Preserving The Memory of Acclaimed Sculptor Arnold Stone

By Michael Perlman

Floating Leaves sculpture fountain by Arnold Stone, Photo by Michael Perlman

Most recently, the nearly 2-story “Floating Leaves” sculpture fountain of the shuttered Parkside Chapel at 98-60 Queens Boulevard in Rego Park, was relocated off-site. This was after Rego-Forest Preservation Council’s initiative to secure an early 1960s prized work by the late sculptor Arnold Stone to a new home, ideally at a nearby cultural institution. Parkside Chapel by notable architects Henry Sandig and Robert Kasindorf, was designed as tribute to the Israelites, the Ten Commandments, and the Sinai desert, and offered a Modernist twist on traditional symbolism. 

Arnold Stone building the Floating Leaves sculpture fountain in Sea Cliff, Courtesy of Paula Stone

Arnold Stone, an award-winning sculptor, painter, illustrator, and a dentist, passed away at 49 in 1971, but his memory is very much alive thanks to Paula Stone Borge, his daughter, and Robert Andrew McKie, his stepson, who are preserving his artwork and sharing stories. 

Dr. Arnold Stone, a native of Boston, relocated to Flushing, Bayside, and then a Victorian at 285 Prospect Avenue in Sea Cliff, a seaside L.I. village which became increasingly known for its Bohemian character and art galleries. Dr. Stone’s extensive rundown of exhibitions included The Heckscher Museum of Art, Guild Hall, the Alba House Gallery in Sea Cliff, Plandome’s North Shore Unitarian Center, and the Ruth Dean Garden.    

Stone considered Sea Cliff as an ideal place to call home. “The town was filled with sailors, musicians, painters, sculptors, and writers. Children were free to explore the many parks and beaches and ride bicycles everywhere. Our living room was always filled with a diverse group chatting about the social and political concerns of the day.”

Her room overlooked her father’s studio, where “Floating Leaves” among other prized works were born. She recalled, “I felt happy falling asleep to the sound of his sledgehammer hitting the anvil. He would listen to a jazz program by Ed Beech, and would call in to the station with requests, and Ed Beech would say, ‘Here is one for Doc out in his studio.’” She continued, “I loved the cozy feeling of knowing he was in the studio, doing something he loved.”  

The concrete garage yielded a fireproof setting for welding sculptures out of metal, using a forge, various torches, and anvils. She said, “There was also plenty of room for painting, carving stone, and drawing. It was very light inside, due to skylights and large windows overlooking Hempstead Harbor.”  

Stone remembers her father creating the sculpture fountain in his studio, during her childhood. She explained, “It is comprised of a series of large copper pans, shaped to resemble leaves. Angular lines of steel surround it, providing a contrast to the warmth of the copper leaves and the solid copper wall (which was until recently behind the sculpture fountain). I think the contrast between the interesting strong straight-edged lattice and the flowing leaves filled with streaming water is like modern architecture set among natural elements.” Her father was a fan of Frank Lloyd Wright. She continued, “I think about the cooperation between manmade elements and structures and nature. Copper is a natural element in the earth, but steel is manufactured. It is also suggestive of the contrasts in our lives.”

Her father created smaller fountains for residences, sculptural features for public spaces, and freestanding sculptures for many private collections, but this was the largest public work. She explained his passion for fountains. “It provides a lovely atmosphere for reflection and meditation and symbolizes the flow of life. We lived on the edge of Long Island sound and loved the sound of waves, seagulls, and the fog horn we could hear at home. His goal with this fountain was to provide a simple, beautiful, peaceful space for feelings and thoughts.”

She would work as a professional photographer and cover the news. Aside from music, she and her father produced art. “My father taught me how to carve stone, and we made jewelry together. I was with him while he made his artwork and gardens.” She feels that her interests of visual arts, music, theater, and science mirror those of her father, who was very interested in architecture. We also always try to help people. We grew up attending marches for equality and demonstrating to end the war in Vietnam.”  

