Villard Houses (Wikipedia featured)
The Villard Houses are a set of former residences on Madison Avenue, between 50th and 51st streets, in the Midtown Manhattan neighborhood of New York City, New York, United States.
维拉德住宅是位于美国纽约市曼哈顿中城麦迪逊大道第 50 街和第 51 街之间的一组旧住宅。
Designed by the architect Joseph Morrill Wells of McKim, Mead & White in the Renaissance Revival style, the residences were erected in 1884 for Henry Villard, the president of the Northern Pacific Railway.
这些住宅由 McKim, Mead & White 的建筑师约瑟夫·莫里尔·韦尔斯 (Joseph Morrill Wells) 设计，采用文艺复兴风格，于 1884 年为北太平洋铁路总裁亨利·维拉德 (Henry Villard) 建造。
Since 1980, the houses have been part of the Lotte New York Palace Hotel (formerly Helmsley Palace Hotel), the main tower of which is to the east.
自 1980 年以来，这些房屋一直是乐天纽约皇宫酒店（原赫尔姆斯利皇宫酒店）的一部分，其主塔位于东侧。
The building comprises six residences in a U-shaped plan, located at 29+1⁄2 50th Street, 24–26 East 51st Street, and 451–457 Madison Avenue.
该建筑由六栋 U 形住宅组成，分别位于 29+1⁄2 50 街、24-26 东 51 街和 451-457 麦迪逊大道。
Wings to the north, east, and south surround a courtyard facing the avenue.
北面、东面和南面的翼楼围绕着面向大道的庭院。
The facade is made of brownstone, and each house consists of a raised basement, three stories, and an attic.
立面由褐石建成，每栋房屋均由一个凸起的地下室、三层楼和一个阁楼组成。
Among the artists who worked on the interiors were art-glass manufacturer John La Farge, sculptor Augustus Saint-Gaudens, and painter Maitland Armstrong.
参与室内设计的艺术家包括艺术玻璃制造商约翰·拉法奇 (John La Farge)、雕塑家奥古斯都·圣高登斯 (Augustus Saint-Gaudens) 和画家梅特兰·阿姆斯特朗 (Maitland Armstrong)。
Some of the more elaborate spaces, such as the Gold Room, the dining room, and the reception area in the south wing of the complex, still exist.
一些更精致的空间，如金厅、餐厅和建筑群南翼的接待区仍然存在。
Villard bought the land in 1881 and commissioned the houses shortly before he went bankrupt.
维拉德于 1881 年购买了这片土地，并在破产前不久委托建造了这些房屋。
The residences were resold multiple times through the mid-20th century; the Fahnestock and Reid families owned five of the houses by the 1920s.
整个 20 世纪中叶，这些住宅多次转售；到 1920 年代，Fahnestock 和 Reid 家族拥有其中五栋房屋。
The Roman Catholic Archdiocese of New York acquired much of the complex in the late 1940s, and it bought the northernmost residence at 457 Madison Avenue from Random House in 1971.
纽约罗马天主教大主教管区在 20 世纪 40 年代末收购了该建筑群的大部分，并于 1971 年从兰登书屋购买了位于麦迪逊大道 457 号最北端的住宅。
The houses were restored when the Helmsley Palace Hotel was built from 1978 to 1980.
1978 年至 1980 年赫尔姆斯利宫酒店建成时，这些房屋得到了修复。
The north wing was converted into an office for the Municipal Art Society, a preservation group, which occupied that space until 2010.
北翼被改建为市政艺术协会的办公室，该协会是一个保护团体，一直占据该空间直至 2010 年。
Other parts of the interior were converted into event spaces for the hotel.
内部的其他部分被改造成酒店的活动空间。
When the houses were completed, wealthy New Yorkers considered the buildings' design to be restrained compared with other mansions.
当这些房屋竣工后，富有的纽约人认为与其他豪宅相比，这些建筑的设计受到限制。
The houses continued to receive architectural commentary through the 20th century, with observers such as Ada Louise Huxtable praising their design.
整个 20 世纪，这些房屋不断受到建筑评论，艾达·路易丝·赫克斯塔布尔 (Ada Louise Huxtable) 等观察家称赞其设计。
The residences are New York City designated landmarks and are listed on the National Register of Historic Places.
这些住宅是纽约市的指定地标，并被列入国家历史名胜名录。
The Villard Houses are in the Midtown Manhattan neighborhood of New York City, New York, United States, located on a site bounded by Madison Avenue to the west, 51st Street to the north, and 50th Street to the south.
维拉德住宅区位于美国纽约州纽约市曼哈顿中城附近，西至麦迪逊大道，北至 51 街，南至 50 街。
The residences are spread across two land lots.
这些住宅分布在两块土地上。
The rectangular land lot under the northern residence, at 457 Madison Avenue, has a frontage of 60 feet (18 m) on Madison Avenue and 74 feet (23 m) on 51st Street, and it covers about 4,485 square feet (416.7 m2).
北宅邸下方的矩形土地位于麦迪逊大道 457 号，麦迪逊大道临街面长 60 英尺（18 m），第 51 街临街面宽 74 英尺（23 m），占地面积约 4,485 平方英尺（416.7 平方米）。
The rest of the residences occupy part of a second land lot, which is shared with the Lotte New York Palace Hotel immediately to the east.
其余住宅占据第二块土地的一部分，该土地与东边的乐天纽约皇宫酒店共享。
The L-shaped lot has a frontage of 140 feet (43 m) on Madison Avenue and 200 feet (61 m) on 50th Street, and it covers 35,720 square feet (3,318 m2).
L 形地块在麦迪逊大道上的临街面积为 140 英尺（43 m），在第 50 街的临街面积为 200 英尺（61 m），占地面积 35,720 平方英尺（3,318 平方米）。
Nearby buildings include Olympic Tower, 11 East 51st Street, and 488 Madison Avenue to the northwest; St. Patrick's Cathedral to the west; and 18 East 50th Street and the Swiss Bank Tower to the southwest.
附近的建筑物包括奥林匹克塔、东 51 街 11 号和西北方向的麦迪逊大道 488 号；西边是圣帕特里克大教堂；东 50 街 18 号和西南方向的瑞士银行大厦。
The houses were commissioned by Henry Villard, the president of the Northern Pacific Railway.
这些房屋是由北太平洋铁路总裁亨利·维拉德委托建造的。
After immigrating to the U.S. as a young man, Villard worked as a journalist and later took over several railroad companies in the 1870s.
维拉德年轻时移民到美国，担任记者，后来在 1870 年代接管了几家铁路公司。
Villard wanted a building that resembled palaces in his native Bavaria.
维拉德想要一座类似于他的祖国巴伐利亚宫殿的建筑。
In April 1881, Villard bought a plot on the east side of Madison Avenue between 50th and 51st streets from the trustees of St. Patrick's Cathedral.
1881 年 4 月，维拉德从圣帕特里克大教堂的受托人手中购买了麦迪逊大道东侧第 50 街和第 51 街之间的一块地皮。
The site was 200 feet (61 m) wide and either 151 feet (46 m) or 175 feet (53 m) deep.
该场地宽 200 英尺（61 m），深 151 英尺（46 m）或 175 英尺（53 m）。
The Park Avenue railroad line ran directly east of the site, and there was also an orphanage to the north, St. Patrick's Cathedral to the west, and the Columbia College campus to the south.
公园大道铁路线直接穿过该地点的东边，北边还有一家孤儿院，西边有圣帕特里克大教堂，南边有哥伦比亚学院校园。
The land itself was occupied by the Church of St. John the Evangelist, which had been abandoned in 1879 and subsequently sold to a colonel named J.
这片土地本身曾被圣约翰福音传教士教堂占用，该教堂于 1879 年被废弃，随后卖给了一位名叫 J. 的上校。
Augustus Page.
奥古斯都·佩奇。
Villard paid $260,000 (equivalent to about $7.40 million in 2024) for the land after St. Patrick's trustees declined a higher offer from another potential buyer who wanted to build an entertainment venue there.
圣帕特里克受托人拒绝了另一位想要在那里建造娱乐场所的潜在买家提出的更高报价后，维拉德支付了 26 万美元（相当于 2024 年约 740 万美元）购买这块土地。
Charles Follen McKim was hired to design a group of houses for Villard, arranged around a courtyard with a fountain and garden.
查尔斯·福伦·麦金 (Charles Follen McKim) 受雇为维拉德设计一组房屋，这些房屋围绕着一个带喷泉和花园的庭院布置。
Villard had previously hired the firm to design other buildings; in addition, McKim was one of Villard's family friends, and Villard's brother-in-law was married to McKim's sister.
维拉德此前曾聘请该公司设计其他建筑；此外，麦金是维拉德的家庭朋友之一，维拉德的姐夫与麦金的妹妹结婚。
The Real Estate Record and Guide speculated that the mansions were arranged to "secure privacy and get rid of tramps, and to live in a quiet and secluded way", similar to dwellings in the suburbs of London and Paris.
《房地产记录与指南》推测，这些豪宅的布置是为了“确保隐私并摆脱流浪汉，以安静和隐蔽的方式生活”，类似于伦敦和巴黎郊区的住宅。
Villard also wanted a landscaped garden east of the houses, but this was never added to the official plans.
维拉德还想在房子东边建一个景观花园，但这从未被添加到官方计划中。
He planned to move into one of the houses and rent the remaining residences to his friends.
他打算搬进其中一所房子，然后把剩下的住所租给他的朋友。
The writer Elizabeth Hawes wrote that, by doing so, Villard wanted to create "a pleasant neighborhood unit" that positively impacted future urban developments.
作家伊丽莎白·霍伊斯写道，维拉德希望通过这样做创建“一个令人愉快的社区单位”，对未来的城市发展产生积极影响。
A later New York Times article said that Villard had planned the entire complex as his own residence, but he was obligated to split it into multiple smaller units when his wealth declined.
《纽约时报》后来的一篇文章称，维拉德曾将整个建筑群规划为自己的住所，但当他的财富减少时，他有义务将其分成多个较小的单元。
Details of the design were revised through late 1881, when McKim temporarily left New York City to work on a railroad terminal for Villard in Portland, Oregon.
1881 年末，设计细节不断修改，当时 McKim 暂时离开纽约市，前往俄勒冈州波特兰维拉德的铁路终点站工作。
The job was reassigned to Stanford White, who, after a short time, left the city to visit his brother in New Mexico.
这项工作被重新分配给斯坦福·怀特，不久之后，他离开这座城市去新墨西哥州看望他的兄弟。
White reassigned his projects to various junior architects in his office, and Joseph Morrill Wells agreed to take over the design of the Villard Houses from the firm's remaining partner, William Rutherford Mead.
怀特将他的项目重新分配给他办公室的各个初级建筑师，约瑟夫·莫里尔·威尔斯同意从公司剩下的合伙人威廉·卢瑟福·米德手中接手维拉德住宅的设计。
According to the historian Leland M.
据历史学家 Leland M.
Roth, one account had it that McKim and White had "immediately [became] advocates of Renaissance classicism" upon returning and seeing the updated plans.
根据罗斯的说法，麦金和怀特在返回并看到更新后的计划后“立即[成为]文艺复兴古典主义的拥护者”。
Roth wrote that McKim and White were probably responsible for the general style of the facade, although Wells was definitely responsible for the architectural details.
罗斯写道，麦金和怀特可能负责立面的总体风格，尽管威尔斯肯定负责建筑细节。
Villard wanted to use brownstone rather than another material such as limestone.
维拉德想使用褐砂石而不是石灰石等其他材料。
White's original architectural drawings for the project no longer exist.
