1 Hanover Square (also known as India House, Hanover Bank Building, and New York Cotton Exchange Building) is a commercial building on the southwestern edge of Hanover Square in the Financial District of Lower Manhattan in New York City. It was the site of the United States' first cotton futures exchange, the New York Cotton Exchange.
1 Hanover Square is composed of four originally separate structures. The main structure is a three-story brownstone building designed in the Italian Renaissance style and completed in 1854. The brownstone contains the building's main entrance facing Hanover Square. Adjoining the brownstone are three brick structures at 60–64 Stone Street, which date to 1836 and were built as commercial stores. The brick buildings are four stories tall but are the same height as the brownstone. Inside are maritime-themed spaces that are used by Harry's Bar, Ulysses Folk House, and the India House club.
The brownstone initially served as the headquarters of the Hanover Bank, while other commercial tenants occupied the brick buildings. The New York Cotton Exchange, founded in 1870, occupied the building from 1872 to 1885. The building subsequently served as the headquarters of W.R. Grace and Company until the early 1910s. In 1914, the structures were purchased by the India House, a private club for gentlemen involved in foreign commerce, which continues to occupy the building. Over the years, various architects have made renovations to 1 Hanover Square, with the three Stone Street stores being gradually combined with the brownstone structure between the 1870s and 1910s. Restaurants have also been housed in various portions of 1 Hanover Square throughout its history.
1 Hanover Square's design, especially in regard to its later use as the India House clubhouse, has received critical acclaim. The building was designated a city landmark by the New York City Landmarks Preservation Commission (LPC) in 1965 and was added to the National Register of Historic Places (NRHP) in 1972. The building also became a National Historic Landmark in 1977. It is a contributing property to the Stone Street Historic District, which was designated by the LPC in 1996 and by the NRHP in 1999. 1 Hanover Square has also been depicted in works of popular culture, including the 2001 film Kate & Leopold.


1 Hanover Square is in the Financial District of Manhattan in New York City. It occupies the northeastern side of a block bounded by Stone Street to the northwest, Hanover Square and William Street to the northeast, Pearl Street to the southeast, and Coenties Slip to the southwest. The building carries the alternate addresses 2 Hanover Square, 60–66 Stone Street, and 95–105 Pearl Street. 1 Hanover Square contains frontage of 72 feet (22 m) on Hanover Square, 123 feet (37 m) on Stone Street, and 114 feet (35 m) on Pearl Street. The building is near 1 William Street to the northwest and the British Garden at Hanover Square to the northeast.
The site was historically part of New Amsterdam, a 17th-century Dutch colonial settlement in modern-day Lower Manhattan; the building's site was acquired by Richard Smith in the 1640s. By the next decade, the southern portion of the lot was sold to Evert Duyckingh (also "Duyckinck"), who developed a house on the site. The northern portion was given to Abraham Martens Clock, who also developed a house on his site; after 1673, town official Nicholas Bayard bought the western end of Clock's land and built a house there. There were numerous buildings on the site by 1812, occupied by various dwellings and businesses. These structures were all destroyed in the Great Fire of 1835, which leveled a large portion of the neighborhood.


1 Hanover Square is composed of four formerly separate buildings. The main structure, completed in 1851, is a three-story masonry structure atop a raised basement, built out of brownstone in the Italian Renaissance style. Although Lower Manhattan formerly contained many Italianate commercial structures, 1 Hanover Square is the only remaining such structure. The building extends southwest to 60–64 Stone Street (also known as 95–101 Pearl Street), a set of Greek Revival commercial structures completed in 1836. These three structures are made of brick and are four stories tall. The additional commercial structures are the same height as the main brownstone structure. The architects for all of these structures are not known, although Richard F. Carman may have been involved in the design of the brownstone.
The lot comprising 1 Hanover Square was formerly six separate parts. Each of the four-story brick structures at 60, 62, and 64 Stone Street comprise one part extending the depth of the block to 95–97, 99, and 101 Pearl Street respectively. The main structure is composed of a three-story brownstone section on Hanover Square, a three-story brick section on 66 Stone Street, and a three-story brownstone section on 103 Pearl Street. All of the constituent structures occupy the same land lot. The building as a whole is roughly rectangular but has longer frontage on Pearl and Stone Streets.
1 Hanover Square serves as the headquarters of the India House club and contains restaurant and bar space. While the building has had numerous occupants in its history, it was particularly known for being the first headquarters of the New York Cotton Exchange, founded in 1870. The exchange was the second cotton futures exchange in the world behind the International Cotton Association, as well as the first such exchange in the United States.


1 Hanover Square became the headquarters of W. R. Grace and Company. Shortly after W. R. Grace and Company had moved to the building, Julius Kastner designed and constructed the fire escapes on Stone and Pearl Streets. By the 1890s, images show the sign above the entrance was changed to "Old Cotton Exchange". George Ehret acquired the brownstone structure and adjacent brick structures in three separate transactions in the 1880s and 1890s. In 1899, 1 Hanover Square was merged with the commercial building at 62 Stone Street/99 Pearl Street, which previously had been owned by the estate of Manley B. Boardman.
At the beginning of the 20th century, 1 Hanover Square contained a Haitian consulate and the Stuetzle Brothers liquor sellers. Sometime between 1899 and 1914, the final brick commercial building at 60 Stone Street/95–97 Pearl Street was combined with 1 Hanover Square. W. R. Grace and Company had moved out by 1912 or 1913, opening a new headquarters on the block immediately to the southeast.


The club obtained a ten-year lease on 1 Hanover Square and an option to buy it at any point during the lease. To accommodate the clubhouse, George Ehret renovated the structure, removing the parapet atop the brownstone and adding a light-colored coating to the facade. In addition, maritime artifacts were moved to the clubhouse. The collection included ship models and Chinese art donated by Straight, as well as models, engravings, and paintings of ship donated by Farrell. The club moved into the building on November 16, 1914.
In 1915, plans were filed with the Manhattan Bureau of Buildings for a 20-story office building on the site. The filing was a preparatory measure rather than an indication that the site was to be redeveloped. The building was sold in January 1917 for $750,000, with J. Reuben Clark reported as the buyer. 1 Hanover Square was subsequently bought by Straight in 1918, and his widow Dorothy Payne Whitney continued to hold the property after his death the same year. In 1921, India House Inc. decided to purchase 1 Hanover Square for $650,000. William Adams Delano and Chester Holmes Aldrich further renovated 1 Hanover Square between 1924 and 1925. During this renovation, a skylighted third-floor meeting room was added with nautical decoration. As part of the renovation, the basement and cellar were also altered or expanded. The building's basement restaurant was damaged in a 1925 fire; engine crews had gotten confused while simultaneously trying to fight another fire across the street. The club installed soundproofing in the building's dining rooms in 1937.
The Third Avenue Elevated was closed in 1950 and subsequently removed. The line's demolition allowed both greater sunlight and quieter meetings; according to the India Club's president, the passing trains were loud and had shaken the foundations of the building. In 1951, shortly after the elevated line's removal, the India House club decided to renovate the exterior of 1 Hanover Square to plans by Nicholson & Galloway. The sheet metal balustrade was removed from the cornice during this time. Members of the India House proposed a maritime-themed park on Hanover Square, which was dedicated that November. By the 1960s, the basement contained a German-American tavern called Hanover Square.


