105D.jpg (38922 bytes) New York Architecture Images-Upper East Side

(Formerly The Halloran House and originally the Shelton Towers Hotel)


Arthur Loomis Harmon (who became a partner in the firm that designed 
the Empire State Building several years later)


525 Lexington Ave.  (Between 48th and 49th Streets)




Art Deco  with Romanesque Revival touches


Each setback and the top are clad in limestone, in contrast to the overall brown facade brickwork. Also the base is of limestone, with neo-Romanesque decor and arches. The decor also includes protruding gargoyles above entrance as well as extensive use of other sculptures. 







Robert A. M. Stern, Gregory Gilmartin and Thomas Mellins, "New York 1930, Architecture and Urbanism Between The Two World Wars," published by Rizzoli in 1987," 

"The two great architectural problems of the era - that of the 
skyscraper and that of skyscraper living - came together in 1924 in 
Arthur Loomis Harmon's remarkable and totally unexpected Shelton Club 
Hotel was not the Shelton's height but its design that thrilled 
the public and the profession alike. Here, for the first time, one 
could see the new zoning laws skillfully translated into a complexly 
massed, powerfully modeled composition that combined bold scale with a 
fine sense of detail so that the building's appeal was not only as a 
virtual lone icon on the east midtown skyline, but also as a subtle 
insertion into the architectural of the city's streets. Fiske Kimball 
proclaimed that 'from the front, the building seems not merely to have 
a tower, but to be a tower. In three great leaps of rhythmic height it 
rises, gathering in its forces for the final flight.' The Shelton's 
tower was the first tall building of the postwar era in New York to 
convincingly inhabit its height, and even to seem greater than its 
size. Harmon actually bulged its mass as it rose, employing the entasis 
characteristic of Classical columns, to prevent the illusion of 
sagging. The lower floors are inclined inward to enhance the illusion 
of height, and the inherently repetitious pattern of double-hung 
windows, each lighting a single small guest bedroom, was relieved by 
introducing recessing vertical panels that fostered shadows and further 
contributed to the sense of three-dimensionality. While stylistic 
refeneces to Venetian Gothic and Romanesque design were present 
throughout, and particularly in the limestone base with its two-story 
loggia entrance the general effect was, as George Harold Edgell put it, 
like 'some titanic result of the force of nature rather than a building 
by the hand of man. The mass seen at dusk is as impressive as 
Gilbraltar.' ....

"The Shelton caught the essence of [famed architectural artist Hugh] 
Ferriss's ideal: 'Its form makes it impossible that it will ever be 
lost amid adjoining buildings - almost invariably the fate of cube-like 
structures whose individuality is indistinguishable amid identical 
neighbors ... With the fires which heat its steel rivets still burning 
brightly in its lofty grill, this structure is a predilection of the 
city of the next generation - no longer a checkerboard of solidly built 
blocks, but a disposition of individual buildings, wherein one will be 
able to comprehend each element, where it is and what it is.'
  New York Marriott East Side 
525 Lexington Avenue 
New York, New York 10017 USA 
Phone: 1-212-755-4000 
Fax: 1-212-751-3440 
Sales: 1-212-715-4260 
Toll-Free: 1-800-242-8684