 

Arnold Stone at his exhibition with Metamorphosis & Mississippi Jury, Courtesy of Paula Stone

Stone and her brother take pride in being the stewards of some of his sculptures, but explained, “He made so many, and we do not know who bought them and where they are.” They have Mississippi Jury, Monument, SST, ABM, Icarus, King Canaveral, Metamorphosis, another tall figure and anti-war figure, and several table top figures and abstract sculptures, and some metal and carved stone.

She said, “We would love to know who has the largest anti-war piece, a soldier’s head mounted on two large wagon wheels balanced by two bowling balls below, and we would like to know about a very tall, life-size Metamorphosis. We would like to know about any of his works, since we have no records.”

“The legacy our father leaves behind is one of savoring life, education, taking an interest in current events, trying to make a better world, enjoying the marvels of the earth, and biology, geology, technology, theater, dance, music, painting and sculpture, and humor,” said Stone. She admires his love with life and curiosity about everything. “He helped me learn how to find joy and wonder in almost everything, and to approach life with empathy, affection, humor, and gratitude.”

Robert Andrew McKie explained his stepfather’s interest in literature, art, and music. “He was an authority on jazz. He was a drummer throughout college. His interest in led him into early experimentation in high fidelity sound reproduction, which back then meant building a lot of your own equipment. About this time, he decided to exercise some of his G.I. Bill benefits and take courses at the New School for Social Research. At first, he made jewelry, then took painting and sculpture classes.” Today he takes pride in carrying on Dr. Stone’s interest in music, love of books, and fascination with museums.

McKie was a very early computer scientist as of 1965. He was a visiting engineer at MIT, working on Project Athena, which was to revolutionize how undergrads were taught as in an interactive multimedia system.

He remembers Sea Cliff in 1958 for its great mixture of residents. “On our street, we had a Wall Street lawyer living next to a plumber, who in turn had a concert violist as a neighbor.”    

McKie pointed out that while Dr. Stone served his dental practice patients with care until his death, his heart was not in it. “He would often duck out between scheduled patients to work in the studio. His arms became very muscular with all the metal and stone work. Generally, he would work long hours in the studio, often just dashing to eat quickly and return.” 

As for the sculpture fountain, he said, “It should take a very special space, as it was designed around a corner alcove. I would consider contributing to its resurrection, and as for other works, I would love to see them on public display permanently. I would consider giving up ‘Mississippi Jury’ to the right venue.” McKie also owns one small painting from the ‘Bayside’ days of a series of clowns/mimes, an alabaster hippopotamus, an oil painting of a hippo, a bronze seagull, and his record collection.

Many friends from his Sea Cliff days have pieces of Dr. Stone’s artwork, which they cherish. One of his friends is Jerry Zimmermann, who said, “Arnie will never die. He is a force in all of our memories. The 50 years from his passing seems like an instant relative to the force of his being." 

Preservation Call: Forest Hills Jewish Center, A Community Cornerstone!

 By Michael Perlman  

Forest Hills and Rego Park are home to a vast collection of historic buildings that bear architectural and cultural significance. Among them is the sanctuary building of Forest Hills Jewish Center at 106-06 Queens Boulevard, situated on Rabbi Ben Zion Bokser Square, named after the congregation’s prior and longtime rabbi, who was highly influential in Conservative Judaism in the U.S. It has an adjoining religious school, recreation center, and senior center. Collaboratively, it boosts the community’s quality of life. Each period of architecture offers distinctive buildings meriting preservation. Without education, history and architecture is sometimes misunderstood and undiscovered. 

Forest Hills Jewish Center was designed by Architect Joseph J. Furman, and represents a fusion of the International Style and earlier Art Moderne style. Today, the firm operates as Furman & Furman Architects. The convex front façade bears a relationship to the street. Limestone steps with modernistic brass railings lead to varnished carved wooden doors with brass handles. Etched in limestone above the entryway is “They Shall Build Unto Us A Sanctuary” and “That I May Dwell Among Them.” Limestone surrounds hold sleek stained glass windows that depict the Burning Bush on the front and side façades. The crab-orchard rock façade, quarried from Tennessee, is reminiscent of the stone pattern of the Western (Wailing) Wall in Jerusalem; the only surviving remnant of the destroyed Holy Temple. On December 6, 1949, the synagogue received an Honorable Mention award for its excellence in design and construction in the Queens Chamber of Commerce's public buildings category. 