怀特为该项目设计的原始建筑图纸已不复存在。
Workers were excavating the northeast corner of Madison Avenue and 50th Street by November 1881.
1881 年 11 月，工人们正在挖掘麦迪逊大道和第 50 街的东北角。
The contractors drilled down until they had exposed the underlying layer of bedrock, since Villard did not want to damage Columbia College's buildings nearby.
承包商一直向下钻探，直到露出下面的基岩层，因为维拉德不想损坏附近哥伦比亚学院的建筑。
In May 1882, McKim, Mead & White submitted plans to the Bureau of Buildings for a four-story residence at 451 Madison Avenue (on the corner with 50th Street), measuring 100 by 60 feet (30 by 18 m).
1882 年 5 月，McKim、Mead & White 向建筑局提交了位于麦迪逊大道 451 号（与 50 街拐角处）建造一座四层住宅的计划，尺寸为 100 x 60 英尺（30 x 18 m）。
This was to be the first of a series of six residences surrounding a courtyard.
这是围绕庭院的一系列六栋住宅中的第一栋。
Work on 451 Madison Avenue began on May 4 of that year.
麦迪逊大道 451 号的施工于当年 5 月 4 日开始。
By late 1882, the houses' exteriors had been completed, and parts of the interiors were being furnished.
到 1882 年底，房屋的外部已经完工，部分内部装修正在进行中。
One residence on the north wing, the unit with a doorway facing the courtyard, was to have been occupied by Villard's adviser, Horace White, but this did not happen.
北翼的一处住宅，即门口面向庭院的单元，原定由维拉德的顾问霍勒斯·怀特（Horace White）居住，但这并没有发生。
Villard obtained a mortgage loan for the property from the Manhattan Savings Institution in late 1882.
1882 年末，维拉德从曼哈顿储蓄机构获得了该房产的抵押贷款。
One of the three wings had been built by mid-1883, and Villard's legal adviser Artemas H.
三个翼楼之一已于 1883 年中期建成，维拉德的法律顾问 Artemas H.
Holmes indicated in an April 1883 letter that the foundations for 453 and 455 Madison Avenue were being built.
霍姆斯在 1883 年 4 月的一封信中表示，麦迪逊大道 453 号和 455 号的地基正在建造中。
McKim, Mead & White designed the interiors of all of the residences as well.
McKim、Mead & White 还设计了所有住宅的室内设计。
At the time, most residences were laid out by interior designers and decorators rather than architecture firms.
当时，大多数住宅都是由室内设计师和装饰师而不是建筑公司布置的。
The interiors of each residence were designed to fit the tastes of the respective tenants.
每栋住宅的内部设计均符合各自租户的品味。
The Villard Houses cost $1 million without furnishings (equivalent to about $29.32 million in 2024), and the decoration cost another $250,000 (about $7.33 million in 2024).
维拉德别墅不含家具的成本为 100 万美元（相当于 2024 年约 2932 万美元），装修费用另需 25 万美元（相当于 2024 年约 733 万美元）。
Stanford White was proud of the project, recalling in 1896 that it was "the beginning of any good work that we may have done".
斯坦福·怀特 (Stanford White) 为这个项目感到自豪，他在 1896 年回忆道，这是“我们可能所做的任何优秀工作的开始”。
The residences were New York City's first houses designed in the Roman High Renaissance style.
这些住宅是纽约市第一批按照罗马盛期文艺复兴风格设计的房屋。
The construction of the houses coincided with a decline in Villard's personal finances, which in turn was caused by his excessive investments in railroads.
这些房屋的建造恰逢维拉德个人财务状况的下降，而这又是由于他对铁路的过度投资造成的。
Villard moved into his mansion on December 17, 1883, on the same day that he resigned from the Oregon and Transcontinental Company.
维拉德于 1883 年 12 月 17 日搬入自己的宅邸，同一天他从俄勒冈州和横贯大陆公司辞职。
He was bankrupt by that time and could not formally sell the houses due to liens placed on his property.
当时他已经破产，由于对其财产留置权，无法正式出售这些房屋。
That month, Villard transferred two of the other lots next to his residence to his legal advisers, Edward D.
当月，维拉德将其住所旁边的另外两块土地转让给了他的法律顾问爱德华·D·维拉德 (Edward D.
Adams and Artemas H.
亚当斯和阿特玛斯 H.
Holmes.
福尔摩斯。
Villard mandated that Holmes and Adams complete the remaining residences in a similar style to his own residence.
维拉德要求福尔摩斯和亚当斯以与他自己的住宅类似的风格完成剩余的住宅。
In January 1884, trustees William Crowninshield Endicott and Horace White took over Villard's residence to satisfy a $300,000 debt.
1884 年 1 月，受托人 William Crowninshield Endicott 和 Horace White 接管了维拉德的住所，以偿还 30 万美元的债务。
Amid the bankruptcy proceedings, a crowd protested in the courtyard in early 1884, believing all the houses around the yard belonged to Villard.
1884 年初，在破产程序期间，一群人在院子里抗议，认为院子周围的所有房屋都属于维拉德。
The Villard family moved out of the residence that May, relocating to Dobbs Ferry, New York, permanently.
维拉德一家于五月搬出住所，永久搬迁至纽约州多布斯费里。
Villard later recalled that his occupancy of the Madison Avenue house "was always a nightmare".
维拉德后来回忆说，他入住麦迪逊大道的房子“一直是一场噩梦”。
Villard's bankruptcy prompted the railroad magnate Thomas Fletcher Oakes to renege on a promise to buy 455 Madison Avenue.
维拉德的破产促使铁路巨头托马斯·弗莱彻·奥克斯 (Thomas Fletcher Oakes) 违背了购买麦迪逊大道 455 号的承诺。
Adams moved into Number 455, while Holmes occupied Number 453.
亚当斯搬进了 455 号，而福尔摩斯则搬进了 453 号。
In addition, Adams bought 24 East 51st Street and partnered with the investment banker Harris C.
此外，亚当斯还购买了东 51 街 24 号，并与投资银行家 Harris C.
Fahnestock to acquire 22 East 51st Street.
Fahnestock 将收购东 51 街 22 号。
The trustees oversaw the completion of the remaining houses around the courtyard.
受托人监督庭院周围剩余房屋的竣工。
A June 1884 letter from Holmes indicates that workers had not started constructing the courtyard yet.
1884 年 6 月，福尔摩斯的一封信表明，工人们尚未开始建造庭院。
In 1885, Adams filed plans for an extra staircase, bathrooms, and a dressing room at 455 Madison Avenue.
1885 年，亚当斯提交了在麦迪逊大道 455 号增建楼梯、浴室和更衣室的计划。
Work on the houses continued until 1885, and Villard's finances had recovered by January 1886, when William Endicott and Horace White were listed as having substantially completed the Villard Houses.
这些房屋的工程一直持续到 1885 年，维拉德的财务状况在 1886 年 1 月已经恢复，当时威廉·恩迪科特 (William Endicott) 和霍勒斯·怀特 (Horace White) 被列为基本上完成了维拉德房屋的建设。
That month, Villard's wife Fannie Garrison Villard repurchased the properties for a nominal sum.
当月，维拉德的妻子范妮·加里森·维拉德以象征性的金额回购了这些房产。
The residence at 457 Madison Avenue was then sold to Fahnestock.
麦迪逊大道 457 号的住宅随后被出售给 Fahnestock。
He had waited several months to obtain Number 457, but the trustees refused to sell the property until the other houses, save for Number 451, had been rented.
他等了几个月才获得 457 号，但受托人拒绝出售该房产，直到除了 451 号以外的其他房屋都已出租。
Fahnestock also bought Adams's ownership stake in 22 East 51st Street, and his son William moved there.
法内斯托克还购买了亚当斯在东 51 街 22 号的所有权股份，他的儿子威廉也搬到了那里。
Fahnestock had planned to combine 457 Madison Avenue and 22 East 51st Street as early as 1886, but this did not happen at the time.
Fahnestock 早在 1886 年就计划将麦迪逊大道 457 号和东 51 街 22 号合并起来，但当时这一计划并未实现。
Meanwhile, Villard ended up selling his own residence, Number 451, to Darius Ogden Mills; that house became the residence of Mills's daughter Elisabeth Mills Reid, who was married to New-York Tribune editor Whitelaw Reid.
与此同时，维拉德最终将自己的 451 号住宅卖给了达柳斯·奥格登·米尔斯 (Darius Ogden Mills)；那栋房子成为米尔斯的女儿伊丽莎白·米尔斯·里德的住所，她嫁给了《纽约论坛报》编辑怀特劳·里德。
The Reid family is variously cited as having paid $350,000 or $400,000.
据报道，里德家族已支付了 35 万或 40 万美元。
Originally, the residences were known as Cathedral Court because they faced St. Patrick's Cathedral.
最初，这些住宅被称为大教堂庭院，因为它们面向圣帕特里克大教堂。
In the late 19th and early 20th centuries, the Villard Houses retained many of its original residents, even when neighborhoods further uptown became more fashionable.
在 19 世纪末和 20 世纪初，维拉德住宅区保留了许多原来的居民，即使住宅区更远的社区变得更加时尚。
The Wells, Reid, Holmes, Adams, and Fahnestock families lived in the Villard Houses during the 1900s.
1900 年代，Wells、Reid、Holmes、Adams 和 Fahnestock 家族居住在 Villard Houses。
By the early 1920s, the northern three residences belonged to the Fahnestock family, while two of the three southern residences were owned by the Reid family.
到了 1920 年代初期，北部的三栋住宅属于 Fahnestock 家族，而南部的三栋住宅中的两栋则属于 Reid 家族。
The residence at 24 East 51st Street was purchased by Scribner's Monthly publisher Roswell Smith in September 1886, and Babb, Cook & Willard designed an expansion of Number 24 soon after.
1886 年 9 月，斯克里布纳月刊出版商罗斯威尔·史密斯 (Roswell Smith) 购买了东 51 街 24 号的住宅，不久之后，巴布、库克和威拉德 (Babb, Cook & Willard) 设计了 24 号的扩建工程。
Roswell Smith died at 24 East 51st Street in 1892, and his estate sold 22 and 24 East 51st Street two years later to Catherine L.
罗斯威尔·史密斯 (Roswell Smith) 于 1892 年在东 51 街 24 号去世，两年后，他的遗产将东 51 街 22 号和 24 号卖给了凯瑟琳·史密斯 (Catherine L. Smith)。
and Charles W.
和查尔斯·W.
Wells for about $80,000.
威尔斯大约8万美元。
Businessman E.
商人E。
H.
H.
Harriman was living in the north wing by 1899, when The New York Times reported on his involvement in the Harriman Alaska expedition.
1899 年，《纽约时报》报道了哈里曼参与阿拉斯加探险活动时，哈里曼就住在北翼。
The Wells family retained ownership of 24 East 51st Street until 1909, when the house was given to B.
威尔斯家族保留了东 51 街 24 号的所有权，直到 1909 年，该房屋被转让给 B.
Crystal & Son as a partial payment for an apartment building in Washington Heights, Manhattan.
Crystal & Son 作为曼哈顿华盛顿高地一栋公寓楼的部分付款。
Harris Fahnestock bought 24 East 51st Street in 1910 and gave the residence to his daughter Helen Campbell.
哈里斯·法内斯托克 (Harris Fahnestock) 于 1910 年买下了东 51 街 24 号，并将住宅送给了他的女儿海伦·坎贝尔 (Helen Campbell)。
When Harris Fahnestock died in 1914, his son Clarence moved into Number 457.
