These architectural features and historic indoors are appreciated in the Metropolitan Museum of Arts, which knows the history of old New York.

Published in English on 10 August

New York has been changing from its first place of concentration and residence as an indigenous people to one of the world’s most well-known cities, where New York has undergone demographic and industrial changes, which have led to the continued expansion of the urban building environment. This momentum has left some of the world’s well-known buildings, structures and places in New York — such as the Church of St. Patrick, the Central Park, the Brookings Bridge, the Clerles Building, the Imperial House, the Age Square, the Central Car Station and many other buildings — not only so that the momentum of expansion will continue to shape the city landscape in New York in the coming years.

However, one of the costs of such progress is that, over time, many historic buildings have been dismantled and lost. Fortunately, however, in recent years, New York has made progress in the protection of historic monuments, protection designs and economic incentives, facilitated by many urban dwellers and community groups, encouraging the preservation of architectural heritage in the city.

As early as the twentieth century, the Metropolitan Museum of Arts began to collect American building blocks, and the current collection of the United States Department of Arts is witnessing the important role of New York in the evolution of the United States construction design and the evolving market space. Together with us, we have seen some historical buildings from Wall Street to Upper West.

United States Second Bank, then United States Laboratory Office

Wall Street (1822-1824, dismantled 1915)

The outer wall of the second Bank of the United States was kept in the Charles Ngelhardyard and the Museum of Grand Towns No. 700.

This wall, which was already on the northern side of the Wall Street between Williams Street and Nassau Street in the lower city of Manhattan, has now become the hallmark building of the Charles Ngelhard Court. It is the entrance to the New York branch of the second Bank of the United States, designed by the American architect Martin Odiri Thompson (Martin Euclid Thompson), drawing mainly on the eighteenth-century British Para Othopaedic building, with a prominent central area with a triangle.

Photographer (United States). Manhattan Trust, United States Sub-Ministry of Finance and United States Laboratory Office, 1890. Photocopy. The New York Metropolitan Museum of Arts, honouring John I. Waterbury Florence Wottery (Florance Waterbury) gift, 1968 (68.724.1).

By 1853, the second bank branch was closed and the building became the site of the United States Laboratory Office (US Assay Office) to test valuable metals such as gold, silver and so as to determine their composition and value. During the first few years of the twentieth century, the laboratory office was relocated to other places, and the Panorama building in Thompson was inundated in the Yumkiya garrison, which has been lost for too long and no longer winds.

The second branch of the Bank of the United States is a positive film in the Metropolitan Museum, 1925.

Attempts were made to preserve the building, which was dismantled in 1915. Robert de Forest, President of the Metropolitan Museum of Arts, sought to preserve the outer wall, a few years later, in 1924, it was placed at the southern entrance of the newly opened United States Department of Arts (American Wing).

Do you know? The second line is not the first building in Wall Street. The Government bought the property from one of the well-known Dutch families in New York during the colonial period — Verplanck — and dismantled the luxury of their George’s style, which gave the bank room for construction. Some of the furniture in the urban home of the Wiprank family are now displayed in the Viprank special room.

Lagos

428-434 (constructed in 1831-1833, partially dismantled in 1902-1903)

Keys, columns and floors from the Lagun desk in New York, 1832-1833. Grandstone. New York Metropolitan Museum of Arts, donor funds, Friends Fund of the United States Department of Arts, Charles-C-Savic (or Charles C). Savage offers of joint ventures. Annex II

At the beginning of the nineteenth century, the city of New York began to expand north and new residential areas emerged. The construction firm Seth Geer began the construction of nine luxury platoons at the Lafayette Street between the Fourth Street and Ast Square (Astor Place), which were considered to be the northern suburbs of New York.

The main galleries of the horse and car were approximately 1895. Photos for photos in photoscopy, 10 ⁄2 x 9 ⁄2 inches (26.7 cm x 24.1 cm). City Museum, New York (X2010.2313)

This series of well-designed, classically styled houses, known as the Lagrang galleries, was preceded by a major stone galleries, and was promoted by the White Post as “any private home throughout the country is untenable”. The Kolings style pillar was designed on the basis of a memorial (Choragic Monument of Lysicrates) erected in the Listil in Athens, Greece, which was considered the first example of the ancient Kolings pillar. Although the construction of the Lagun desk is future-oriented, these homes quickly become one of the most current segments in the city, where John Jacob Ast III (John Jacob Astor III), Cornelius van De Beert (Cornelius Vanderbilt), Washington, D.C. (Washington Irving) and so on are well-known New Yorkers.

In 1902 and 1903, five homes were demolished at the southern end of the hotel, which had been consolidated as the main galleries, in order to build a Vannameek Express company