In 1972, Harry Poulakakos and his wife Adrienne opened Harry's Bar within the basement of 1 Hanover Square. By the 1980s, the bar typically served hundreds of patrons during lunch and dinner, and it had private telephone lines connecting to nearby brokerage houses. Following the financial crisis of 1987, the Broad Street Club merged with the India House and moved to 1 Hanover Square. Through the early 1990s, Harry's was popular among the area's bankers, brokers, and traders. The Poulalakos' son Peter opened Bayard's Restaurant on the upper stories in 1998, named for Nicholas Bayard, one of the site's 17th-century occupants. At the time, the India House still met at 1 Hanover Square during the day, so Bayard's only operated at night. Meanwhile, India House had sold off much of its collection of maritime artwork by then. The India House Foundation, created in 1999, unsuccessfully attempted to save the collection.
Harry's survived the September 11 attacks in 2001, as did Bayard's. After Adrienne Poulakakos died in August 2003, and amid a general decline in patronage, Harry's suddenly closed that November, but Bayard's and the India Club continued to operate. Around that time, the India House began to restore 1 Hanover Square's facade, which had long been covered with brown stucco. The project was completed in 2005 and received the New York Landmarks Conservancy's Lucy G. Moses Preservation Award. Harry and Peter Poulakakos opened Harry's Steakhouse and Restaurant in May 2006. Also in the mid-2000s, Peter Poulakakos opened and co-operated Ulysses Folk House and Adrienne's Pizza Bar within 1 Hanover Square and the adjacent buildings on Pearl and Stone Streets. Bayard's had been closed by the 2010s.


The parcel of land now known as Spadina Crescent first appeared on maps of Toronto as early as 1835, originally named "Mansfield's Old Gardens" and then Crescent Garden. The land was originally laid out by Dr. William Baldwin to cut through his family's land holdings. There was the intention for the city to turn it into a park after Dr. Baldwin's death; however, the conditions for this were never met and his grandchildren sold the land in 1873 to the Hon. J. McMurrich of the Presbyterian Church for $10,000.
A Gothic Revival building designed by architect James Avon Smith was built in 1875  as the then new home of Knox College, a theological college of the Presbyterian Church in Canada. Knox College became affiliated with the University of Toronto in 1887, and in 1914 moved to its current location on the west side of King's College Circle. During World War I, the building became barracks, and shortly afterward became the Spadina Military Hospital in October 1916. For a period in 1918, Amelia Earhart worked as a nurses aide at the hospital. It remained a veterans hospital until 1943 when it was acquired by the University of Toronto's Connaught Medical Research Laboratories, which became one of Canada's main centers for the development and manufacture of pharmaceuticals. The building was in disrepair at this point and needed substantial renovations. It was also around this time that the basement was excavated. In the 1960s, it was proposed that this building be demolished to make way for the Spadina Expressway, which was never built. It became an academic building again in 1972 with the sale and relocation of the laboratories. The building was home to the Ontario division of the Eye Bank of Canada, and an alternative U of T student weekly newspaper, The Newspaper which moved because of renovations.
In January of 2001, University of Toronto Professor David Buller was murdered in his office within the building, the case remains unsolved.
In June 2013, U of T announced a significant overhaul and renovation of the building, with plans to make it the new home for the Daniels Faculty of Architecture. On December 4, 2015, the Toronto Star published a video by Christopher Hume, its architecture critic, celebrating the building's history, and the University's plan to renovate, update and expand the building. The building was subsequently restored and renovated by a team of architects including heritage architects ERA and design architects Nader Tehrani and Katherine Faulkner of the Boston based firm NADAAA. The expansion, which was completed in 2017, included a new contemporary glass, concrete, and steel addition to the north side. The expanded portion of the building now offers space for design studios, lounges, a student cafe, workshop and fabrication labs. The historic building was sensitively restored and renovated to accommodate the new library, classes, and faculty offices. Toronto based landscape architecture studio PUBLIC WORK designed the surrounding landscape, which includes native plants and trees such as birch and oak. On the north side are two large berms, a grassy area, and a stepped pathway which leads to the fabrication laboratory. The extensive project received several awards for architectural excellence and was published in magazines around the globe.


1 Wall Street Court (also known as the Beaver Building and the Cocoa Exchange) is a residential building in the Financial District of Manhattan in New York City. The 15-story building, designed by Clinton and Russell in the Renaissance Revival style, was completed in 1904 at the intersection of Wall, Pearl, and Beaver Streets.
The building is shaped similarly to a flatiron because of its position at an acute angle formed by the junction of Pearl and Beaver Streets. 1 Wall Street Court's articulation consists of three horizontal sections similar to the components of a column, namely a base, shaft, and capital. The base is faced with stone, the shaft contains alternating bands of buff and tan brick, and the capital contains multicolored terracotta ornamentation depicting geometric shapes. There are carved beavers over the main entrance facing Pearl and Beaver Streets, signifying the building's original name. The superstructure is of steel frame construction.
The Beaver Building was constructed between 1903 and 1904 as a speculative development. The building served as the headquarters of the Munson Steamship Line from 1904 until 1921, and the company owned 1 Wall Street Court from 1919 to 1937. The building was foreclosed upon in 1937, and ownership subsequently passed to several other entities, including the Bowery Savings Bank. The New York Cocoa Exchange was another large tenant, occupying the building between 1931 and 1972. The commercial spaces on ground level, as well as the interior offices, were significantly altered from their original design, with major renovations in 1937 and the mid-1980s. 1 Wall Street Court was converted into a residential condominium building in 2006.
The building was designated a city landmark by the New York City Landmarks Preservation Commission in 1995 and was added to the National Register of Historic Places (NRHP) in 2005. It is also a contributing property to the Wall Street Historic District, a NRHP district created in 2007.