1914 年 Harris Fahnestock 去世后，他的儿子 Clarence 搬进了 457 号。
Clarence lived there until his death four years later, when Clarence's brother William inherited that house.
克拉伦斯一直住在那里，直到四年后去世，当时克拉伦斯的兄弟威廉继承了那栋房子。
William hired Charles Platt in 1922 to combine 457 Madison Avenue and 22 East 51st Street, and Platt removed the 51st Street entrance to the latter house.
1922 年，威廉聘请查尔斯·普拉特 (Charles Platt) 将麦迪逊大道 457 号和东 51 街 22 号合并起来，普拉特拆除了后一栋房子的 51 街入口。
The Fahnestocks continued to live at Number 457 until 1929.
Fahnestock 一家一直住在 457 号，直到 1929 年。
William Fahnestock refinanced his portion of the property in 1932 with a $130,000 mortgage from the First National Bank.
1932 年，威廉·法内斯托克 (William Fahnestock) 从第一国民银行 (First National Bank) 获得了 13 万美元的抵押贷款，为他那部分财产进行了再融资。
The next year, Helen Campbell's husband John Hubbard died at Number 24.
第二年，海伦·坎贝尔的丈夫约翰·哈伯德在 24 号去世。
The Reid family had moved into 451 Madison Avenue by early 1887, and they redecorated their rooms in a more ornate style shortly thereafter.
1887 年初，里德家族搬进了麦迪逊大道 451 号，不久之后他们将房间重新装修得更加华丽。
Stanford White was hired to redesign the residence's public rooms.
斯坦福·怀特受聘重新设计住宅的公共房间。
White added decorations such as glass-and-onyx panels, and Reid hired John La Farge to paint murals for Number 451's music room.
White 添加了玻璃和缟玛瑙面板等装饰，Reid 聘请 John La Farge 为 451 号的音乐室绘制壁画。
Just as La Farge was completing the murals, White decided to change their color scheme, forcing La Farge to repaint the murals.
正当拉法奇完成壁画时，怀特决定改变他们的配色方案，迫使拉法奇重新绘制壁画。
The expansion was finished by 1892 and consisted of an L-shaped stairway leading to a double-arched entrance porch.
扩建工程于 1892 年完成，包括一条通往双拱形入口门廊的 L 形楼梯。
The Reid family also redecorated Number 451's drawing rooms in 1891, and they hired Edwin Austin Abbey to create a painting for their dining room in 1896.
1891 年，里德家族还重新装修了 451 号的客厅，并于 1896 年聘请埃德温·奥斯汀·阿比 (Edwin Austin Abbey) 为他们的餐厅创作一幅画。
By 1904, the Reid family had expanded the basement to the east to accommodate enlarged service areas.
到 1904 年，里德家族将地下室向东扩建，以容纳扩大的服务区。
A local architect, Louis Thouvard, designed the basement expansion and drew up plans for a Beaux-Arts–style expansion above it; however, the latter plans were not carried out.
当地建筑师 Louis Thouvard 设计了地下室扩建，并为上面的美术风格扩建制定了计划；然而，后一个计划并未实施。
Whitelaw Reid became the U.S. ambassador to England the next year, and his family began spendign more time in England.
怀特劳·里德于次年成为美国驻英国大使，他的家人开始在英国度过更多的时间。
They erected a seven- or eight-story addition east of Number 451 in 1909, which was designed by William M.
1909 年，他们在 451 号东边加建了一座七、八层楼的建筑，由 William M.
Kendall of McKim, Mead & White.
McKim、Mead & White 的肯德尔。
The next year, the firm designed alterations to Number 451, including new elevators.
第二年，该公司对 451 号大楼进行了改造，包括安装新电梯。
The architects also replaced a guest suite on the second story with a drawing room, and they expanded the basement and dining room.
建筑师还用客厅取代了二楼的一间客房，并扩建了地下室和餐厅。
Whitelaw Reid died in England in 1912, and the Reids stopped hosting major events at the house in 1919, with Elisabeth choosing to spend time in her other home at Ophir Hall.
怀特劳·里德 (Whitelaw Reid) 于 1912 年在英国去世，里德家族于 1919 年停止在这座房子举办重大活动，伊丽莎白选择在她位于奥菲尔大厅 (Ophir Hall) 的另一处住宅中度过时光。
The 1920 United States census recorded Elisabeth Mills Reid, as living at Number 451 with seventeen servants.
1920 年美国人口普查显示，伊丽莎白·米尔斯·里德 (Elisabeth Mills Reid) 住在 451 号，有 17 名仆人。
Following Elisabeth's 1931 death, the furnishings in Number 451 were sold in May 1934, when thousands of people attended an auction there.
1931 年伊丽莎白去世后，451 号的家具于 1934 年 5 月售出，当时有数千人参加了那里的拍卖。
Number 453 was leased to William Sloane by 1916 and was placed for sale the following year.
1916 年，453 号住宅被租给 William Sloane，并于次年出售。
Elisabeth Reid acquired the house, loaning it during World War I to the American Red Cross.
伊丽莎白·里德买下了这栋房子，并在第一次世界大战期间将其借给了美国红十字会。
Reid hired Raymond Hood in 1920 to make alterations to Number 453, and an elevator was installed in that house the same year.
1920 年，里德聘请雷蒙德·胡德 (Raymond Hood) 对 453 号进行改建，同年该房屋安装了电梯。
No other structural changes to the house were documented until World War II.
直到第二次世界大战之前，没有记录到房屋的其他结构变化。
Next door, Edward D.
隔壁，爱德华·D.
Adams sold 455 Madison Avenue in 1922, following his wife's death.
1922 年，亚当斯在妻子去世后出售了麦迪逊大道 455 号。
Helen Campbell's daughter, also named Helen, moved into Number 455 with her husband Clarence Gaylor Michalis and their children.
海伦·坎贝尔 (Helen Campbell) 的女儿，也叫海伦 (Helen)，与她的丈夫克拉伦斯·盖勒·米哈利斯 (Clarence Gaylor Michalis) 和孩子们一起搬进了 455 号。
The Fahnestock and Reid houses, which had been vacated when their owners died, continued to be unoccupied until World War II.
法内斯托克（Fahnestock）和里德（Reid）的房屋在主人去世后就被腾空，直到第二次世界大战为止一直无人居住。
The Reid family lent Number 451 to the Coordinating Council of French Relief Societies in March 1942.
1942 年 3 月，里德家族将 451 号借给法国救济协会协调委员会。
The following May, the French Relief Societies moved across the courtyard to Number 457, and the Women's Military Services Club opened its clubhouse in Number 451.
第二年 5 月，法国救济协会搬到院子对面的 457 号，女子军事服务俱乐部在 451 号开设了俱乐部会所。
At the opening of the Military Services Club, New York City mayor Fiorello La Guardia declared, "You won't see any more private mansions like this.
在军事服务俱乐部的开幕式上，纽约市市长菲奥雷洛·拉瓜迪亚宣称：“你不会再看到像这样的私人豪宅了。
You'll see more wholesome houses for more people."
你会为更多的人看到更健康的房子。”
Robert J.
罗伯特·J。
Marony acquired Number 457 for around $200,000 in June 1944.
1944 年 6 月，马罗尼以大约 20 万美元的价格买下了 457 号。
The government of the United States had to approve the sale because three Fahnestock heirs were overseas in internment camps during World War II.
由于二战期间法内斯托克的三名继承人被关在海外的拘留营，因此这笔交易必须得到美国政府的批准。
The title to Number 457 was transferred to Joseph P.
457 号的所有权转移给 Joseph P.
Kennedy, former U.S. ambassador to the United Kingdom, in April 1945; Kennedy also obtained a 9⁄24 interest at 453–455 Madison Avenue.
肯尼迪，前美国驻英国大使，1945 年 4 月；肯尼迪还获得了麦迪逊大道 453-455 号 9⁄24 的权益。
Kennedy ended up never living there, and it continued to be occupied by the French Relief Societies.
肯尼迪最终从未住在那里，它继续被法国救济协会占领。
There was also an unsuccessful plan to place the temporary headquarters of the United Nations in the Villard Houses.
还有一项将联合国临时总部设在维拉德大厦的计划，但没有成功。
The Women's Military Services Club closed in January 1946 after the end of World War II, having served 200,000 people.
二战结束后，女子兵役俱乐部于 1946 年 1 月关闭，曾为 20 万人提供服务。
Number 457, as well as a one-third interest in the courtyard, was acquired the same year by the publishing company Random House, which renovated the residence into its own offices.
同年，兰登书屋收购了 457 号住宅以及庭院三分之一的权益，并将该住宅改造成自己的办公室。
Random House's publisher, Bennett Cerf, bought the house for $450,000, believing that to be the price Kennedy had paid.
兰登书屋的出版商贝内特·瑟夫 (Bennett Cerf) 以 45 万美元的价格买下了这栋房子，他认为这就是肯尼迪支付的价格。
The Archdiocese of New York purchased the houses at 451 and 453 Madison Avenue and 29 East 50th Street in October 1948 for an unknown amount in cash.
1948 年 10 月，纽约大主教管区以未知金额的现金购买了麦迪逊大道 451 号和 453 号以及东 50 街 29 号的房屋。
The residences, which had been vacant for three years, had an assessed value of $825,000.
这些住宅已空置三年，评估价值为 825,000 美元。
The archdiocese needed space for its various agencies near St. Patrick's Cathedral, and the agencies' old headquarters had been sold to make way for the office structure at 488 Madison Avenue.
大主教管区需要在圣帕特里克大教堂附近为其各个机构提供空间，这些机构的旧总部已被出售，以便为麦迪逊大道 488 号的办公大楼让路。
The archdiocese also purchased 455 Madison Avenue and 24 and 30 East 51st Street, as well as the vacant lot at 26–28 East 51st Street, in January 1949; these properties were valued at $600,000.
1949 年 1 月，总教区还购买了麦迪逊大道 455 号、东 51 街 24 号和 30 号，以及东 51 街 26 至 28 号的空地；这些财产的价值为60万美元。
Francis Cardinal Spellman dedicated the archdiocese's offices at 451 and 453 Madison Avenue that May.
同年 5 月，方济各枢机主教斯佩尔曼 (Francis Cardinal Spellman) 在麦迪逊大道 451 号和 453 号为总教区的办公室落成。
Clergy members who worked at these offices slept in the house at 455 Madison Avenue.
在这些办公室工作的神职人员睡在麦迪逊大道 455 号的房子里。
Following World War II, many of the neighboring residential buildings were razed to make way for office structures like the Seagram Building and Lever House, though the Villard Houses remained.
第二次世界大战后，许多邻近的住宅楼被夷为平地，为西格拉姆大厦和利华大厦等办公建筑让路，但维拉德大厦仍然存在。
The Archdiocese of New York hired Voorhees, Walker, Foley & Smith to renovate its office space during the early 1950s, though the renovation was not carried out.
纽约大主教管区在 20 世纪 50 年代初聘请 Voorhees, Walker, Foley & Smith 翻新其办公空间，但最终并未实施。
The firm did make small changes to 451 and 453 Madison Avenues; for example, some of the decorations were covered up, and a cafeteria was built at the rear of Number 453.
该公司确实对麦迪逊大道 451 号和 453 号进行了一些小改动；例如，一些装饰被遮盖，453号后面建了一个自助餐厅。
In addition, 453 Madison Avenue became the Cardinal Farley Building, and 30 East 51st Street became the Cardinal Hayes Building.
此外，麦迪逊大道453号成为红衣主教法利大厦，东51街30号成为红衣主教海斯大厦。
Helen Fahnestock Hubbard continued to reside at 24 East 51st Street until she died in 1955.
