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128 Pierrepont Street in Brooklyn Heights

Welcome to our landmark 1881 Queen Anne-style building

Designed by renowned architect George Browne Post, the building features terra-cotta ornamentation on the facade and an innovative truss system to support the ceiling of the central library. Architectural historians have praised Post’s design for blending technological innovation and graceful aesthetics.

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The Makings of a Landmark

The building’s masonry consists of unglazed terra-cotta and repressed brick. It was the first building in New York City to use locally produced terra-cotta. The facade is adorned with busts of Christopher Columbus, Benjamin Franklin, William Shakespeare, Johannes Gutenberg, Ludwig van Beethoven, and Michelangelo Buonarroti sculpted by Olin Levi Warner. The busts are interspersed with representations of American flora by Truman H. Bartlett.

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Post employed artists and craftsmen of the aesthetic movement to embellish the interior spaces. Stained-glass lunettes and a central laylight are believed to have originated from the studio of noted artist Charles Booth. Design elements throughout the building include Minton tile floors, custom-made bronze hardware (designed by Post), and elaborately carved black ash woodwork in the library.

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Long Island Historical Society, Longitudinal Section, ca. 1863, George Browne Post, M1993.212.1.2.; Brooklyn Historical Society.

Inspired by the design of the Brooklyn Bridge, Post suspended the top floor of the building from iron trusses in the roof, creating an open and elegant reading room. Additional iron columns enclosed in carved wood support the galleries in the library.

Brooklyn Historical Society is one of the few remaining examples of an institutional model common in the nineteenth century: the combined museum and library.

The vestibule, lobby, stairs, and library were all listed in 1982 by the city of New York as interior landmarks — a rare designation in Brooklyn. In 1992, the entire building was added to the National Register of Historic Places.

About the Architect: George Browne Post

George Browne Post

George Browne Post (1837–1913), often called “the father of the tall building in New York,” used innovative engineering techniques during a time of great social and technological change. He experimented with new material and methods to create large, open interior spaces. His work presaged and made possible the golden age of skyscrapers in the early twentieth century.

Post’s Equitable Life Assurance Society Building (built 1868–1870) was the first office building designed to use elevators. When it was completed in 1890, the New York World Building (1890), also designed by Post, had the distinction of being the tallest building in New York. One of Post’s commercial masterpieces, the vast New York Produce Exchange, had an enormous skylighted hall. All of these buildings have been demolished.

The New York Stock Exchange survives as an example of Post’s inventive use of steel supports to create uncluttered interior spaces.

New York Produce Exchange

New York Produce Exchange

Post’s Equitable Life Assurance Society Building (built 1868–1870) was the first office building designed to use elevators. When it was completed in 1890, the New York World Building (1890), also designed by Post, had the distinction of being the tallest building in New York. One of Post’s commercial masterpieces, the vast New York Produce Exchange, had an enormous skylighted hall. All of these buildings have been demolished.

The New York Stock Exchange survives as an example of Post’s inventive use of steel supports to create uncluttered interior spaces.

128 Pierrepont Street Over the Years

Since its completion in 1881, 128 Pierrepont Street has been updated to accommodate changing needs and technologies, while still remaining true to architect George Browne Post’s original design.

The Shellens Gallery, Photographic print, 1890, v1973.2.237; Brooklyn Historical Society.

The building’s main floor was originally used as a lecture hall, and featured a sloped floor and seating for an audience of 600. By 1890, the lecture hall had fallen out of use, and the institution’s leaders commissioned plans for the leveling of the floor. They did not act until 1917, when hardwood floors were installed on top of the cast iron chairs and the space was turned over the space to the Red Cross during World War I.

In 1926, the society’s leaders decided to rent out the main floor to businesses. The Great Hall was partitioned, the door between the entryway and the hall was closed off, and commercial entrances were installed along Clinton Street. The partitions remained until 1987, when architectural firm Jan Hird Pokorny Associates restored the space as a public hall.

In the original design, the building was outfitted with gas fixtures. The library featured fifteen glass chandeliers in the library and globe-shaped glass fixtures along the walls of the lecture hall and around the room’s cast iron columns. Electric lighting was first dismissed as too dim, but was finally installed in the 1890s by Edison Electric Illuminating Company.

In the 1930s, a number of alterations were made to modernize the building. A sprinkler system and fire escape were installed, and an elevator was built in the present-day Giuseppe Fransioli gallery, destroying the original stained-glass laylight.

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In the original design, the building was outfitted with gas fixtures. The library featured fifteen glass chandeliers in the library and globe-shaped glass fixtures along the walls of the lecture hall and around the room’s cast iron columns. Electric lighting was first dismissed as too dim, but was finally installed in the 1890s by Edison Electric Illuminating Company.

In the 1930s, a number of alterations were made to modernize the building. A sprinkler system and fire escape were installed, and an elevator was built in the present-day Giuseppe Fransioli gallery, destroying the original stained-glass laylight.

In 1999, Jan Hird Pokorny Associates — the same firm that had removed the partitions from the main floor in the 1980s — broke ground on an even more extensive renovation. The ornate terra-cotta facade was cleaned and repainted, returning the masonry to its original bright, warm red. The building and the roof were restored to their original splendor, including the clock tower. The elevator that occupied the present-day Giuseppe Fransioli gallery was removed, and the stained-glass laylight reinstalled.

The renovation also modernized the building. A climate control system was installed to preserve the society’s valuable collections. Handicapped-accessible elevators provided access to all floors. The society was also wired for high-speed internet access.

Between 2012 and 2014, BHS again updated its building to create an even more welcoming and engaging public space. Christoff:Finio Architecture made alterations to the first floor and lower level to provide improved exhibition, retail, and program space, along with a state-of-the-art classroom for the thousands of students who visit the building yearly.

Photo: Cameron Blaylock

The renovation also modernized the building. A climate control system was installed to preserve the society’s valuable collections. Handicapped-accessible elevators provided access to all floors. The society was also wired for high-speed internet access.

Between 2012 and 2014, BHS again updated its building to create an even more welcoming and engaging public space. Christoff:Finio Architecture made alterations to the first floor and lower level to provide improved exhibition, retail, and program space, along with a state-of-the-art classroom for the thousands of students who visit the building yearly.

Next: Explore the history of the Othmer Library.