“This new building, raising its hands to heaven, is more than a sacred structure. It is an example of the type of thinking that will bring universal peace and solution of the problem that faces all mankind” were the bold words of New York City Mayor William O’Dwyer to 5,000 attendees on the steps of the newly dedicated Forest Hills Jewish Center on September 18, 1949. He then stated, “Sacred institutions embodied the democratic ideal and principle.” 

For the synagogue, the prospectus read, “The heart and soul of the community. Beautiful and inspiring – soaring heavenward, lifting the aspirations of our congregation.” It also introduced a chapel, main auditorium, school, library, bridal chambers, social halls, club rooms, committee rooms, a kitchen, gymnasium, and lounge. 

Right to left: Rabbi Ben-Zion Bokser, Building Committee Chair Fred Katzner, Huntington Bache great grand-nephew of Benjamin Franklin in center, Mayor O’Dwyer, & Building Committee members Emanuel Roth, John Turk, & Harvey Pearls

Photo: Architect Joseph J Furman & Rabbi Ben-Zion Bokser overlook the 1947 FHJC cornerstone

The first synagogue was organized in 1931 in a frame house on Kessel Street, and then a 2-story synagogue was erected on site. Later on, the Queens Boulevard cornerstone was laid in 1947, and incorporated one stone from the Holy Land and another from a desecrated synagogue’s ruins in Frankfort on the Main, Germany. The cornerstone reads, “That The World May Be Perfected Under The Kingdom Of The Almighty (1947/ 5708).” The groundbreaking ceremony was attended by Rabbi Ben-Zion Bokser, Chair of Building Committee Fred Katzner, Huntington Bache; great grand-nephew of Benjamin Franklin, Mayor O’Dwyer, and Building Committee members Emanuel Roth, John Turk, and Harvey Pearlstein. 

Stepping into the synagogue’s 1,400-seat sanctuary, the charming ambiance is embellished by stained glass windows and the Aron Kodesh (Holy Ark). The over 20-feet high elaborate golden ark depicts Judaic traditions and holidays, and was designed by the famed artist Arthur Szyk. This was his first 3D creation for a synagogue, and resembles the breastplate of a Torah scroll. It is considered unique how a Torah design element can serve as an inspiration for a larger than life model, which houses the Torah. Historians and critics consider the Ark to be one of the greatest works of 20th century Judaic art. Two of Szyk’s candelabras sit adjacent.

According to the Arthur Szyk Society, Szyk’s art was his means to promote ethnic and religious tolerance, human dignity, and social justice. Syzk worked in the tradition of 16th century miniaturist painters utilizing text and illustrations. The famed Szyk Haggadah was given to Forest Hills Jewish Center. It became a work of hope and courage during Hitler’s rise. It addressed the era’s politics paired with earlier oppression. Referring to WWII, Szyk told the New York Daily Mirror on April 10, 1941, “The Revolution America fought was an ideal that any artist could thrill to. Today art must be almost negatively directed against a force that destroys all ideals. But no true artist has the right to avoid using his strength to strike at the darkness." The Times of London referred to his work to be “among the most beautiful ever produced by the hand of man.” Szyk is considered by art critics to be the greatest illuminator of the past four centuries.

In the late 1940s, a synagogue building boom was underway, especially in the suburbs. Religious persecution and tragedies of the Holocaust were fresh in the consciousness of Americans, resulting in renewed interest in Judaism, and Forest Hills Jewish Center is a physical example of how they persevered with forward thinking and community-oriented faith. The year 1948 also coincided with the new state of Israel, tying into religious pride. The December 1948 issue of “Interiors & Industrial Design” referred to Forest Hills Jewish Center’s style as “a radical departure from the usual Moorish and Oriental style of synagogue architecture.”

Mitchell Grubler, president of Queens Preservation Council, called the synagogue a prime example of post-WWII modernist synagogue architecture. He explained, “After the Second World War, the design of synagogues moved away from traditional Old World influences and embraced a modernist aesthetic. The Forest Hills complex embodies the spirit, design and social philosophies of midcentury Judaism. The temple complex was intended to not only serve a growing suburban Jewish population after WWII, but also to benefit and be open to the wider community with recreational services.” 