海伦·法内斯托克·哈伯德 (Helen Fahnestock Hubbard) 一直居住在东 51 街 24 号，直至 1955 年去世。
The archdiocese then rented Number 24 to the Capital Cities Broadcasting Corporation, which was headquartered there.
随后，大主教管区将 24 号租给了总部设在那里的首都城市广播公司。
Capital Cities removed some of the architectural details, including wainscoting and paneling, from Number 24.
Capital Cities 删除了 24 号的一些建筑细节，包括护墙板和镶板。
In 1960, Random House subleased the first story of Number 24 from Capital Cities.
1960 年，兰登书屋从 Capital Cities 转租了《Number 24》的第一个故事。
By the late 1960s, Random House owned Number 457, and the Archdiocese of New York owned all of the other houses.
到了 20 世纪 60 年代末，兰登书屋拥有了 457 号房屋，而纽约大主教管区则拥有了所有其他房屋。
Random House initially intended to keep its space at 457 Madison Avenue, but ultimately leased space at an under-construction skyscraper at 825 Third Avenue in 1967.
兰登书屋最初打算保留麦迪逊大道 457 号的空间，但最终于 1967 年在第三大道 825 号的一座正在建设的摩天大楼租用了空间。
At the time, Cerf called the residence "too valuable to keep", although the writer William Shopsin said that Cerf had regretted leaving.
当时，瑟夫称这座住宅“太有价值了，无法保留”，尽管作家威廉·肖普辛表示瑟夫后悔离开。
By then, there were rumors that developers wanted to raze the houses and replace them with a skyscraper.
那时，有传言称开发商想将这些房屋夷为平地，代之以摩天大楼。
The late Cardinal Spellman's successor, Terence Cardinal Cooke, had not made a public statement about the houses, but Monsignor James Rigney said: "At some point we would have to wonder whether we are justified in keeping property as valuable as this." On September 30, 1968, the New York City Landmarks Preservation Commission (LPC) designated the complex as official landmarks, preventing them from being modified without the LPC's permission.
已故红衣主教斯佩尔曼的继任者特伦斯红衣主教库克尚未就这些房屋发表公开声明，但詹姆斯·里格尼蒙席说：“在某些时候，我们不得不怀疑我们是否有理由保持财产如此有价值。” 1968 年 9 月 30 日，纽约市地标保护委员会 (LPC) 指定该建筑群为官方地标，未经 LPC 许可不得对其进行修改。
The landmark designation applied only to the sections of the buildings within 100 feet (30 m) of Madison Avenue.
地标名称仅适用于麦迪逊大道 100 英尺（30 m）范围内的建筑物部分。
In 1970, Richard Ottinger leased the old Random House mansion for his U.S. Senate campaign's offices.
1970 年，理查德·奥廷格 (Richard Ottinger) 租用了兰登书屋的旧宅邸作为他的美国参议院竞选办公室。
New York Times architectural writer Ada Louise Huxtable said the entire complex was in danger of being redeveloped if the archdiocese were to gain control of the Random House residence and thus full control of the land.
《纽约时报》建筑作家阿达·路易丝·赫克斯泰布尔表示，如果总教区要获得兰登书屋住所的控制权，从而完全控制这片土地，整个建筑群就有被重新开发的危险。
After receiving $2.25 million from Gillette CEO Henry Jacques Gaisman, the archdiocese purchased Number 457 in early 1971.
1971 年初，大教区从吉列首席执行官亨利·雅克·盖斯曼 (Henry Jacques Gaisman) 处获得 225 万美元后购买了 457 号。
According to its real estate adviser, John J.
据其房地产顾问 John J.
Reynolds, the archdiocese wanted to preserve the houses so there would be open space in front of St. Patrick's Cathedral.
雷诺兹总教区希望保留这些房屋，以便圣帕特里克大教堂前面有空地。
Later in 1971, the archdiocese announced it would move to 1011 First Avenue by the following year and would lease out the Villard Houses.
1971 年晚些时候，总教区宣布将于次年搬至第一大道 1011 号，并将维拉德住宅出租。
When its new headquarters opened in November 1973, the archdiocese said it hoped to find a lessee for the Villard Houses rather than sell them.
当新总部于 1973 年 11 月启用时，总教区表示希望为维拉德住宅找到承租人，而不是出售它们。
The 1973–1974 stock market crash had led to a decline in demand for real estate, so the Villard Houses was vacant except for Capital Cities' offices.
1973年至1974年的股市崩盘导致房地产需求下降，因此维拉德别墅除了首都城市的办公室外一直空置。
In early 1974, the archdiocese was negotiating with developer Harry Helmsley to sell him the air rights above the Villard Houses.
1974 年初，总教区正在与开发商 Harry Helmsley 谈判，向他出售维拉德住宅楼上空的使用权。
Next to or above the houses, Helmsley planned to build the 50-story Helmsley Palace Hotel, which would be designed by Emery Roth & Sons.
赫尔姆斯利计划在这些房屋旁边或上方建造 50 层的赫尔姆斯利宫酒店，由 Emery Roth & Sons 设计。
By late 1974, the archdiocese had leased the Villard Houses to Helmsley for 99 years at around $1 million per year.
到 1974 年底，总教区已将维拉德住宅以每年约 100 万美元的价格出租给赫尔姆斯利，为期 99 年。
Though the landmark status prevented Helmsley from modifying the houses' exteriors, he was free to redesign the interiors.
尽管地标地位使赫尔姆斯利无法修改房屋的外部，但他可以自由地重新设计内部。
As such, an early plan for the hotel called for demolishing the rear of the houses and gutting much of the interior, including the Gold Room, the south wing's former music room.
因此，酒店的早期计划要求拆除房屋的后部并拆除大部分内部空间，包括南翼前音乐室黄金厅。
This prompted concerns from preservationists who feared that the remaining interiors would become little more than a "meaningless stage set".
这引起了保护主义者的担忧，他们担心剩余的内部空间将变成“毫无意义的舞台布景”。
Following objections, Helmsley presented a modified plan in June 1975, which called for demolishing part of the rear and interior.
在遭到反对后，赫尔姆斯利于 1975 年 6 月提出了一项修改计划，要求拆除部分后部和内部。
The houses were placed on the National Register of Historic Places on September 2, 1975, which prevented federal funds from being used to finance the demolition of any of the houses without the federal government's approval.
这些房屋于 1975 年 9 月 2 日被列入国家历史古迹名录，这使得联邦资金无法在未经联邦政府批准的情况下用于资助拆除任何房屋。
The same month, Helmsley presented a modified proposal that preserved the Gold Room.
同月，赫尔姆斯利提出了保留金厅的修改提案。
The archdiocese hired William Shopsin in January 1976 to conduct a historical survey of the Villard Houses.
1976 年 1 月，总教区聘请威廉·肖普辛 (William Shopsin) 对维拉德住宅进行历史调查。
Shopsin recorded the buildings' architectural details for the Historic American Buildings Survey.
Shopsin 为美国历史建筑调查记录了这些建筑的建筑细节。
After further delays, the New York City Planning Commission and the New York City Board of Estimate approved the 51-story hotel in late 1976.
经过进一步的拖延，纽约市规划委员会和纽约市估价委员会于 1976 年底批准了这座 51 层的酒店。
Although there were efforts to preserve all of the interiors, many of the rooms had been modified multiple times or had no architecturally notable features.
尽管我们努力保护所有内部装饰，但许多房间都经过多次修改或没有显着的建筑特色。
Ultimately, only about one-fifth of the houses' interiors were preserved and reused.
最终，只有大约五分之一的房屋内部被保存下来并重新利用。
Emery Roth & Sons hired James W.
Emery Roth & Sons 聘请了 James W.
Rhodes in early 1977 as an architectural consultant for the project.
1977年初，罗兹担任该项目的建筑顾问。
The archdiocese was obliged to pay $700,000 or $800,000 per year in taxes from 1975 to 1977 because the vacant houses were no longer tax-exempt.
从1975年到1977年，总教区每年有义务缴纳70万或80万美元的税款，因为空置的房屋不再免税。
Helmsley paid half of this cost.
赫尔姆斯利支付了一半费用。
By mid-1977, Helmsley was planning to begin demolishing the easternmost portions of the Villard Houses.
到 1977 年中期，赫尔姆斯利计划开始拆除维拉德住宅的最东部分。
This work included razing much of the central wing and the additions on 50th and 51st streets.
这项工作包括夷平中央翼的大部分以及第 50 街和第 51 街的增建部分。
A groundbreaking ceremony for the hotel occurred on January 25, 1978, and construction began two months later.
酒店于 1978 年 1 月 25 日举行奠基仪式，两个月后开始施工。
The decorative interiors of the Villard Houses were placed into temporary storage, and Helmsley took precautions to avoid damaging the houses.
维拉德别墅的内部装饰被放置在临时仓库中，赫尔姆斯利采取了预防措施以避免损坏房屋。
For instance, seismographs were installed in the houses to record any effects of blasting, while padding was installed within the building to prevent damage to the decorations.
例如，房屋内安装了地震仪，以记录爆破的影响，而建筑物内则安装了衬垫，以防止装饰品受损。
Sarah Lee was largely responsible for the redesign of the interior spaces.
莎拉·李主要负责室内空间的重新设计。
The Gold Room was renovated and turned into a cocktail lounge, while the old library was refurbished with 4,000 false books.
黄金厅经过翻新，变成了鸡尾酒吧，旧图书馆也被翻新，藏有4000本假书。
The old drawing room of the south wing was redesigned as a cocktail lounge as well, while the old dining room became the hotel's Hunt Bar.
南翼的旧客厅也被重新设计为鸡尾酒酒廊，而旧餐厅则成为酒店的 Hunt 酒吧。
The facade and courtyard were also restored.
立面和庭院也得到了修复。
One of the houses' roofs was damaged in October 1979 when a heavy object fell through it.
1979 年 10 月，其中一栋房屋的屋顶因重物坠落而受损。
Helmsley leased 30,000 square feet (2,800 m2) in the Villard House's northern wing to Jacqueline Kennedy Onassis in June 1979.
1979 年 6 月，赫尔姆斯利将维拉德宫北翼 30,000 平方英尺（2,800 平方米）的土地租给了杰奎琳·肯尼迪·奥纳西斯。
The northern wing was to contain the Urban Center, the headquarters of four civic organizations: the American Institute of Architects, the Architectural League of New York, the Municipal Art Society (MAS), and the Parks Council of New York.
北翼将包含城市中心，四个民间组织的总部：美国建筑师协会、纽约建筑联盟、市政艺术协会（MAS）和纽约公园委员会。
That August, Capital Cities Communications leased space in the hotel tower.
那年八月，Capital Cities Communications 租用了酒店大楼的空间。
Capital Cities took over the central and south wings, with offices at 24 East 51st Street and the upper stories of 451, 453, and 455 Madison Avenue.
Capital Cities 接管了中翼和南翼，在东 51 街 24 号以及麦迪逊大道 451、453 和 455 号的上层设有办公室。
A portion of the Villard Houses became a rentable event space within the hotel, which opened in September 1980.
Villard Houses 的一部分成为酒店内的可出租活动空间，于 1980 年 9 月开业。
James Stewart Polshek and Associates renovated the north wing of the Urban Center.
James Stewart Polshek and Associates 翻新了城市中心的北翼。
The carved cornice and parquet floors of the north wing were restored, but the reception rooms were repainted and lighted for the new tenants.
北翼的雕花檐口和镶木地板得到了修复，但接待室为新租户重新粉刷并照明。
The Urban Center's space opened in August 1980, and the hotel opened the next month.
