Years ago the critic Ada Louise Huxtable noted that at the turn of the last century the president of the Pennsylvania Railroad, Alexander Cassatt, wanted to build a hotel atop Penn Station to exploit valuable air rights. But his architect, McKim, talked him out of it. The railroad owed the city a “thoroughly and distinctly monumental gateway,” McKim argued. Idealism temporarily triumphed over commerce, until McKim’s great building, across several troubled decades, became an increasingly rundown emblem of urban glory and gave way to an architecture of gloomy pragmatism and moneyed interests.