1 Wall Street Court is in the Financial District of Lower Manhattan. It occupies most of the block bounded by Hanover Street to the west, Pearl Street to the southeast, and Beaver Street to the north, with facades on Pearl and Beaver Streets. The building faces eastward toward the five-pointed intersection of Pearl, Beaver, and Wall Streets. It is near 55 Wall Street and 20 Exchange Place to the northwest, 63 Wall Street to the north, and 75 Wall Street to the east. The property measures 122 feet (37 m) on Beaver Street, 136 feet (41 m) on Pearl Street, 20 feet (6.1 m) on the intersection with Wall Street, and 88 feet (27 m) on the west. The plot covers 9,300 square feet (860 m²). Including a four-story annex at 80 Beaver Street, it measures 140 feet (43 m) on Beaver Street and 157 feet (48 m) on Pearl Street.
The narrow lot was a result of the Financial District's street grid, as outlined in the Castello Plan, a street map for the Dutch colony of New Amsterdam. The site was historically part of the estate of pirate William Kidd. Nearby buildings include the Wall and Hanover Building to the north and 20 Exchange Place to the northwest.


1 Wall Street Court's articulation consists of three horizontal sections similar to the components of a column, namely a base, shaft, and capital. The two principal elevations on Pearl and Beaver Streets are joined by a rounded corner on Wall Street. The windows on each side are arranged into bays, with six each on Pearl and Beaver Streets and three on the rounded corner. These bays generally have one window per floor on the first and second stories, and two windows per floor above; on two of the corner bays, there is one window per floor on the first through twelfth stories, and two windows per floor above. The western facade, treated as the rear of the building, is a plain brick wall with windows. There was a fire escape on the Pearl Street side, dating from 1916, but was removed in the early 21st century.
The three-story base is faced with ashlar of granite and Indiana limestone. At the main corner, facing the intersection of Beaver, Wall, and Pearl Streets, there is a rounded stoop leading to the building's first story. This door is underneath an entablature with a rounded sign reading "THE NEW YORK COCOA EXCHANGE inc." Additional entrances were on the building's western end, originally leading to the elevator lobby. The entrance on Pearl Street, which was formerly located under the Third Avenue elevated line, is more simply designed and contains revolving doors under a canopy. The entrance at Beaver Street has a pediment with carvings of beavers framing a cartouche with the words "munson line building". The other windows on the first story are generally double-height windows, indicating the presence of the mezzanine inside. Above the second story are ornamental cartouches over carvings of beaver heads. There are panels between the window groupings on the third story, and a cornice over the third story.
The nine-story shaft is composed of alternating bands of buff and tan brick. The windows are surrounded by glazed green terracotta tiles. The three-story capital is ornamented with multicolored glazed terracotta tiles in green, cream, and russet hues. The windows are separated into pairs surrounded by double-story neoclassical outlines. The terracotta was originally sandblasted to reduce the glaze. The top of the building contains a terracotta cornice. The cornice originally contained copper cresting, although that was removed after 1940. The roof has a gravel surface, and contains a skylight and some heating, ventilation, and air conditioning (HVAC) equipment.


1 Wall Street Court contains a superstructure made entirely of steel. The floor arches and partitions are made of fireproof brick. In the original layout, all woodwork was covered with fireproof materials; the floors of the corridors were made of mosaic and marble, while the office floors were made of cement. 1 Wall Street Court contains four elevators along its western side. An enclosed fire stair with marble treads is on the building's northwest corner. As built, 1 Wall Street Court also had two 300 horsepower (220 kW) boilers that provided steam for three electric generators aggregating 275 kilowatts (369 hp).
The total amount of interior space is about 90,000 square feet (8,400 m²). The first-story and mezzanine space was intended to be used by banks, while the basement was reserved for restaurants. The basement still serves as its original purpose, but the National Park Service could not determine if a bank ever used the first story and mezzanine. The first floor is about 4 feet (1.2 m) above street level and contains lobbies, commercial space, and elevator access. The main lobby on Pearl Street and the freight lobby on Beaver Street are connected by a corridor with four elevators. The commercial space is accessed by the corner entrance, which contains a wooden  vestibule with a revolving door. The elevator lobby contains a barrel-vaulted ceiling, wood-paneled and mirrored walls, and wood-and-metal elevator doors. The mezzanine, a U-shaped space above 2⁄3 of the first floor, is reached by a stair on the west side.
The second floor was used as office space for its first hundred years. A "typical floor" would have an elevator landing on the west, a corridor extending east, and offices on either side of the corridor as well as at the narrow corner. The corridors were originally made of mosaic and marble, while the office floors were cement, and there were glass panels along the corridors prior to the building's 1937 renovation. In the original layout, toilets were placed on the second, fourth, and tenth floors. Because of the interior arrangement and small lot size, all of the interior space was directly lit by a window. Architects' and Builders' Magazine said upon the building's completion that 1 Wall Street Court contained possibly "a larger window area relative to floor space than in any other office building in the city". Further renovations led to the replacement of the floors, walls, and doors. By 2006, the office space was converted to 126 condominium apartments.


The site was formerly bisected by Short Street and comprised a number of different allotments and uses. Buildings occupied the area as early as 1854 and it was used for a variety of functions including; manufacturing, warehousing, shipping, housing, and electricity generation.
The Queensland Government began purchasing the properties in the 1960s as part of their Government Precinct development scheme and began demolishing the existing buildings, some dating to the 1850s. The demolition of the adjacent Bellevue Hotel and construction of 80 George Street saw the spoil from there dumped on the 1 William Street site. Short Street was closed and all of the site was amalgamated into one allotment, 1 William Street.
In 1974, the site was allocated for future government offices.
1 William Street is a 6,778-square-metre (72,960 sq ft) site, owned by the Queensland Government, and from 1982 until 2013 it was used as a government car park. The site encompasses a whole city block between William, Alice and Margaret Streets and Riverside Expressway.
Since 2012, 1 William Street is often referred to as the "Tower of Power" in the media which is a reference to the political strength of the commissioning former Newman Government and that the building is filled entirely with Queensland Government public servants.


In August 2012 Expressions of Interest were called for from experienced organisations interested in bidding for the project. It was proposed that the site would be available to the successful party under a long-term lease arrangement and that the Queensland Government would take a long-term lease over approximately 75,000 m² (810,000 sq ft) of the office space in the development.
In September 2012 six developers were shortlisted to develop proposals for a new high-rise tower. The shortlisted companies were Cbus, Lend Lease, Brookfield, Westfield, Leighton Properties and Grocon.
In December 2012, Cbus was announced as the developer for 1 William Street. The developer was granted a 99-year lease over the site and a guaranteed 15-year government lease for 60,000 m² (650,000 sq ft) of office space.