城市中心的空间于 1980 年 8 月开业，酒店于次月开业。
An architecture bookstore run by MAS opened in the north wing in October 1980; the store's first exhibition was about the Villard Houses themselves.
1980 年 10 月，MAS 经营的建筑书店在北翼开业；该商店的第一个展览是关于维拉德别墅本身的。
The Architectural League of New York also operated gallery space on the ground floor.
纽约建筑联盟还在底层经营画廊空间。
The ground story of the south wing had a cocktail lounge in the former drawing room, a bar in the former dining room, and the Gold Room in the same place as before.
南翼底层的原客厅设有鸡尾酒吧，原餐厅设有酒吧，黄金厅则保留在原来的位置。
The second floor was used for exhibitions, the third and fifth floors were used for organizations, and the first and fourth floors were rented as commercial space.
二楼用于展览，三楼和五楼用于组织，一楼和四楼出租作为商业空间。
The Urban Center's offices were rearranged from 1981 to 1982 because the original layout was inefficient.
由于原来的布局效率低下，城市中心的办公室从1981年到1982年进行了重新布局。
Fashion boutique Celine of Paris leased a 5,500-square-foot (510 m2) space in the north wing in 1981.
巴黎时尚精品店 Celine 于 1981 年在北翼租用了 5,500 平方英尺（510 平方米）的空间。
During the 1980s and 1990s, the fraudulent debt-collection agency Towers Financial Corporation had offices at the Villard Houses.
20 世纪 80 年代和 90 年代，欺诈性收债机构 Towers Financial Corporation 在 Villard Houses 设有办事处。
In late 1993, the Archdiocese of New York sold the houses and the hotel to the Sultan of Brunei for $202 million.
1993年底，纽约大主教管区以2.02亿美元的价格将房屋和酒店出售给文莱苏丹。
The sale excluded the underlying land, which the Archdiocese of New York retained, and the Sultan of Brunei signed a 99-year lease for the land.
此次出售不包括纽约总教区保留的底层土地，文莱苏丹签署了该土地的 99 年租约。
Lee Jablin of Harman Jablin Architects was hired to renovate the hotel and Villard Houses in 1996, redesigning the hotel's lobby within the houses.
1996 年，Harman Jablin Architects 的 Lee Jablin 受聘翻新酒店和 Villard Houses，重新设计了酒店内的大堂。
The restaurant Le Cirque moved to the Villard Houses, taking up several rooms.
Le Cirque 餐厅搬到了 Villard Houses，占据了几个房间。
The new Le Cirque location opened in April 1997.
Le Cirque 新店于 1997 年 4 月开业。
Adam D.
亚当·D。
Tihany designed the Le Cirque space with multicolored coverings over the previous interiors.
蒂豪尼 (Tihany) 设计的 Le Cirque 空间在之前的室内装饰上采用了多彩的覆盖物。
Le Cirque was replaced by another restaurant, Gilt, in 2005.
2005 年，Le Cirque 被另一家餐厅 Gilt 取代。
The Helmsley Palace Hotel's owners renovated the brownstone facade for $300,000 in late 2003.
赫尔姆斯利宫酒店 (Helmsley Palace Hotel) 的业主于 2003 年末斥资 30 万美元翻修了褐砂石外墙。
Some of the pieces for the restoration had come from the demolished rear portions of the houses.
一些用于修复的碎片来自被拆除的房屋后部。
MAS held a discounted lease for the space in the north wing until 2006; when the discount expired, the organization had the option to pay market rates for another 24 years.
MAS 以折扣价租赁北翼空间直至 2006 年；当折扣到期时，该组织可以选择再支付24年的市场费率。
MAS paid $175,000 in rent annually at the time, but it was already considering relocating.
MAS 当时每年支付 175,000 美元的租金，但它已经在考虑搬迁。
The organization moved out of the Villard Houses in 2010, and MAS's space stood vacant afterward.
该组织于 2010 年搬出 Villard Houses，之后 MAS 的空间就空置了。
In 2011, Northwood Investors bought the hotel and the Villard Houses, renovating them.
2011 年，诺斯伍德投资者 (Northwood Investors) 购买了酒店和维拉德别墅 (Villard Houses)，并对它们进行了翻新。
The hotel's new owners sought to lease the north wing for at least $2,000 per square foot ($22,000/m2) per year.
酒店的新业主寻求以每年每平方英尺 2,000 美元（22,000 美元/平方米）的价格租赁北翼。
In 2014, the residences hosted the annual Kips Bay Decorator Show House program to raise money for the Kips Bay Boys & Girls Club.
2014 年，这些住宅举办了年度 Kips Bay Decorator Show House 计划，为 Kips Bay Boys & Girls Club 筹集资金。
The same year, menswear retailer Trunk Club leased the north wing.
同年，男装零售商 Trunk Club 租用了北翼。
The hotel became the Lotte New York Palace Hotel after South Korean hotelier Lotte Hotels & Resorts bought it in 2015.
2015 年，韩国酒店集团乐天酒店及度假村 (Lotte Hotels & Resorts) 收购该酒店后，该酒店更名为乐天纽约皇宫酒店 (Lotte New York Palace Hotel)。
Lotte rented out some of the rooms in the southern residence in 2016, and a restaurant named Villard opened within the southern residence the same year.
乐天于2016年出租了南宅的部分房间，同年，一家名为Villard的餐厅在南宅内开业。
In 2017, the Archdiocese of New York mortgaged the land under the Lotte New York Palace Hotel and the Villard Houses for $100 million to pay settlements to Catholic sexual abuse victims.
2017年，纽约大主教管区以1亿美元抵押了乐天纽约皇宫酒店和维拉德别墅下的土地，用于向天主教性虐待受害者支付和解金。
The Gold Room restaurant was opened in 2019 within the room of the same name.
Gold Room 餐厅于 2019 年在同名房间内开业。
Lotte bought the land under the Villard Houses and the hotel in 2025.
乐天于 2025 年购买了 Villard Houses 下的土地和酒店。
The Villard Houses complex was designed in 1881 by Joseph Morrill Wells of the firm of McKim, Mead & White.
Villard Houses 建筑群由 McKim, Mead & White 公司的 Joseph Morrill Wells 于 1881 年设计。
Charles Follen McKim, one of the firm's principal architects, was responsible for the overall plan, and Wells sketched out the individual details.
该公司的主要建筑师之一查尔斯·福伦·麦金 (Charles Follen McKim) 负责总体规划，威尔斯则勾勒出各个细节。
The homes are among several projects that McKim, Mead & White designed for railroad magnate Henry Villard.
这些住宅是 McKim, Mead & White 为铁路巨头亨利·维拉德 (Henry Villard) 设计的几个项目之一。
Stylistically, the houses are in the Romanesque Revival style with Italian Renaissance touches; they were McKim, Mead & White's first major Italian Renaissance structures.
从风格上看，这些房屋具有罗马复兴风格和意大利文艺复兴风格。它们是 McKim, Mead & White 的第一座意大利文艺复兴时期的主要建筑。
At the time of the houses' construction, Wells had been encouraging the firm to use more classical architectural styles.
在建造房屋时，威尔斯一直鼓励公司使用更多古典建筑风格。
The design was influenced by Rome's 15th-century Palazzo della Cancelleria, though some inspiration may have come from the 16th-century Palazzo Farnese, also in Rome.
该设计受到罗马 15 世纪的坎塞莱里亚宫 (Palazzo della Cancelleria) 的影响，不过一些灵感可能来自同样位于罗马的 16 世纪的法尔内塞宫 (Palazzo Farnese)。
The two palazzi were Wells's favorite Renaissance buildings.
这两座宫殿是威尔斯最喜欢的文艺复兴建筑。
The houses' design contained some major deviations from those of the Roman palazzi.
这些房屋的设计与罗马宫殿的设计有一些重大差异。
For example, the Cancelleria's windows were decorated based on internal use, with the most elaborate windows at the piano nobile, while the Villard Houses' windows were decorated based on the floor height, with the most elaborate windows illuminating the guests' and servants' rooms on the top floors.
例如，Cancelleria的窗户根据内部用途进行装饰，最精致的窗户位于主楼，而Villard House的窗户则根据楼层高度进行装饰，最精致的窗户照亮了顶层的客人和仆人的房间。
The houses were also partly influenced by the designs of German and Austrian multi-family buildings that Villard had seen in his youth.
这些房屋也部分受到维拉德年轻时看到的德国和奥地利多户住宅设计的影响。
The building was erected as six separate residences in a U-shaped plan, with three wings surrounding a central courtyard on Madison Avenue.
该建筑由六栋独立的住宅组成，呈 U 形平面，三个翼楼围绕着麦迪逊大道的中央庭院。
At the time of the houses' completion, they overlooked a similar courtyard at the eastern end of St. Patrick's Cathedral.
房屋竣工时，它们俯瞰着圣帕特里克大教堂东端的一个类似的庭院。
The lady chapel in the cathedral had not yet been built, so St. Patrick's eastern end was a flat wall flanked by a rectory and an archbishop's house.
大教堂中的女士礼拜堂尚未建成，因此圣帕特里克教堂的东端是一面平坦的墙，两侧是教区长官邸和大主教的房屋。
The Villard courtyard was built to complement St. Patrick's courtyard, which was about the same size.
维拉德庭院是为了补充圣帕特里克庭院而建的，圣帕特里克庭院的大小大致相同。
The south wing consisted of a single residence: Henry Villard's home at 451 Madison Avenue, also known as 291⁄2 East 50th Street.
南翼由一栋住宅组成：亨利·维拉德 (Henry Villard) 的住宅，位于麦迪逊大道 451 号，也称为东 50 街 291⁄2 号。
The north wing consisted of three residences at 457 Madison Avenue (which occupied the western two-thirds of that wing) and 22–24 East 51st Street.
北翼由位于麦迪逊大道 457 号（占据该翼西部三分之二）和东 51 街 22-24 号的三栋住宅组成。
Both of these wings measure 60 feet (18 m) along Madison Avenue with a depth of 100 feet (30 m).
这两个翼楼沿麦迪逊大道长 60 英尺（18 m），深 100 英尺（30 m）。
The eastern end of the south wing had a seven-story tower, while the eastern end of the north wing had a 1+1⁄2-story entrance porch.
南翼东端有七层塔楼，北翼东端有1+1⁄2层入口门廊。
The center wing, on the east side of the courtyard, consisted of two residences at 453 and 455 Madison Avenue, which extended 40 feet (12 m) eastward beyond the end of the north and south wings.
中翼位于庭院东侧，由位于麦迪逊大道 453 号和 455 号的两栋住宅组成，向东延伸超过南北翼末端 40 英尺（12 m）。
The courtyard was designed as both a symbol of Villard's wealth and, according to architectural writer Richard Guy Wilson, an "urban gesture" to traffic on Madison Avenue.
根据建筑作家理查德·盖伊·威尔逊的说法，这座庭院的设计既是维拉德财富的象征，也是麦迪逊大道交通的“城市姿态”。
The courtyard measures 80 feet (24 m) wide between the north and south wings and is 73 feet (22 m) deep.
庭院南北翼之间宽 80 英尺（24 m），深 73 英尺（22 m）。
It is flanked by two square posts with ball decorations above them.
它的两侧有两个方形柱子，上面有球形装饰。
These posts are connected by a scrolled arch made of wrought iron.
这些柱子通过锻铁制成的滚动拱门连接。
A Florentine-style lamp is suspended from the wrought-iron arch.
