority of the facade, is laid <br />up in a regular bond pa<ern. The uppermost stratus, beginning at the springing line of the third <br />story round-arched windows and ending abruptly at the eaves line, is composed of a <br />basketweave pa<ern in which squares of ver3cal and horizontal bricks alternate. <br /> <br />Windows of the premier floor are mul3-paned casement types that are elongated by fanlights <br />and bases of swag-decorated panels. The whole of the window ensemble is outlined by <br />stretchers and alterna3ng bricks. Third story-window openings are linteled and are formed of a <br />set of narrow, double-hung sash windows divided by a wide center post. Although these <br />windows have sills, no further sculptural or visual surround is used. The outermost bay at either <br />end of the facade at this level is a sash window of conven3onal propor3on. Fourth-story <br />openings are double-hung sash windows with round arch heads which are bordered from <br />impost to impost with radia3ng bricks. The building's principal eleva3ons are capped by a <br />shallow hipped roof – in effect, a kind of pent eave clad with red mission 3les. Broadly <br />overhanging the wall plane, the eaves are supported by 3ghtly-packed, oversized jigsaw <br />brackets with beaded edges springing from an applied den3l course. <br /> <br />Chiefly because of the scale and formality of the building, the use of a rus3cated ground story <br />and window openings graduated in size according to the importance of the story, the general <br />effect of the design is that of an Italian Renaissance palazzo. In the handling of details, however, <br />the architects introduced sugges3ons of another mode contemporary with the Second <br />Renaissance Revival Style. Elongated, round-arched window treatments, window sash <br />membered to hold many small panes, window surround treated pictorially rather than <br />sculpturally (or omi<ed altogether), and the use of string courses – all are characteris3c of the <br />concurrent Georgian Revival Style. The use of pa<erned brickwork may have been a further <br />reference to American Colonial models, but, ul3mately, the source of such geometric and <br />polychroma3c effects is medieval. One suspects that the architects may have drawn inspira3on <br />from ecclesias3cal models for their treatment of brick. <br /> <br />Internally, the major changes occured in the basement, which ini3ally housed a gymnasium and <br />swimming pool, as well as the hea3ng plant, and became an assembly and banquet hall aker <br />the Mason’s removed the pool and gymnasium. When operated as Club Broadway, the space <br />became the Big Apple Casino with a smaller restaurant on the southeast corner of the building. <br />Today, it is the site of 16Eleven restaurant. <br /> <br />The restaurant is oriented laterally along the north wall of the basement. It has a steel beamed <br />ceiling rising to a height of 25 feet or more with a sea3ng capacity for 108 diners. The kitchen, <br />which is on the southside of the building, has been modernized with new 3le flooring and <br />equipment including mul3ple ovens, stoves and addi3onal stainless steel fixtures. What was <br />once a small dining room adjacent to the kitchen is now a restaurant staff break room, which <br />also doubles as the management office and storage. Toward the front of the building, the <br />original vault remains locked, and a storage closet has been converted to a locked decora3ve <br />wine room visible through a glass door. Access to this level is given by a stairway from the foyer <br />on Evere< Avenue.