Tyre supplier Pirelli provided teams with the ultra-soft, super-soft and soft compounds of tyre. The purple branding on the ultra-soft compound was replaced by pink for the race to raise awareness of breast cancer. Several teams also incorporated pink into their liveries to support the cause (except Force India, whose cars were pink to begin with).


The 2018 London Marathon was the 38th running of the annual marathon race in London, England, which took place on Sunday, 22 April. Kenyans Eliud Kipchoge and Vivian Cheruiyot won elite races. In the wheelchair races, Britain's David Weir and Australia's Madison de Rozario topped the podium.
Around 386,050 people applied to enter the race: 54,685 had their applications accepted and 40,926 started the race. These were all record highs for the race. A total of 40,179 runners, 23,701 men and 16,478 women, finished the race. The race was formally started by Queen Elizabeth. It was officially recorded as the hottest London Marathon to date at a peak temperature of 24.1 °C (75.4 °F).
In the under-17 Mini Marathon, the 3-mile able-bodied and wheelchair events were won by Luke Duffy (14:24), Cera Gemmell (16:38), Zhou Zien (13:05) and Kare Adenegan (12:37).


On 23 March 2018, London Marathon Limited, the organisers of the event announced that the Queen would formally start the race by "step[ping] onto a special podium in front of the Round Tower in the grounds of Windsor Castle to push the start button at 10:00 a.m." The formality marked the anniversary of the 1908 Olympic Marathon, which was started at the same venue by the then Princess Mary, who is The Queen's grandmother. It marked the third time a member of the royal family has started the race, held annually since 1981.
With hot weather forecast, the organisers told racers to lower their performance goals and reconsider fancy dress which could lead to overheating. Extra water and cooling showers were added along the route. On race day, the temperature at St James's Park was recorded as 24.1 °C (75.4 °F), making this the hottest London Marathon ever.
One runner, 29-year-old Masterchef semi-finalist and professional chef Matt Campbell, died after collapsing during the race.
The men's elite race saw the second-ever entry into a competitive marathon by British runner Mo Farah, who, despite a mix-up at a water station, managed to finish third in a new British record. The race winner, Eliud Kipchoge, was on pace for a world record, but slowed in the final stages, finishing with a time of 2:04:17.
Both Mary Keitany and Tirunesh Dibaba went into the women's elite race aiming to set a new world record for a women's marathon with male pacemakers. Keitany led on a world-record pace for much of the race, but faded in the final few miles to eventually finish fifth. Dibaba also struggled as the race progressed and failed to finish. The race winner was Vivian Cheruiyot in a time of 2:18:31.
David Weir won the men's wheelchair event for a record extending eighth time, while Commonwealth Champion Madison de Rozario claimed a surprise first win in London in the women's event.


Twenty drivers representing ten teams entered the race. Alfa Romeo Racing made their return to the sport, replacing the Sauber F1 Team as part of a sponsorship deal that started in 2018. Racing Point also made their début as an independent constructor, having acquired the assets of the Sahara Force India team and having competed under the Force India name in 2018. Alexander Albon, Lando Norris and George Russell all made their competitive débuts. Meanwhile, Antonio Giovinazzi, Robert Kubica and Daniil Kvyat all returned to the championship.
Mission Winnow, the title sponsor of Ferrari, was banned from the race as it did not comply with local laws governing tobacco sponsorship.


The 201 Dome Mosque is a large mosque under construction in South Pathalia village, Bangladesh.
Construction of the mosque began in 2013 on 15 bighas of land on the east bank of the Jhenai River in South Pathalia village, Nagda Simla Union, Gopalpur Upazila, Tangail District, Bangladesh. It is being built by the Heroic Freedom Fighter Mohammad Rafiqul Islam Welfare Trust. The estimated cost of construction is BDT 100 crore ($12.3 million).
The mosque is expected to have a capacity of about 15,000 devotees.
The mosque is a square building. There are four 101-foot (31 m) high corner towers, and four shorter 81-foot (25 m) high towers at the corners of the square space covered by the 81-foot (25 m) central dome. The central dome is surrounded by 200 smaller 17-foot (5.2 m) domes. An adjacent 451-foot (137 m) high minaret is planned immediately to the southwest. It is expected to be the highest minaret in Bangladesh. The western wall of the mosque will be inscribed with the entire Qur'an.
In addition to the main worship space, the mosque complex will house an orphanage, an elder care home, and a hospital with free treatment. The complex will feature a helipad in order to host dignitaries.


20 Fenchurch Street is a commercial skyscraper in London that takes its name from its address on Fenchurch Street, in the historic City of London financial district. It has been nicknamed "The Walkie-Talkie" because of its distinctive shape, said to resemble a two-way radio handset. Construction was completed in spring 2014, and the three-floor "sky garden" was opened in January 2015. The 38-storey building is 160 m (525 ft) tall. Since July 2017, the building has been owned by Lee Kum Kee Groups.
Designed by architect Rafael Viñoly and costing over £200 million, 20 Fenchurch Street features a highly distinctive top-heavy form which appears to burst upward and outward. The entrance floor and 34 floors of office space are topped by a large viewing deck. A bar and restaurants are included on the 35th, 36th and 37th floors; these are, with restrictions, open to the public.
The tower was originally proposed at nearly 200 m (656 ft) tall but its design was scaled down after concerns about its visual impact on the nearby St Paul's Cathedral and Tower of London. It was subsequently approved in 2006 with the revised height. Even after the height reduction there were continued concerns from heritage groups about its impact on the surrounding area. The Secretary of State for Communities and Local Government, Ruth Kelly, called in the project for another public inquiry. The project was consequently the subject of a public inquiry; in 2007 this ruled in the developers' favour and the building was granted full planning permission. In 2015 it was awarded the Carbuncle Cup for the worst new building in the UK in the previous 12 months.
In 2013 Paul Finch of the Design Council CABE said he regretted supporting the project during the public inquiry, saying that the developers "made a mess of it" and were architects of their own misfortune.


Previously owned by the Land Securities Group, the company posted a £95m loss in 2016. In July 2017, the Hong Kong food company Lee Kum Kee Groups agreed to purchase the building from Land Securities and Canary Wharf Group for £1.3 billion. Leasing of the building is carried out by CBRE and in July 2018, CBRE's Asset Services were awarded the contract to carry out all management of 20 Fenchurch Street.


