Interior

Its interior design has a number of treasures which catches the human eye. The ground floor interior of the Chrysler building has been called as one of the great Art Deco spaces in New York City. It was built according to the designs of architect William Van Allen. For the ground floor interior, Van Allen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.

First of all, it provides dramatic entrances (figure 6). It has 3 entrances. These entrances provide access to the ground floor of the building. They are located on Lexington Avenue. When you come into the main lobby, you enter a machine age temple. The lobby (figure 7) is represented in a combination of deep dark red Moroccan marble and a silvery chrome steel. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme. The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.

Figure 6: The Entrance of the Chrysler Building

Figure 7: The Lobby of the Chrysler Building

In addition, one of the most striking and dramatic features of this interior is the lighting system (figure 8). Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow. Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.

Figure 8: The Lighting System of Chrysler’s Interior

Consequently, the 3^rd inspiring feature is one of the largest ceiling murals in the world (figure 9). This ceiling was painted by Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces. The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shows the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx.

Figure 9: The Ceiling Murals of the Chrysler by Edward Trumbull

The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an Egyptian abstract lotus pattern executed in metal and inlaid wood

veneers (figure 10). The elevator cabs are of four design types. All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stain wood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.

Figure 10: The Elevator Doors of the Chrysler Building

Finally, the curved staircases (figure 11) at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters. At ground floor level, the railings

terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.

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Figure 11: The Curved Staircase of the Chrysler Building

Date: 2015-01-11; view: 2231