INTRODUCTIONArchitecture should speak of its time and place, but yearn for timelessness1A terraced house living on the outskirts of a city can be able to withstand for generations if it was builtunder the right conditions. A house can grow into a knowledgeable witness: on late nights, it listens towhispered conferences in the kitchen; it sees swaddled babies brought back from the hospital; itoversees homework completion on late afternoons; it experiences the winter evenings when itswindows are cold as frozen groceries, and midsummer dims when its bricks hold the warmth of joy2.To some a house is a story, a time-machine, a piece of ancient artifact.Architecture, unlike the other many other art fields, is a mixture of both art and science. It has theability to captivate works from centuries ago; the climate, the land contour, religion, social, economic,and political condition of the time-period, can all be told through a piece of architecture. Thearchitecture style of a work is essential to future generations, for an analysis of the design tellsintriguing contextual stories. This essay thus seed to analyse his most remarkable work, the ChryslerBuilding, to exemplify the exceptionalism embedded in Art Deco architectural conception, alluding tothe interconnectedness of architectural construction and contextual situation.William Van Allen was one of the many renowned architects, best known for his design of TheChrysler Building. He was born in New York in the late eighteen hundred. He attended Pratt Institute,while working with other architects. After he finished his studies, he continued to work for New YorkFirms, most notably working on the “Hotel Project” project in 1902 along with architects Clinton &Russell. He was rewarded with the Paris Prize scholarship, leading to his interest in contemporaryarchitecture styles: modernism. His architectural career was mostly centred around modern1Frank Gehry (1929), American Canadian Architect2De Botton, Alain. Architecture of Happiness. Penguin Books, 2007.3