The new tower at 20 Fenchurch Street was designed by Uruguayan architect Rafael Viñoly.
The 'sky garden' at the top of the building was claimed by the developer to be London's highest public park, but since opening there have been debates about whether it can be described as a 'park', and whether it is truly 'public' given the access restrictions. The garden spans the top three floors, which are accessible by two express lifts and include a large viewing area, terrace, bar and two restaurants. Fourteen double-deck lifts (seven low-rise up to the 20th floor, seven high-rise above the 20th floor) serve the main office floors of the building.
The south side of the structure is ventilated externally to improve efficiency and decrease solar gain, whilst the east and west faces incorporate extensive solar shading. There is a southern entrance in addition to the main northern entrance set back from Fenchurch Street.


The 23rd Regiment Armory, also known as the Bedford Atlantic Armory, the Marcy Avenue Armory, and the Williamsburg Armory, is a historic National Guard armory building located at 1322 Bedford Avenue between Atlantic Avenue and Pacific Street in the Crown Heights neighborhood of Brooklyn, New York City, United States. The building is a brick and stone castle-like structure designed to be reminiscent of medieval military structures in Europe.  It was built in 1891–95 and was designed in the Romanesque Revival style by Fowler & Hough, local Brooklyn architects, and Isaac Perry, the New York state government's architect.
The structure was originally built for the 23rd Regiment of the New York State Militia. Since the 1980s, it has been in use as a men's homeless shelter, though in the 2010s, there were plans to redevelop the armory.
The building was designated a New York City landmark in 1977, and was listed on the National Register of Historic Places in 1980.


The 23rd Regiment of the New York State Militia was organized in 1861 as a relief guard of the 13th Regiment. It was meant to take over the duties of the Brooklyn City Guard, which at the time was participating in the American Civil War. The Relief Guard, later known as the City Guard Reserve, was mustered-in as the 23rd Regiment in 1862, and participated in the Civil War for one month in 1863. Concerns about the readiness of volunteer militia led to the passage of an "Armory Law" in 1862, during the Civil War, which called for the construction of armories statewide. However, the effort stagnated after the end of the war. The 23rd Regiment then moved to an armory on 165–179 Clermont Avenue in Fort Greene, which was built in 1872–1873. The still-extant building, which now includes apartments, contained windows with pointed arches and a tall mansard roof.
The regiment soon outgrew the Clermont Avenue location, and started looking for a location to build a new armory. Halstead P. Fowler, of local architecture firm Fowler & Hough, was selected as the new armory's architect. Fowler, a 23rd Regiment member, designed the building under the supervision of state architect Isaac Perry. Another armory architect, John N. Partridge, was also part of the 23rd Regiment. In June 1889, Partridge requested a $350,000 appropriation from the New York State Commission for the construction of the new armory. That August, a site was selected at the southwest corner of Bedford Avenue and Atlantic Avenue. At the time, the land was occupied by the St. Bartholomew's School, as well as two farmhouses and a rowhouse. The rowhouse belonged to H.P. Fowler, a principal at Fowler & Hough.


A budget appropriation of $300,000 was given for construction, and plans for the 23rd Regiment Armory were finalized in 1890. The ceremonial cornerstone-laying event was held on November 14, 1891. Soon after, the costs of building the armory increased greatly, and by 1892 another $100,000 was being requested for the 23rd Regiment Armory's completion. Another $50,000 was requested in May 1893. The New York Times described the armory as one of three Brooklyn armories facing extreme cost overruns, the others being the 13th Regiment Armory in Bedford–Stuyvesant and the 14th Regiment Armory in Park Slope. In 1894, during construction, the building's flagpole shattered in a lightning storm.
On November 4, 1894, the 23rd Regiment marched to its new armory to signify that it had taken possession of the building, and the Clermont armory was sold shortly thereafter. On November 15, the regiment started a two-week fundraiser to collect money for furnishings, and raised almost $70,000 for said purpose. The new 23rd Regiment Armory was not completed until 1895, and the drill room was not completed until 1902. The total cost of the armory was $550,000, almost twice the original budget, though this figure also included the funds spent on furnishings. A World War I memorial outside the armory was dedicated in 1922.
In 1923, the building was rented by William Randolph Hearst for use as studio space for his Cosmopolitan Productions after the company's own facilities were destroyed by a fire on February 19, 1923. The 23rd Regiment Armory also housed the 106th Infantry until the 1980s, when the New York National Guard vacated the premises. In addition to military use, the 23rd Regiment Armory was used by various exhibits, including home shows and car shows; as well as various sporting events such as cycling and school sports.


The city converted the building into the Bedford-Atlantic Shelter, a 500-bed men's homeless shelter, in 1982. The shelter, operated by the New York City Department of Homeless Services (DHS), is nicknamed "Castle Grayskull" by the homeless and locals, in reference to the armory's castle-like appearance. The Bedford-Atlantic Shelter was one of 19 shelters built around the city during the 1980s; by 1987, it had 532 beds accommodating 800 men. Following a 1992 lawsuit brought by community members seeking to close the 23rd Regiment and Fort Washington Armory shelters, the city agreed to decrease the Bedford-Atlantic Shelter's capacity.  By 2002, the shelter had been downsized to 350 beds. The shelter still contained 350 beds by 2017, making it the city's largest homeless shelter to house exclusively men.
In addition to housing homeless men, the shelter serves as a DHS intake center, performing evaluations for homeless people, who are then sent to other shelters or treatment programs. Plans to use the 23rd Regiment Armory for this purpose were first announced in 2008 upon the planned closure of an existing intake center at Bellevue Hospital in Manhattan, which would make the armory the city's only DHS intake center. Following controversy over these plans, a second intake center was later announced for Manhattan. A New York City Police Department training facility is also located in the armory, and teaches new officers security procedures at New York City homeless shelters.
The Bedford-Atlantic Shelter is known as Brooklyn's most dangerous shelter and one of the most dangerous in the New York City shelter system. Since the 1980s, it had received a reputation for tolerating use of illegal drugs. A 2018 analysis found that in 2017, there had been 89 arrests at the shelter, and police had been called 865 times, or over twice a day. Many of these arrests were drug-related. Workers and residents also made allegations of a rat infestation at the shelter in 2018.


The 23rd Regiment Armory was proposed for redevelopment in 2012 at a cost of $14 million. Several developers submitted suggestions for alternate uses of the drill hall, including as a climbing facility, concert auditorium, or ice-skating rink. However, plans for the renovation of the 23rd Regiment Armory stalled in 2015. By 2017, there was still no progress on the armory's renovation.