一盏佛罗伦萨风格的灯悬挂在锻铁拱门上。
Originally, the courtyard had a fountain surrounded by a circular driveway.
最初，庭院有一个喷泉，周围有一条圆形车道。
The driveway had been arranged to allow horse-drawn vehicles to enter the courtyard easily.
车道已布置好，以便马车轻松进入庭院。
The arrangement of residences around a courtyard was similar to the Apostolic Chancery at Vatican City.
住宅围绕庭院的布置类似于梵蒂冈城的使徒办公室。
The Roman Catholic Archdiocese of New York used the courtyard as a parking lot during the mid-20th century.
20世纪中叶，罗马天主教纽约总教区将这个庭院用作停车场。
During the construction of the Helmsley Palace Hotel in the 1970s, a marble and granite medallion was placed in the courtyard.
20 世纪 70 年代赫尔姆斯利皇宫酒店建设期间，庭院中放置了大理石和花岗岩纪念章。
The courtyard is decorated each holiday season; its Christmas tree contains over 4,500 lights and over 1,000 ornaments.
每个节日，庭院都会装饰一新；它的圣诞树包含 4,500 多个彩灯和 1,000 多个装饰品。
The facade is made of largely unornamented brownstone.
正面主要由未装饰的褐砂石制成。
Villard had chosen the material against the advice of the architects, who had recommended using limestone or granite; this was the only part of the design where Villard had disagreed with Wells.
维拉德没有顾及建筑师的建议，选择了这种材料，建筑师建议使用石灰石或花岗岩。 这是设计中维拉德与威尔斯意见不一致的唯一部分。
Each house has a raised basement, three stories, and an attic topped by a cornice.
每栋房屋都有一个高架地下室，三层楼，以及一个顶部有飞檐的阁楼。
The houses measure 68 feet (21 m) from the sidewalk to the top of the cornice.
这些房屋从人行道到檐口顶部的高度为 68 英尺（21 m）。
The north and south wings have three bays facing Madison Avenue, five facing the courtyard, and seven facing the respective side streets.
南北翼各有三个面向麦迪逊大道的开间，五个面向庭院，七个面向各自的小街。
The center wing has seven bays facing Madison Avenue.
中翼有七个面向麦迪逊大道的海湾。
In addition, there are horizontal band courses wrapping around each floor under the window sills.
此外，窗台下还有环绕各层的水平乐队路线。
The horizontal lines of the facade continued across all of the houses.
立面的水平线条贯穿所有房屋。
Architectural commentators Leland M.
建筑评论家 Leland M.
Roth and Elizabeth Hawes wrote that the complex appeared more imposing than many contemporary townhouses, even though the Villard Houses were no taller than similar structures.
罗斯和伊丽莎白·霍伊斯写道，尽管维拉德别墅并不比类似的建筑高，但这座建筑群看起来比许多当代联排别墅更加雄伟。
The rear or eastern facades of each house had no architectural decorations at all because they were never intended to be viewed from the street.
每栋房屋的后立面或东立面根本没有任何建筑装饰，因为它们从来不打算从街上看到。
The basement and first story of each house are rusticated, with deep grooves between each of the blocks.
每栋房屋的地下室和一层都是古朴的，每块砖块之间都有深深的凹槽。
The raised basement consists of rectangular openings, above which runs a molding with torus (doughnut) shapes.
凸起的地下室由矩形开口组成，开口上方有一个环形（甜甜圈）形状的饰条。
The first floor has arched windows, which are topped by spandrel panels with rosette-shaped medallions.
一楼有拱形窗户，顶部是带有玫瑰花形奖章的拱肩面板。
The first floor is topped by an architrave, or beam, with a plain frieze.
一楼顶部有一个楣梁，或横梁，带有朴素的楣板。
The ground story of the center wing at 453 and 455 Madison Avenue contains a loggia with five arches.
位于麦迪逊大道 453 号和 455 号的中翼底层设有一个带有五个拱门的凉廊。
The loggia is supported by granite columns, and there are decorative medallions above the arches.
凉廊由花岗岩柱支撑，拱门上方有装饰徽章。
Behind are the entrances to the center wing, as well as a barrel vault with rosette coffers and decorative moldings.
后面是中央翼的入口，以及带有玫瑰花饰保险箱和装饰线条的桶形拱顶。
The ground story of the north and south wings has doorways leading into the courtyard.
北翼和南翼的底层均设有通往庭院的门廊。
The north wing at 457 Madison Avenue and the south wing at 451 Madison Avenue have doorways accessed by stoops.
麦迪逊大道 457 号的北翼和麦迪逊大道 451 号的南翼设有通过门廊进入的门口。
These entrances have a frieze and cornice above them, as well as lamps on either side.
这些入口上方有楣板和檐口，两侧都有灯。
The entrances at 451 and 457 Madison Avenue were intended to be equal in stature to the center-wing entrances.
麦迪逊大道 451 号和 457 号的入口旨在与中心翼入口的高度相同。
This contrasted with regular houses, where the center entrance was typically the most imposing one.
这与普通房屋形成鲜明对比，普通房屋的中心入口通常是最宏伟的。
When the Helmsley Palace Hotel was built in the late 1970s and the south wing was converted to a bar, the former south-wing entrance was turned into an exit-only doorway.
当赫尔姆斯利宫酒店于 20 世纪 70 年代末建成时，南翼改建为酒吧，原来的南翼入口变成了仅供出口的门口。
The south-wing doorway was close to the Lady chapel behind St. Patrick's Cathedral, and a state law mandated that bar entrances be at least 200 feet (61 m) from any house of worship.
南翼门口靠近圣帕特里克大教堂后面的女士教堂，州法律规定酒吧入口距离任何礼拜堂至少 200 英尺（61 m）。
The residences at 22 and 24 East 51st Street had entrances from the street, rather than from the courtyard.
东 51 街 22 号和 24 号的住宅的入口来自街道，而不是庭院。
Shortly after the houses were completed, an entrance portico measuring 11 by 53.5 feet (3.4 by 16.3 m) was added to the eastern side of 24 East 51st Street.
房屋竣工后不久，东 51 街 24 号的东侧增加了一个 11 x 53.5 英尺（3.4 x 16.3 m）的入口门廊。
The upper stories are clad with plain stone ashlar.
上层覆盖着普通的方石。
The quoins, or masonry blocks at the corners of each house, are rusticated.
每栋房屋角落的角点或砖石块都经过了质朴的处理。
The houses externally appear as one residence, as these quoins do not delineate the divisions between the residences.
这些房屋从外观上看就像是一处住宅，因为这些角落并没有划定住宅之间的界限。
On each of the three stories above the center wing's arches are three pairs of windows.
中翼拱门上方的三层楼每层都有三对窗户。
Outside some of the second-story windows are balconies supported by console brackets.
二楼的一些窗户外面是由控制台支架支撑的阳台。
The year 1884 is inscribed in Roman numerals on the lintel above one of the windows in the south wing.
南翼一扇窗户上方的门楣上刻有 1884 年的罗马数字。
A plain band course runs above the second floor, and a torus-shaped molding runs above the third floor.
平坦的带状路线在二楼上方延伸，圆环形状的造型在三楼上方延伸。
The attic is designed as a set of small square windows.
阁楼被设计成一组小方形窗户。
The dentilled cornice contains egg-and-dart molding as well as modillions with foliate patterns.
齿状檐口包含鸡蛋和飞镖造型以及带有叶状图案的模数。
Above all these houses are sloping hip roofs with brown tile.
最重要的是，这些房屋都是倾斜的四坡屋顶，铺有棕色瓦片。
Only the front portions of each house have hip roofs; the rears of the houses have brick parapets and pitched roofs.
每栋房屋只有前部有四坡屋顶；房屋的后面有砖砌的护墙和倾斜的屋顶。
The interiors are designed in a modified version of the High Renaissance style.
室内设计采用文艺复兴时期风格的改良版本。
McKim, Mead & White selected the original interior decorations, hiring several friends to assist.
McKim、Mead & White 挑选了原来的室内装饰，并聘请了几位朋友协助。
These may have included artistic-glass manufacturer John La Farge, sculptor Augustus Saint-Gaudens, painter Francis Lathrop, and mosaic artist David Maitland Armstrong.
其中可能包括艺术玻璃制造商约翰·拉法奇、雕塑家奥古斯都·圣高登斯、画家弗朗西斯·拉斯罗普和马赛克艺术家大卫·梅特兰·阿姆斯特朗。
Account books from the buildings' construction did not mention any of these artists, except for Lathrop, but contemporary media sources did report on some of their work.
除了拉斯罗普之外，建筑物建造的账簿没有提到任何一位艺术家，但当代媒体确实报道了他们的一些作品。
Leon Marcotte, Sypher and Company, and A.
莱昂·马科特 (Leon Marcotte)，Sypher 和公司，以及 A.
H.
H.
Davenport and Company provided some of the furniture.
达文波特公司提供了一些家具。
Candace Wheeler may have made the embroideries; Pasquali and Aeschlimann may have installed the mosaics; and Ellin & Kitson likely performed some of the stone carving.
这些刺绣可能是坎迪斯·惠勒 (Candace Wheeler) 制作的；马赛克可能是帕斯夸利和埃施利曼安装的；埃林和基特森 (Ellin & Kitson) 可能负责部分石雕工作。
Joseph Cabus may have been responsible for much of the woodwork.
约瑟夫·卡布斯可能负责大部分木制品。
Numerous suppliers were involved with other aspects of the houses' designs.
许多供应商参与了房屋设计的其他方面。
The layouts of Numbers 453 and 455 were mirror images of each other, while the other houses had unique layouts.
453号和455号的布局互为镜像，而其他房屋的布局则各有特色。
All six residences' interiors were decorated with the highest-quality materials available at the time.
所有六栋住宅的内部装饰均采用当时最优质的材料。
As constructed, the residences had ornate furniture; for example, Villard's ground-story drawing room was originally upholstered with a reddish-brown color that harmonized with the color of the room.
建成后，住宅配有华丽的家具。例如，维拉德的底层客厅最初采用红棕色软垫，与房间的颜色相协调。
The residences had 13 bathrooms in total, each of which contained terrazzo floors and tile and marble walls.
这些住宅共有 13 间浴室，每间浴室均铺有水磨石地板、瓷砖和大理石墙壁。
Each bedroom was equipped with own bathroom.
每间卧室均配有自己的浴室。
The attic story of all of the residences was devoted to servants' rooms, storerooms, and other service facilities.
所有住宅的阁楼都专门用作仆人的房间、储藏室和其他服务设施。
From the outset, Villard's residence in the south wing, 451 Madison Avenue, was the most elaborately decorated of the six residences.
从一开始，维拉德位于麦迪逊大道 451 号南翼的住所就是六处住所中装饰最精美的一处。
The residence has twelve rooms on four floors, whose designs are inspired by those of grand European houses.
该住宅共有四层楼十二个房间，其设计灵感来自欧洲宏伟的房屋。
Apart from a guest room with medieval theming, Villard's residence does not include any exotically-themed rooms, such as Moorish or East Asian rooms.
除了中世纪主题的客房外，维拉德的住所不包括任何异国主题的客房，例如摩尔式或东亚式客房。
There were originally a billiard room, kitchen, servants' dining room, laundry, and wine room in the basement.
地下室原来有台球室、厨房、仆人餐厅、洗衣房、酒房。
The sub-basement originally had three boilers and a high-pressure pump, which supplied water to a fifth-floor tank, and a hydraulic elevator served each level of the house.
地下室原来有三台锅炉和一台高压泵，为五楼的水箱供水，还有一台液压电梯为房屋的每一层提供服务。
Following the construction of the Helmsley Palace Hotel in the 1970s, the basement spaces became back of house areas for the hotel.