Forest Hills Jewish Center is often a subject on Forest Hills history and Mid-Century Modern walking tours. Architectural historian and tour guide Frampton Tolbert also had much to express in the name of preservation. He founded an innovative website, “Queens Modern,” to largely chronicle the period of 1948 to 1970, when the Queens Chamber of Commerce recognized nearly 400 Queens buildings at its annual building awards program. He said, “Forest Hills Jewish Center is a jewel of the neighborhood. The restrained Modern design, including Crab-Orchard stone cladding across a convex facade, is highly visible from MacDonald Park. I have been pleased to include the building as a featured site on my annual tour of Forest Hills architecture.”

Initiative to Re-Designate Elmhurst’s Jamaica Savings Bank as a Landmark

By Michael Perlman

The new Jamaica Savings Bank, Elmhurst, circa 1968

Queens has Jet-Age buildings that merit landmark status, but sometimes they are misunderstood and unappreciated. Locally, one of the most unique Modernist buildings is the former Jamaica Savings Bank at 89-01 Queens Boulevard in Elmhurst. It was erected from 1966 to 1968, and was experimental and revolutionary in style, evoking the spirit of a 1964 World’s Fair pavilion. In 1968, the Queens Chamber of Commerce awarded the bank a bronze plaque for “outstanding excellence.” Today it serves the community as a branch of Bank of America.

In a rare move, after the NYC Landmarks Preservation Commission (LPC) designated the building as an Individual Landmark on June 28, 2005, City Council voted to overturn its designation in November 2005. A majority of City Council was persuaded by the owner’s claim that the bank faced flooding issues, and at the time, City Council Landmarks Subcommittee Chair Simcha Felder and Council Member Helen Sears ultimately did not defend its landmark status. Nearly 15 years later, there is renewed hope and determination by preservationists to see the LPC re-designate a unique architectural work, as the faces behind City Council and the LPC have changed, in addition to the most recent tenant.

Most notably, Council Member Daniel Dromm serving Elmhurst said the bank merits landmarking and would support the vision of Elmhurst History & Cemeteries Preservation Society, according to Marialena Giampino, the organization’s president. She said, “Our organization firmly believes this building is one-of-a-kind with its cutting edge, innovative, and unique design. It resembles something out of the future, and yet we are in the year 2020! It truly is deserving of landmark status!” 

The new Jamaica Savings Bank, Elmhurst, 1968

The LPC’s designation report referenced the bank as “one of the most unique and memorable structures on this busy multi-lane thoroughfare.” Construction began in 1966, which marked the bank’s centennial, and it was designed by the William F. Cann Company, part of the Bank Building and Equipment Corporation of America, based in St. Louis, Missouri. It opened its doors in March 1968. The designation report explained that its form is reminiscent of an elongated saddle, better known as a hyperbolic paraboloid. The LPC stated, “To create this distinctive form, Cann used reinforced concrete and bronze glass, cladding the 116-foot-long roof with copper panels” and then referred to the building as “a bold expression of 20th century engineering recalling works by Eduardo Catalano, Felix Candela, and Eero Saarinen.” “This unusual design solution created not only a column-free banking hall, but a visually-distinctive form that stands out from neighboring structures,” the report read.

From local to out of state, preservationists call on landmarking while sharing their perspectives. Mitchell Grubler, Queens Preservation Council President had much to say about the LPC and City Council. “The bank was designated by the LPC, the body charged with the responsibility for surveying, researching and determining the significance of buildings and districts that require designation in order to ensure the protection of our architectural, historical and cultural patrimony. The problem is that the designation goes to the City Council, a political body, lacking the scholarly expertise of the Commission and its staff.”

He continued, “Its hyperbolic paraboloid form is not only unique, but reflective of its time and represents the optimism for a modernist future in post-World’s Fair Queens and the nation. We need to do more to educate the public and the members of the City Council that the best of Modernist architecture is as worthy of designation as the classical banks and Victorian houses that are so venerated.” 