The facade features deep red pressed brick, brownish red Potsdam stone, and red terra cotta detail. On the first floor facade are courses of ashlar. The general design of the facade is meant to be imposing rather than inviting. Eight circular towers are located on the exterior, the tallest of which is 136 feet (41 m) tall. Of these, there is one tower at each corner of the armory; one each along the Atlantic Avenue and Pacific Street facades, at the points separating the administration building and drill hall; and two flanking the main entrance on Bedford Avenue. The southeastern corner tower, at Bedford Avenue and Pacific Street, is accompanied by a smaller round tower. The Pacific Street side to the south is located on slightly higher ground than the Atlantic Avenue side to the north.
The administration building's Bedford Avenue facade consists of a central entrance bay with gables, and a two-story-tall round-arched sally port with a steel portcullis that drops from the top of the arch. There are friezes directly above the sally port, as well as three tall, narrow arched windows on the floor directly above the sally port. Flanking either side of the sally port are two 3-story-tall architectural bays, with two columns of windows in each bay. The first-floor windows contain round arches while the second-and-third floor windows are rectangular. There are also rectangular, quarter-size window openings from the basement. The wall on the right-hand (northern) side of the entrance includes a bronze plaque commemorating those who fought in World War I, which was dedicated in 1922.
The administration building's Pacific Street facade contains seven bays, with similar window design to the Bedford Avenue facade. Each bay contains two arched windows on the first floor, and two rectangular windows on the second and third floors. The center three bays are five stories tall, with a gabled roof on top, and include arched windows on the fourth and fifth floors. The other four bays are only three stories tall. The facade of the drill hall contains ten windowless bays, separated by protruding brick pilasters.
The Atlantic Avenue facade of the administration building is simpler in design. It contains ten columns of windows, with arched first-floor windows and rectangular second- and third-floor windows. There are also square, half-size window openings from the basement. The drill hall facade along Atlantic Avenue is similar to that on the Pacific Street side, but contains enclosed emergency stairs.


The basement was described as being similar to that of the 13th Regiment Armory, with rifle galleries, firing rooms, squad drill rooms, large lavatories, and a bowling alley. One of the largest interior features in the administration building is the Council Room, which contains a fireplace with a mantel that are both 24 feet (7.3 m) high. The July 18, 1897, edition of the Tribune described the room: "Certainly nothing in any other American armory compares and visitors from abroad say they have never seen anything like it." Another article in 1898 stated that the "company rooms are the best in all the armories of the state".


It was built in 1905–1909, and was designed by the firm of Hoppin & Koen. 240 Centre housed the headquarters of the New York City Police Department from 1909 to 1973, and was converted into a luxury co-op building in 1988 by the firm of Ehrenkranz Group & Eckstut.  It is now known as the Police Building Apartments.
240 Centre Street replaced an older building nearby on Mulberry Street, where Theodore Roosevelt had served as New York City Police Commissioner. Following the 1898 consolidation of the five boroughs into the City of Greater New York, the police department also expanded and needed a new headquarters building.
The Police Building was designated a New York City landmark in 1978, and was listed on the National Register of Historic Places in 1980.


By August 2007 all 276 apartments had been reserved. Luxury shops occupy the ground floor, fully encompassed within a glass-covered piazza. A 24-hour concierge and residents' gymnasium are among the development's other features.
In 2007, the development received recognition as the Best High Rise Development and Best High Rise Architecture in the Daily Mail UK Property Awards. It was finished in 2010.


The building has a complex massing: its lower portion occupies the entire pentagonal lot, following the curving contour of Broadway at that point, while its tower is aligned with the grid to which Lower Manhattan's other skyscrapers conform. A deep light court measuring 45 by 85 feet (14 by 26 m) cuts through the center of the Beaver Street facade; an interior light court measuring 25 by 90 feet (7.6 by 27.4 m) is also present on the northern side of the building. The Beaver Street light court was the last section to be constructed due to the presence of a holdout lot occupied by Childs Restaurants.
The original Standard Oil Building, a 15- or 16-story building initially faced in brick, still exists at the base of the modern skyscraper. The interior floors of the annex portions were designed so that they were at the same level as the floors in the original building. The newer floors are carried by trusses over the original structure, rather than resting on the older building's walls. In total, the base of the building is 16 stories.
26 Broadway features numerous setbacks on its facade, as mandated by the 1916 Zoning Resolution. The lowest such setback is at the 10th floor on the New and Beaver Streets sides, and another setback exists on all side above the 16th floor, where the building's base transitions into the tower.  The tower section of 26 Broadway contains an additional 13 stories above the northern edge of the expanded base, above which is a stepped triple-height pyramid. Two other setbacks exist above the 18th and 22nd floors of the tower. The setbacks give the tower a dimension of 82 by 142 feet (25 by 43 m) at the 17th and 18th stories, tapering to 80 feet (24 m) square above the 22nd story.


The modern building's facade is primarily composed of buff-colored Indiana Limestone, covering the tower and much of the base. The limestone facade at the lowest four stories is rusticated. The original building's facade was made of red brick and granite, making it appear as though the original section was separate from the expanded structure. Part of this facade is visible from New Street, but the Broadway facade was totally replaced with limestone. A small portion of the original building's southern facade is still visible but was given a limestone overlay.


The modern building was constructed in several phases around the preexisting buildings. The buildings were occupied by numerous tenants, who were allowed to temporarily stay in place due to the dearth of office space in Lower Manhattan in the 1920s. The structures included the Welles Building at 14-20 Broadway, at the modern building site's western boundary; the New York Produce Exchange at Broadway and Beaver Street, on the site's southwest corner; the Lisbon Building at Beaver and New Streets, at the site's southeast corner; and a five-story Childs Restaurants location in the middle of the block on Beaver Street, on the southern boundary. The original Standard Oil structure was on the northern boundary of the site.
Further complicating work was the presence of quicksand some 15 to 18 feet (4.6 to 5.5 m) below ground, underneath which was a hardpan of clay, gravel, and boulders. Tide water ranged from 12 to 37 feet (3.7 to 11.3 m) beneath the ground, under which was another layer of shale and earth 15 to 20 feet (4.6 to 6.1 m) deep; the underlying bedrock was under the shale and earth. The Welles Building and the original Standard Oil Building contained thick footings that went into the quicksand, though only a few of the footings reached the hardpan. Thus, the water had to be pumped out of the site before the superstructure was built. The new footings were built using a caisson method. A cofferdam wall was built underneath part of the expanded site, extending down to the bedrock at the deepest level. A complex system of underpinning was then undertaken so that the existing buildings would not collapse while excavation and construction of the foundation was ongoing. The building contains a basement 10 feet (3.0 m) deep, as well as a sub-basement 37 feet (11 m) deep, the latter of which contains all of 26 Broadway's mechanical equipment.