赫尔姆斯利宫酒店 (Helmsley Palace Hotel) 于 20 世纪 70 年代建成后，地下室空间成为酒店的后台区域。
Except for the 1910 annex, much of Villard's residence remains intact.
除了 1910 年的附属建筑外，维拉德的大部分住宅都完好无损。
The ground, or first, story of Number 451 is the most elaborate in that residence.
451 号的底层或第一层是该住宅中最精致的。
At ground level, there is a reception vestibule, a drawing-room suite, a music room with a balcony, and a dining room with a pantry.
地面层设有接待前厅、客厅套房、带阳台的音乐室以及带食品储藏室的餐厅。
These rooms are arranged enfilade, or along a single axis.
这些房间排列成列，或沿单一轴线排列。
The ground story is slightly above street level.
底层略高于街道水平。
Many rooms are still used as part of the Helmsley Palace Hotel.
许多房间仍用作赫尔姆斯利宫酒店的一部分。
For example, the drawing room is a cocktail room, the music room is a restaurant, and the dining room is a bar.
例如，客厅是鸡尾酒室，音乐室是餐厅，餐厅是酒吧。
The Villard residence's reception vestibule was originally accessed through the southern side of the courtyard.
维拉德住宅的接待前厅最初是通过庭院的南侧进入的。
The vestibule has a set of Italian-marble steps, a wall with a tile mosaic band, and a ceiling with a curving groin vault.
前厅设有一组意大利大理石台阶、一面带有瓷砖马赛克带的墙壁以及带有弯曲腹股沟拱顶的天花板。
Perpendicular to the vestibule is a marble-clad hall measuring 42 by 28 feet (12.8 by 8.5 m).
垂直于前厅的是一个铺有大理石的大厅，尺寸为 42 x 28 英尺（12.8 x 8.5 m）。
The hall has three Siena-marble arches sculpted by Saint-Gaudens, as well as a fireplace with a carved marble mantel.
大厅拥有三座由圣高登斯雕刻的锡耶纳大理石拱门，以及一个带有雕刻大理石壁炉架的壁炉。
The vaulted ceiling of the hallway is also made of Siena marble.
走廊的拱形天花板也由锡耶纳大理石制成。
Armstrong designed a mosaic with a foliate pattern on the ceiling.
阿姆斯特朗在天花板上设计了带有叶状图案的马赛克。
North of the hallway is a grand stairway decorated in gold-tinted marble, which leads to the second floor.
走廊北面有一座金色大理石装饰的宏伟楼梯，通向二楼。
The staircase, measuring 12 feet (3.7 m) wide, has a carved zodiac clock by Saint-Gaudens on one landing.
楼梯宽 12 英尺（3.7 m），在一个平台上有一座圣高登斯雕刻的生肖钟。
Each of the balusters in the stair's railing has a different design.
楼梯栏杆上的每个栏杆都有不同的设计。
The hallway also has a small carved-wood elevator door near the reception vestibule.
走廊在接待前厅附近还有一个小型木雕电梯门。
At the western end of the south wing's hallway is a drawing-room suite divided into three sections.
南翼走廊的西端是一间客厅套房，分为三个部分。
The wall is divided into three sections by red-mahogany pilasters; the upper part of the wall has Villard monograms.
墙壁被红木壁柱分成三部分；墙壁的上部有维拉德字母组合。
A movable oak partition could divide the room into three segments.
可移动的橡木隔断可以将房间分为三个部分。
The central section measures 14 by 28 feet (4.3 by 8.5 m) and is flanked by drawing rooms 19 by 28 feet (5.8 by 8.5 m).
中央部分尺寸为 14 x 28 英尺（4.3 x 8.5 m），两侧为客厅，尺寸为 19 x 28 英尺（5.8 x 8.5 m）。
Joseph Cabus of Kimbel & Cabus designed wooden cabinetry for the space.
Kimbel & Cabus 的约瑟夫·卡布斯 (Joseph Cabus) 为该空间设计了木制橱柜。
The drawing rooms have mahogany and white wood finishes on a light reddish-brown and yellow color scheme.
客厅采用桃花心木和白色木质饰面，配色方案为浅红棕色和黄色。
The family of the journalist Whitelaw Reid used these drawing rooms as a ballroom during the early 20th century, with green marble columns and a gilded ceiling.
20 世纪初，记者怀特劳·里德 (Whitelaw Reid) 的家人将这些客厅用作舞厅，配有绿色大理石柱和镀金天花板。
The drawing rooms formerly had ornate marquetry, which Reid subsequently reinstalled in his Purchase, New York, estate.
客厅以前有华丽的镶嵌细工，里德随后将其重新安装在他位于纽约的珀切斯庄园中。
The eastern end of the south wing's hallway contains a music room measuring 48 by 24 feet (14.6 by 7.3 m), with an elliptical vaulted ceiling 32 feet (9.8 m) high.
南翼走廊的东端设有一间音乐室，尺寸为 48 x 24 英尺（14.6 x 7.3 m），椭圆形拱形天花板高 32 英尺（9.8 m）。
The music room is also known as the Gold Room after the color of its decorations.
音乐室因其装饰的颜色而被称为金室。
A carved-pine wainscoting runs around the music room's wall.
音乐室的墙壁上环绕着雕花松木护墙板。
A musicians' balcony is suspended on the north wall and can be accessed via a hidden staircase.
音乐家的阳台悬挂在北墙上，可以通过隐藏的楼梯进入。
Saint-Gaudens installed five plaster casts on each of the north and south walls, which are copies of "singing angels" that Luca della Robbia designed for the Florence Cathedral.
圣高登斯在南北墙上各安装了五个石膏模型，它们是卢卡·德拉·罗比亚为佛罗伦萨大教堂设计的“歌唱天使”的复制品。
John La Farge designed two lunettes or curved panels called "Art" and "Music", as well as leaded glass windows on the east wall.
约翰·拉法奇设计了两个名为“艺术”和“音乐”的半月形或弧形面板，以及东墙上的含铅玻璃窗。
The southernmost portion of the ground story is a 20-by-60-foot (6.1 by 18.3 m) space that could be divided into a breakfast room and dining room.
底层最南端是一个 20 x 60 英尺（6.1 x 18.3 m）的空间，可分为早餐室和餐厅。
The wall is made of English oak and white mahogany, while the ceiling is made of English oak beams.
墙壁由英国橡木和白桃花心木制成，天花板由英国橡木横梁制成。
Saint-Gaudens carved two marble fireplace mantels, which were originally installed at either end of the room.
圣高登斯雕刻了两个大理石壁炉架，最初安装在房间的两端。
One of the mantels was relocated several times before being installed in the Helmsley Palace Hotel lobby, while the other mantel was relocated to Whitelaw Reid's country estate.
其中一个壁炉架在安装在赫尔姆斯利宫酒店大堂之前经过了几次搬迁，而另一个壁炉架则搬迁到了怀特劳·里德的乡村庄园。
The ceiling has paintings of mythological figures, which were designed by Francis Lathrop.
天花板上有神话人物的画作，由弗朗西斯·拉斯罗普设计。
The dining room's cornice has inscriptions in Latin.
餐厅的檐口上有拉丁文铭文。
A serving pantry opens off one side of the room.
房间的一侧设有一个食品储藏室。
The upper stories of Number 451 are laid out similarly to the ground story and also contained fireplaces.
451 号楼的上层布局与底层类似，也设有壁炉。
The second-story hallway has a gilded ceiling, embossed-leather walls, and a large mantelpiece; the decorators used leather and wood to give the space a more intimate feeling.
二楼的走廊有镀金的天花板、压花皮革墙壁和一个大壁炉架。装饰者使用皮革和木材给空间带来更亲密的感觉。
Adjoining the private music room is a private library fitted in mahogany with carved medallions on the bookcases.
毗邻私人音乐室的是一个私人图书馆，配有桃花心木，书架上刻有徽章。
The coffered ceiling contains medallions and three murals.
格子天花板上有奖章和三幅壁画。
The second-floor guest bedroom has oak paneling, gold and crimson decorations on the walls, and a ceiling with wooden crossbeams.
二楼的客房采用橡木镶板，墙壁上有金色和深红色的装饰，天花板上有木制横梁。
A stairway with a wainscoted wall and a decorated balustrade leads between the second and third stories of the south wing.
南翼二楼和三楼之间有一条带有壁板墙和装饰栏杆的楼梯。
The upper-story bedrooms are decorated with painted woods and could be accessed by an elevator.
楼上的卧室以彩绘木材装饰，可乘电梯抵达。
The bedrooms on the third floor originally had chintz wall hangings and colorful decorations.
三楼的卧室原来有印花棉布壁挂和色彩缤纷的装饰。
Henry Villard's bedroom was on either the third or the fourth floor.
亨利·维拉德的卧室要么在三楼，要么在四楼。
A stair leads up to the family room, which had low ceilings and a cherry color scheme.
楼梯通向家庭活动室，家庭活动室的天花板很低，采用樱桃色的配色方案。
Within the annex to the east, Whitelaw Reid's second-floor dining room and library have been converted into a meeting room with a pantry.
在东侧的附楼内，怀特劳·里德的二楼餐厅和图书馆已改建为带食品储藏室的会议室。
The annex also includes Whitelaw Reid's former study, which later became another meeting room in the hotel.
附楼还包括怀特劳·里德 (Whitelaw Reid) 以前的书房，后来成为酒店的另一间会议室。
The Fahnestock residence in the north wing, at 457 Madison Avenue, formerly shared many design elements with the Villard residence at Number 451, such as wooden paneling and mosaic floors.
Fahnestock 住宅位于麦迪逊大道 457 号北翼，以前与 451 号 Villard 住宅共享许多设计元素，例如木质镶板和马赛克地板。
An entrance foyer leads from the courtyard.
入口门厅通向庭院。
From the foyer, stairs lead down to a reception room and up to the first-floor entertaining rooms.
从门厅，楼梯向下通向接待室，向上通向一楼的娱乐室。
The first floor has a main hall with mosaic-tile floors, lanterns, and paneling, in addition to a fireplace and a ceiling with recessed coffers.
一楼有一个主厅，铺有马赛克瓷砖地板、灯笼和镶板，此外还有一个壁炉和一个带有嵌入式保险箱的天花板。
On the same story is a dining room with an elaborate fireplace and a decorative ceiling with a chandelier.
同层还有一间餐厅，配有精致的壁炉和带枝形吊灯的装饰天花板。
There is also a library with a dome (originally designated as a reception room), as well as a drawing room that originally had Louis XV style and Louis XVI style tapestries.
还有一个带有圆顶的图书馆（最初被指定为接待室），以及一个最初有路易十五风格和路易十六风格挂毯的客厅。
A marble stairway rises to the second floor, which includes the Fahnestocks' former bedrooms.
大理石楼梯通往二楼，其中包括法内斯托克夫妇以前的卧室。
The third floor of Number 457 has additional bedrooms, while the attic was for the butlers and maids.
457号的三楼有额外的卧室，阁楼则供管家和女佣使用。
Stanford White designed an ornate ceiling at 457 Madison Avenue.
斯坦福·怀特 (Stanford White) 为麦迪逊大道 457 号设计了华丽的天花板。
The oak-clad library of Number 457 has ivory buttons with the letters "B" and "M", which once respectively summoned a butler and a maid.
457号的橡木覆盖的图书馆有象牙纽扣，上面写着字母“B”和“M”，这两个字母曾经分别召唤着管家和女仆。
In the 1980s, the third story of Number 457 was taken by the Urban Center, which had a members' gallery facing the courtyard as well as a committee room and a staff room.