Former Jamaica Savings Bank, back facade, Photo by Michael Perlman

Architectural historian Frampton Tolbert founded Queens Modern, with hopes of granting recognition and preservation of unappreciated Modernist treasures. He said, “While there is a significant amount of Modern architecture in Queens, most is done by regional architects. This bank is unique, as it was designed by an architect known nationally for cutting-edge bank design. Other Modern buildings in Queens designed by architects of this caliber were typically major projects for airports, and many have been demolished or badly altered. Its eye-catching design was to attract drivers and pedestrians along Queens Boulevard, and is evocative of how bank construction and design of the era embraced Modernism.”

Utah resident Kirk Huffaker, a Consultant for Kirk Huffaker Preservation Strategies, came across this building while researching the company. “So much to the contrary of coming upon it on the street, I was in a dark archive room looking at microfilm, and immediately saw its significance and a clear interpretation of International Style architecture.”

He feels that history does not stop in a certain year. He explained, “Historic architecture, as well as a community’s corresponding history should be viewed along a time continuum. The modern styles of architecture that became prevalent in America after WWII are no less significant to preserve than the more traditional styles. As the National Register of Historic Places tells us, they should be viewed equally.”

“It angers and saddens me that financial gains, land use, and development very often comes at the expense of removing the culture and diversity which makes our city unique, so any local legislator should have the best interest of the community when making decisions that impact its future integrity and honor its history,” said local resident Debby Dip. She compared the bank’s style to the World’s Fair experience. “That was instrumental in placing our lovely borough on the map, as a look to the future. These non-designated buildings and structures and the landmarked Eero Saarinen’s TWA Flight Center at JFK now turned hotel deserve an equal place of honor and integrity, which only landmark status will achieve.”

NYC licensed tour guide Linda Fisher considers the bank to represent the Googie/Populuxe architectural style. “It represents the aspirations of the Space Age and echoes the style of the nearby 1964-65 World’s Fair, and stands as a reminder of the days when Queens was standing on the edge of the future. The modernist flair was uplifting and fun, ready to take off in flight and head for the heights!”

In reference to landmark status being overturned, she said “In 2005, Queens’ reputation was still that of a backwards town and landmarking was disdained. Queens residents were and many still are completely unaware that occurred.”

She feels it is essential to remember what principles were valued by a community. “Each style celebrates and incorporates a guiding value, whether it is the democratic values of the Greeks and Romans or the minimalist values of Brutalism. Modernist architecture tells the story of man’s reach in the modern age, which is a story worth remembering.”

New York State Pavilion Documentary & Preservation Cause Underway

Painting of the New York State Pavilion of the 1964 World's Fair by Artist Doug LeBlang of Forest Hills, NY, December 2013: http://dougleblangartist.com

Remember when New Yorkers rallied with “Save Penn Station” signs, only to witness each strike of the wrecking ball? How about when other monumental buildings such as Grand Central Terminal and Carnegie Hall were on the brink of demolition, until the heroic acts of Jacqueline Kennedy Onassis and Isaac Stern respectively proved otherwise? It is difficult to grasp how sites, once applauded for their architectural and cultural distinction are all too often neglected, abandoned, and demolished. 

Now a debate is unfolding, to determine whether the New York State Pavilion, a symbol of the 1964 – 1965 NY World’s Fair in Flushing Meadows Corona Park should be restored for a new use at $72 million, be stabilized as a ruin for $43 million, or undergo demolition for $14 million.

As the Fair approaches its 50^th anniversary in 2014, the NYS Pavilion is largely fenced off from the public and plagued with rust, algae, weeds, and occasional graffiti. Situated at the geographical center of Queens, its potential exceeds a relic earning a glance from the Grand Central Parkway.

Meet 28 year-old Matthew Silva, a technology and video production teacher of East Northport, who founded the nearly 1,700 member Facebook group, “People For The New York State Pavilion.” The group’s mission is “To share thoughts and images of and about the NYS Pavilion, and to establish a community of activism for the effort of making it a usable and thriving space for New York.” 

Documentary Producer & Founder of People For The Pavilion, Matthew Silva (on left), Photo courtesy of Mitch Silverstein 

 The NYS Pavilion, an experimental-spirited Modernist creation of reinforced concrete and steel by the famed 20^th century architect Philip Johnson, consists of the Tent of Tomorrow, three Observation Towers, and Theaterama (now the Queens Theatre). “It is the Eiffel Tower of Queens, and it wouldn’t feel like Queens if you drove on the Grand Central Parkway and didn’t see those towers in Flushing Meadows Park,” said Silva. 