The entrance hall is 40 feet (12 m) high. It is finished with pink marble and contains pairs of Corinthian marble pilasters, carrying a marble cornice with the names of Standard Oil's cofounders. Above the cornice is a beamed ceiling and decorative panels with signs of the zodiac. In addition, the floors are clad in travertine and black marble, and the walls have bronze grilles. Lighting fixtures, doors, and gates are also made of wrought iron with bronze ornamentation.
Leading off the lobby are three banks of elevators: two on the south side of the main corridor, as well as a set of four elevators on the east side near New Street. Fifteen elevators serve only the first through 16th stories, while six serve the tower's executive offices, for a total of 21 passenger elevators. A set of three fire stairs also rises the height of the building. When the building was completed, each story also had its own fire alarm station and watchman's tower, as well as bronze-framed directory signs.
On the lowest sixteen stories, a hallway typically leads from the elevators around the interior light court, and there is office space both around the interior light court and the exterior boundary. The tower floors have "L"-shaped corridors. Access to the older southern portion of the building is provided from the newer northern portion on all stories, with fire doors connecting both portions. The walls of the elevator foyers have Botticino marble paneling reaching to the ceiling, and the main hallways have 5-foot-tall (1.5 m) marble wainscoting. The floors in the main foyers and corridors are designed with Tennessee marble bordered with black marble, while the white-plastered ceilings each contain a molding with dentils. In the side corridors, the walls are finished in hard plaster and have 5-foot-tall (1.5 m) hollow metal moldings. The side corridors have hollow-metal trim and doors with mahogany finishes, as well as gray-and-buff flooring strips.
The executive stories contained oak-paneled offices, as well as reception rooms and meeting rooms. The 17th story had space for an executive dining room, with space for nearly 200 people, and an adjoining kitchen. The dining space had tile floors and 7-foot-tall (2.1 m) tile wainscoting; white-enamel screens and enclosures; and a refrigerator with an ice machine. The 21st floor had Standard Oil successor Socony's board room, which overlooked Broadway. The board room covered 2,000 square feet (190 m²) and contained a double-height ceiling with relief panels; a limestone fireplace; and oak wainscoting. Next to it was an anteroom with carved oak pilasters, frieze, and moldings, as well as a plaster ceiling and Kato stone wall. Private offices extended south and east of the 21st-story boardroom and had walnut walls, plaster ceilings, Siena marble fireplaces, and cork floors covered with carpets. The 23rd floor contained squash courts with adjoining locker and shower rooms.


26 Broadway was known as the "Rockefeller address" because the offices of John D. Rockefeller Jr. and John Sr. were in the building. According to W. Parker Chase in 1932, "many of the great firms of the nation" were headquartered at 26 Broadway. After the construction of Rockefeller Center, the offices of both Rockefellers moved to 30 Rockefeller Plaza in 1933. The same year, Standard Oil of New Jersey (by that time, also known phonetically as Esso) announced its intention to move as well, in order to consolidate its operations at Rockefeller Center. Ultimately, Esso moved some of its operations in 1933, but retained other offices at 26 Broadway until 1946, when these offices moved to 75 Rockefeller Plaza. National Fuel Gas also moved to Rockefeller Center in 1936.
Socony, which had merged in 1931 with Vacuum Oil to form Socony-Vacuum, retained its headquarters in 26 Broadway. The structure thus was renamed the Socony-Vacuum Building in 1950. Socony-Vacuum moved to 150 East 42nd Street in 1954 and sold 26 Broadway two years later. Afterward, the Koeppel family purchased the building. Standard & Poor's leased spaces at 25 and 26 Broadway starting in the late 1970s. The Museum of American Finance (MOAF) was founded in the building in 1988, initially occupying 250 square feet (23 m²) of space on the ground floor.  Alfred J. Koeppel's Independence Partners purchased the building for $16 million the following year.


2 Columbus Circle (formerly the Gallery of Modern Art and the New York Cultural Center) is a nine-story building on the south side of Columbus Circle in the Midtown Manhattan neighborhood of New York City. The building fills an entire city block bounded by 58th Street, Columbus Circle, Broadway, and Eighth Avenue. It was originally designed by Edward Durell Stone in the modernist style for A&P heir Huntington Hartford. In the 2000s, Brad Cloepfil redesigned 2 Columbus Circle for the Museum of Arts and Design (MAD), which has occupied the building since 2008.
The exterior walls are made of reinforced concrete, which double as load-bearing walls that support the concrete floor slabs inside. The original facade largely consisted of white Vermont marble slabs, with small windows only at the corner of the building, as well as loggias at the base and top of the building. The current facade consists of terracotta panels separated by deep grooves, as well as large glass panels at the top. The lower stories of the building contain museum space, while the upper stories contain offices. Due to the small size of the building, there were originally several mezzanine levels, though these were removed in the 2000s. The original structure and the redesigned building have been the subject of extensive architectural commentary.
Hartford announced plans for the Gallery of Modern Art on the south side of Columbus Circle in June 1956, although construction did not start until 1960 due to various delays. The museum opened on March 21, 1964, and suffered financially for several years. Fairleigh Dickinson University took over the museum in 1969, renaming it the New York Cultural Center, which operated until 1975. Gulf and Western Industries bought 2 Columbus Circle in 1976 and donated it to the New York City government, but the building remained vacant for four years due to various issues. The New York City Department of Cultural Affairs and the New York Convention and Visitors Bureau occupied 2 Columbus Circle from 1980 to 1998, when the city government offered up the building for redevelopment. Following a controversy over the building's proposed renovation in the early 2000s, MAD renovated the building from 2005 to 2008.


The facade was largely made of slabs of white Vermont marble, with gray and gold veins; these slabs were originally attached to the concrete wall. Most of the marble panels had no window openings, but there were small circular windows at the corners and top story. The windowless sections of the facade measured 2 inches (51 mm) thick, while the sections with windows were 3 inches (76 mm) thick. To create the window openings, circular marble pieces were carved out of the slabs; these were reused in the lobby and on the sidewalk. There were over 1,000 windows in the original design, each arranged in groups of four. Stone designed the windows to be as small as possible, and the Times and Herald Tribune likened the windows to portholes. Each window had a bronze frame with a hinge that could swing inward. According to Stone, the windows were intended to suggest the rusticated blocks of the Saint-Germain-des-Prés church in Paris. In Stone's original plans for the building, the facade would have been covered with vines or plantings.
The sidewalk around the building was originally made of reddish-brown terrazzo or concrete. Inset into the sidewalk were marble circles measuring 3 feet (0.91 m) across and framed by brass strips; there were also planting pits along the curb. The base of the building contained a loggia of reinforced concrete columns, evocative of that at the Doge's Palace. There were 27 columns in the loggia, which measured 8 feet (2.4 m) high. Above the ground-level loggia were alternating medallions made of red Italian marble and green Vermont marble. The lobby was recessed behind the loggia and had bronze-framed windows facing Columbus Circle; the other three elevations were faced with green marble at ground level. The seventh and eighth floors contained loggias on all elevations of the facade.