20世纪80年代，457号的第三层被城市中心占据，其中有一个面向庭院的会员画廊，以及一间委员会室和一间员工室。
When the eastern section of the north wing was demolished in the 1970s, one room was reconstructed on the third floor of the Helmsley Palace Hotel.
20世纪70年代北翼东段被拆除后，赫尔姆斯利宫酒店三楼重建了一间房间。
The courtyard's central loggia originally led to a vestibule, which connected with both 453 and 455 Madison Avenue.
庭院的中央凉廊最初通向前厅，与麦迪逊大道 453 号和 455 号相连。
Although numbers 453 and 455 originally had similar layouts, both were modified substantially in the late 19th and the 20th centuries.
尽管 453 号和 455 号最初的布局相似，但两者都在 19 世纪末和 20 世纪进行了大幅修改。
Number 455 had an entrance hall with an oval dome, as well as a living hall with mahogany paneling and a filigreed clock.
455号有一个带有椭圆形圆顶的入口大厅，以及一个带有桃花心木镶板和金银丝时钟的客厅。
The reception room had a decorative frieze, molded plaster ceiling, and walls with alternating wood paneling and mirrors.
接待室有装饰性的楣板、模压石膏天花板，墙壁上交替排列着木镶板和镜子。
The decorative stairway at 455 Madison Avenue was moved to the Brooklyn Museum in the 1970s.
麦迪逊大道 455 号的装饰楼梯于 20 世纪 70 年代移至布鲁克林博物馆。
Both residences' interiors were largely demolished in 1978, though some decorations were salvaged.
1978 年，两栋住宅的内部大部分都被拆除，但一些装饰被抢救出来。
Within the former central loggia, a grand staircase leads down to the main hotel lobby.
在前中央凉廊内，有一个宏伟的楼梯通向酒店主大堂。
This lobby includes a fireplace originally designed by Saint-Gaudens.
该大堂设有最初由圣高登斯设计的壁炉。
In addition, a former study at 455 Madison Avenue was repurposed into a meeting room for the Helmsley Palace Hotel.
此外，麦迪逊大道 455 号的前书房被改造成赫尔姆斯利宫酒店的会议室。
The residence at 22 East 51st Street was in the middle of the northern wing.
该住宅位于东 51 街 22 号，位于北翼中部。
Unlike most of the other houses in the complex, it had an elevator from the outset.
与建筑群中的大多数其他房屋不同，它从一开始就有一部电梯。
There was also a reception room with a skylight and a small living hall with a fireplace.
还有一个带天窗的接待室和一个带壁炉的小客厅。
The main staircase hall had a pantry on one landing, and there was an oval opening above the staircase.
主楼梯大厅的一个平台上有一个食品储藏室，楼梯上方有一个椭圆形的开口。
This residence was merged with 457 Madison Avenue in the 1920s.
该住宅于 20 年代与麦迪逊大道 457 号合并。
At the time of the houses' completion, wealthy New Yorkers found the buildings' design to be restrained compared with other mansions.
在这些房屋竣工时，富有的纽约人发现与其他豪宅相比，这些建筑的设计受到限制。
The trade magazine Real Estate Record initially said there was "nothing indeed to indicate architecture except the delicacy of some of the detail".
商业杂志《房地产记录》最初表示，“除了一些细节的精致之外，确实没有任何迹象表明建筑”。
By contrast, the British magazine The Architect said the Villard residence "will be the most magnificent residence building in the [United] States, far surpassing the Vanderbilt houses" along Fifth Avenue.
相比之下，英国杂志《建筑师》称维拉德住宅“将成为美国最宏伟的住宅建筑，远远超过第五大道沿线的范德比尔特住宅”。
After the houses were complete, a critic for the Real Estate Record characterized the Villard Houses as "a mild success" and said that despite their large size and plain facade, the houses were "in no way offensive and can never come to look trivial or vulgar".
房屋竣工后，《房地产记录》的一位评论家将维拉德别墅描述为“取得了一定的成功”，并表示，尽管房屋面积大、外观朴素，但这些房屋“绝不具有攻击性，永远不会显得琐碎或粗俗”。
Another article for the same publication described the Villard residence in particular as "the only example of consistent adherence to one style" in New York City.
同一出版物的另一篇文章特别将维拉德住宅描述为纽约市“始终坚持一种风格的唯一例子”。
The New York Evening Post said the residences were unique among New York City residences and were a departure from the château-style residences elsewhere in the city.
《纽约晚报》称，这些住宅在纽约市的住宅中是独一无二的，与该市其他地方的城堡式住宅不同。
The main residence was the subject of an 1897 handbook published by Edith Wharton.
主要住宅是伊迪丝·沃顿 (Edith Wharton) 1897 年出版的一本手册的主题。
The historian William C.
历史学家威廉·C.
Shopsin writes that, because of the generally positive reception of the Villard Houses' architecture, McKim, Mead & White was hired to design the Boston Public Library's McKim Building; the Villard Houses' architectural style directly influenced that of the McKim Building.
Shopsin 写道，由于 Villard Houses 的建筑受到普遍好评，McKim, Mead & White 受聘设计波士顿公共图书馆的 McKim 大楼；维拉德住宅的建筑风格直接影响了麦金大厦的建筑风格。
The Christian Science Monitor wrote in 1934 that the buildings retained "the same dignity that accompanied them in 1883" and that their construction had spurred the start of interior decoration.
《基督教科学箴言报》在 1934 年写道，这些建筑“保留了 1883 年的尊严”，而且它们的建造刺激了室内装饰的开始。
The same year, in his book The Robber Barons, Matthew Josephson wrote that the luxurious appearance of the houses had been a source of resentment from the general public.
同年，马修·约瑟夫森在他的《强盗男爵》一书中写道，这些房屋的奢华外观引起了公众的不满。
The Villard Houses' design may have prompted the architect Le Corbusier to say that he liked New York's Renaissance Revival houses more than the originals in Florence.
维拉德住宅的设计可能促使建筑师勒·柯布西耶说，他更喜欢纽约的文艺复兴时期的建筑，而不是佛罗伦萨的原始建筑。
Donald Hoffmann, architectural critic for The Kansas City Star, wrote in 1967 that the Villard Houses were "considered the single most important building in touching-off the academic reaction in American architecture", while Ada Louise Huxtable said the next year that they were among the city's best-ever designs.
《堪萨斯城星报》的建筑评论家唐纳德·霍夫曼 (Donald Hoffmann) 在 1967 年写道，维拉德住宅“被认为是引发美国建筑学术反应的最重要的建筑”，而艾达·路易丝·赫克斯泰布尔 (Ada Louise Huxtable) 第二年表示，它们是该市有史以来最好的设计之一。
The New York Times reported in 1971, "The complex has long been regarded as one of New York City's architectural treasures." Despite this, many New Yorkers overlooked its existence through the late 20th century.
《纽约时报》1971年报道称，“这座建筑群长期以来被视为纽约市的建筑瑰宝之一。”尽管如此，许多纽约人在整个 20 世纪末都忽视了它的存在。
Harmon Goldstone and Martha Dalrymple wrote in 1974 that the houses' continued existence was "a minor miracle", and John Corry of The New York Times wrote in 1980 that the residences "make up as interesting a piece of real estate as there is in New York".
哈蒙·戈德斯通 (Harmon Goldstone) 和玛莎·达尔林普尔 (Martha Dalrymple) 在 1974 年写道，这些房屋的持续存在是“一个小小的奇迹”，《纽约时报》的约翰·科里 (John Corry) 在 1980 年写道，这些住宅“构成了与纽约一样有趣的房地产”。
During the 1970s, when the Helmsley Palace Hotel was being developed, preservationists fought strongly to keep the houses.
20 世纪 70 年代，赫尔姆斯利皇宫酒店正在开发中，保护主义者为保留这些房屋而进行了激烈的斗争。
Huxtable called Helmsley's 1974 proposal for the hotel "a death-dealing rather than a life-giving 'solution'", and she similarly criticized the June 1975 plan, as "a wretched failure".
赫克斯泰布尔称赫尔姆斯利 1974 年的酒店提案“是一场致命的‘解决方案’，而非赋予生命的‘解决方案’”，她同样批评 1975 年 6 月的计划是“一次悲惨的失败”。
By contrast, when the September 1975 proposal called for saving the Gold Room, Huxtable stated: "There is now the promise of a solution that all can abide by." Many preservationists were not completely content with the hotel's presence, but Helmsley nevertheless received credit for saving the houses.
相比之下，当 1975 年 9 月的提案呼吁拯救金屋时，赫克斯泰布尔表示：“现在承诺提供一个所有人都能遵守的解决方案。”许多保护主义者对酒店的存在并不完全满意，但赫尔姆斯利仍然因保护这些房屋而受到赞誉。
After the hotel was completed, Paul Goldberger wrote in The New York Times that the hotel tower's boxy facade lacked the architectural appeal of the Villard Houses, but that the residences' interiors still gave the hotel "the finest public rooms of any hotel in New York".
酒店竣工后，保罗·戈德伯格在《纽约时报》上写道，酒店塔楼四四方方的外观缺乏维拉德住宅的建筑吸引力，但住宅的内部装饰仍然为酒店提供了“纽约所有酒店中最好的公共房间”。
A writer for the Hartford Courant said that, though the most important parts of the houses had been saved, he believed they "probably looked better without the big black tower that grows out of their back".
《哈特福德新闻报》的一位作家表示，尽管这些房屋最重要的部分被保存下来，但他相信“如果没有从后面长出的黑色大塔，它们看起来可能会更好”。
Architecture: the AIA journal described the project in 1981 as "a product of admirable human energy and down-to-earth compromise and [...] a much happier event than the architectural funeral most observers would have bet on six years ago".
建筑：美国建筑师协会杂志 1981 年将该项目描述为“令人钦佩的人类能量和务实妥协的产物，并且 [...] 比大多数观察者在六年前押注的建筑葬礼要幸福得多”。
The architectural writer Robert A.
建筑作家 Robert A.
M.
M。
Stern described the Villard Houses as McKim, Mead & White's "first scholarly essay in the Classical architecture of the Italian Renaissance", and Leland M.
斯特恩将维拉德住宅描述为 McKim、Mead & White 的“意大利文艺复兴时期古典建筑的第一篇学术论文”，以及 Leland M.
Roth described Villard's residence in particular as "a standard of restrained elegance in interior decoration".
罗斯特别将维拉德的住宅描述为“室内装饰内敛优雅的标准”。
Michael C.
迈克尔·C.
Kathrens wrote in 2005 that "under almost any criteria, the Villard Houses are masterpieces of refined interpretation." Elizabeth Hawes said the houses helped to popularize the use of classical architectural styles in the city's residences.
凯瑟伦斯 (Kathrens) 在 2005 年写道，“几乎在任何标准下，维拉德别墅都是精致诠释的杰作。”伊丽莎白·霍伊斯说，这些房屋有助于在城市住宅中普及古典建筑风格的使用。
The history of the houses was also detailed in Mosette Broderick and William Shopsin's 1980 book The Villard Houses: Life Story of a Landmark.
Mosette Broderick 和 William Shopsin 于 1980 年出版的著作《The Villard Houses: Life Story of a Landmark》中也详细介绍了这些房屋的历史。
List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets
纽约市曼哈顿第 14 至 59 街指定地标列表
National Register of Historic Places listings in Manhattan from 14th to 59th Streets
曼哈顿第 14 街至第 59 街的国家历史名胜名录列表