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The Evolution of Fuel — Art Deco Elevator Doors, René Chambellan, 1931

An Allegory of Fuel — NYC Art Deco Archive

70 Pine Street's elevator doors feature a pair of nickel-silver reliefs symbolizing the Evolution of  Energy.
On the right door, a woman holds an antique oil lamp — a symbol of the past. On the left, a man grasps an electric turbine — an emblem of the future. The surrounding decoration incorporates Native American-inspired zigzags and sunbursts alongside the Cities Service logo.

Chambellan worked here in nickel silver — a corrosion-resistant copper-nickel-zinc alloy with no actual silver content, prized in Art Deco design for its warm tone and casting precision. Both are visible in the relief.
Artwork by René Paul Chambellan.
Published in FMR Magazine, Winter Solstice 2024.

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70 Pine Street, 1931 — Overview

From Oil Empire to Architectural Monument

70 Pine Street was commissioned by the Cities Service Oil Company — one of the largest energy corporations of the early 1930s. The building was designed by architects Clinton & Russell, Holton & George and completed in May 1932. Upon opening it was the world's third-tallest building and the first to feature double-deck elevators, serving two floors simultaneously.

A selection of images from 70 Pine Street was published in FMR Magazine, Winter Solstice 2024.

Elevator Doors

René Paul Chambellan designed the elevator doors circa 1931, during the building's construction phase. The date is frequently misattributed to 1929 — which refers to his concurrent work at the Chanin Building — but the 70 Pine Street commission is a distinct and later project, completed during the Depression years.

Nickel Silver

The doors are cast in nickel silver — a copper-nickel-zinc alloy containing no actual silver. Also known as German Silver — sold in some markets as Alpaca. It was prized in Art Deco architectural metalwork for its silvery-white luster, warm tone, and resistance to corrosion. Unlike sterling silver, it does not blacken with age. Chambellan favored it for its precision casting properties — the alloy holds fine low-relief detail with exceptional clarity.

Lobby Ceiling and Cast-Glass Fixtures

The lobby ceiling is white plaster, featuring faceted patterns and stepped polychrome corbels with gold, bronze, and copper-leaf relief bands — a thematic reference to the Cities Service Company's business in light, heat, and power. The space is illuminated by hand-cut translucent cast-glass fixtures decorated with bronze metalwork by Cliff Parkhurst. The light ripples across the ceiling's wave patterns, reinforcing the building's identity as a monument to energy and modern progress.

Architecture by Clinton & Russell, Holton & George, 1932.
Elevator doors by René Paul Chambellan, circa 1931.

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