May the sun shine again at the Tent of Tomorrow, December 2013 Photo by Michael Perlman

Flushing Meadows witnessed over 51.6 million visitors during the 1964 World's Fair & the NYS Pavilion was its symbol. Now the site has a "Do Not Enter" feel due to political inactivity. Let's reverse that! December 2013 Photo by Michael Perlman

The Fair’s theme was “Peace Through Understanding,” evident in the landmarked Unisphere and pavilions which rejoiced international culture and innovative American products of electronics, livelihood, and transportation. The master builder was Robert Moses, 58 countries were represented, and 51,607,307 visitors were recorded.

Silva would occasionally pass the NYS Pavilion as a child, and wondered about its use. Two years ago, he assigned the 1964 World’s Fair to his 8^th grade students. “I gave them the challenge of re-purposing the NYS Pavilion. We studied Penn Station’s demolition and how the High Line was almost demolished, but turned into a brilliant park.” That was also when he created his Facebook group.

To tell his story, he began producing a NYS Pavilion documentary in February 2013. “When I saw the NYS Pavilion in the sunset en route to a show in Manhattan, I said this has an opportunity to be a destination, rather than a shadow in the sky which you pass at night.”  

Today, the Towers’ futuristic elevators have been stripped. In addition, the colorful fiberglass panels on the Tent of Tomorrow’s largest suspension roof in the world have been cracked and removed. The famed 130 ft x 166 ft terrazzo Texaco road map has extensively corroded, and in 2008, the University of Pennsylvania School of Design Graduate Program in Historic Preservation began removing 13 surviving terrazzo panels out of 567 for restoration. 

So much for predictions... The Tent of Tomorrow barred from public eye, December 2013, Photo by Michael Perlman

Very appropriately, “Modern Ruin” is the working title of Silva’s 70 to 90 minute documentary, which will feature interviews with Fairgoers, locals, architects, critics, authors, a woman who operated the Tent of Tomorrow as a roller skating rink, and people who attended concerts at the site. He hinted about unreleased archival material, such as photos of the Tent of Tomorrow’s terrazzo Texaco road map being produced in the factory. The documentary’s trailer will be released this week.

Over the course of his outreach, he discovered his ambition to advocate for the site’s preservation and reuse. “Philip Johnson was such an advocate for the arts and architecture, so as New Yorkers, we need to reciprocate that affection and advocate for his work.”

 

The site was listed on the State & National Register of Historic Places in 2009, which could open the door for restoration-based funding, but since it has not been designated a city landmark, the site is not barred from demolition.

The site’s potential is diverse, and can be a boon to jobs, tourism, education, recreation, and Queens and international history. “Let’s try to imagine a time when the NYS Pavilion will be lit up and host events. People can see a show, attend a wedding, meet friends, and see views of all boroughs from the Towers,” said Silva.

As a team player who is turning “People For The Pavilion” into a 501c3, Silva maintains faith in the Pavilion’s future. “It would be a real tragedy if the Pavilion stood for 50 years, only to be demolished. When it’s re-purposed, people may wonder how they ever lived without it, just how they feel about the High Line.”

“The story will be about a small group of people who rallied to turn it into one of the greatest thriving icons of Queens,” he said. First, the group plans on organizing an ideas competition in 2014, and will be extending outreach to universities, architectural firms, and preservation organizations. 

Join www.facebook.com/groups/NysPavilion and follow @NysPavilionFilm and @msilvafilm on Twitter. Bookmark www.aquarelapictures.com 

The neglected state of the NYS Pavilion's Tent of Tomorrow, December 2013, Photo by Michael Perlman

The neglected state of the NYS Pavilion's observation towers, December 2013, Photo by Michael Perlman

Decades-worth of our city officials rusty actions results in a rusty NYS Pavilion, December 2013, Photo by Michael Perlman

Nature peeks through the Tent of Tomorrow, symbolizing fruitful opportunities ahead, December 2013, Photo by Michael Perlman