The current facade, designed by Brad Cloepfil for the Museum of Arts and Design (MAD), reuses the original massing; the upper loggia, the portholes, and the marble panels on the facade were removed. The building's concave curve on Columbus Circle was preserved. The ground-story loggia was also preserved because it was one of the key portions of the superstructure; it was enclosed behind a 13-foot-high (4.0 m) glass wall. Cloepfil had spoken negatively of Stone's original design, having regarded it as "frightening" ever since the 1970s when he was an architecture student.
The new facade consists of 4-inch-thick (10 cm) terracotta panels separated by deep grooves. The white terracotta panels are stippled, giving a sparkling appearance in sunlight. At different times of day, the panels give the impression that they are slightly changing in color. Behind the terracotta panels are horizontal openings, which measure 30 inches (760 mm) wide and are carved into the outer bearing walls. To reduce deflection, the grooves are spanned by large metal pins. There are one-story-high vertical panels of fritted glass, which connect the grooves on each floor. The glass strips and grooves create continuous strips on each elevation of the facade and are designed in a manner resembling a switchback. There are also glass strips at the northwest and northeast corners of the lower stories, which illuminate the galleries inside.
The top stories use the most glass and are illuminated by transparent, translucent, and fritted glass panels. Cloepfil said he wanted the new design "'to emphasize its role as a marker on Columbus Circle in juxtaposition to all the noise around it". Against Cloepfil's wishes, MAD's board and its director Holly Hotchner ordered that a band of windows be added near the top of the facade. This horizontal element connected two vertical strips of windows on the Columbus Circle elevation, creating an "H" shape; another vertical strip on the Eighth Avenue elevation was designed in an "I" shape. The windows appeared to spell out the word "HI" from the northwest. Cloepfil said he "never felt more violated in any way".


In the basement was an auditorium with 154 seats. The auditorium measured 26 feet (7.9 m) deep and contained golden draperies, as well as a red-carpeted floor that extended to the back wall. The golden draperies doubled as sound insulation. The auditorium, subsequently named the Mark Goodson Theater, was the only part of the original design to be preserved in the 2000s renovation. The renovation also preserved the bronze doors leading to the auditorium. When MAD moved into the building in 2008, it started renting out the auditorium for events.
The original lobby's floor contained marble circles that had been cut out of the facade's portholes. In the 2000s, the lobby was enlarged and a museum store for MAD was placed at ground level. The museum store covers 1,400 square feet (130 m²).
The Gallery of Modern Art's offices were on the sixth floor, while the storage and restoration spaces were on the seventh floor. There were 3,500 square feet (330 m²) of storage space, as well as two terraces. When the Museum of Art and Design moved into the building, the sixth and seventh stories were converted to art studios, event spaces, and classrooms. One story was dedicated solely to educational programs, and there were also three artists' studios.
On the Gallery of Modern Art's eighth floor was a cocktail lounge, which had 60 seats. The eighth floor was decorated with rare Macassar ebony, which had to be sourced from a merchant in London, as well as Danish-wool sofas and Oceanic art. The ninth floor contained the Gauguin Room, a 52-seat restaurant with custom tables and tableware; it featured a 75-foot-wide (23 m) terrace facing north. The Gauguin Room served Polynesian food. The ninth-floor restaurant space was renovated in the mid-2000s, with windows on three sides. The restaurant, which reopened as Robert in 2009, serves American cuisine. The space contains 138 seats and can be accessed without entering the museum. It is decorated in an orange, purple, and vermilion color scheme, which in turn is illuminated by orange LED lighting.


In advance of the museum's opening, in mid-March 1964, WABC-TV and WNBC-TV broadcast "No. 2 Columbus Circle", an hour-long video tour of the museum. Prior to the official opening, the museum had several preview events with guests such as Ivan Sergeyevich Obolensky and Prince Aschwin of Lippe-Biesterfeld. The Gallery of Modern Art opened to the public on March 21, 1964, with 3,358 visitors on its first day. At the time, the museum had 25 staff members and 45 guards; its operating costs were estimated at $600,000 per year. The museum had almost 40,000 guests in its first two weeks. The museum's early exhibits included retrospectives of the work of artists Jean Hélion, Reginald Marsh, and Salvador Dalí, as well as a set of paintings depicting New York City over a 50-year period. The museum also hosted short recitals by contemporary musicians. The Gallery of Modern Art began screening rare and classic films three times daily in April 1965, and the photography gallery opened the next month. Grace Glueck of The New York Times wrote that Hartford's art "did not exactly draw rave notices from the critics".
Not long after its opening, the Gallery of Modern Art was suffering financially. Though the museum charged an admission fee of $1 per person, it only had an average of 500 visitors on weekdays and 1,000 visitors on weekends, not enough to cover the annual operating expenses. This prompted Hartford to reorganize the museum as a nonprofit organization in mid-1965, appointing a board of trustees to manage the museum's programming and finances. Hartford also asked officials at Columbia University and New York University if they were willing to help fund the museum, though neither university was interested in doing so. Over the following year, 750 people signed up as patrons of the museum, each paying $15 to $500 a year. The museum opened a section "for the perpetuation and viewing of the best works of television" in late 1965. Weinhardt resigned as the museum's director that November, leaving the museum without a director for the next five years. The museum continued to host exhibits through 1966, including a series of animated shorts by Faith and John Hubley and a showcase of ancient Egyptian objects.
The museum continued to operate with a $580,000 annual deficit, and the museum had to spend $320,000 a year on paying off its mortgage. Hartford started selling off objects in his collection, raising $200,000 by April 1966. He planned to sell or lease 2 Columbus Circle, although a large art company had already declined an offer to lease the building because it was too large. In September 1966, Hartford offered to convey the building to Fordham University, though Fordham was hesitant to assume the building's $3.8 million mortgage. Fordham planned to move its communication-arts program in the building. The museum still hosted exhibitions and events over the next two years. Among its offerings in 1967 and 1968 were a painting collection loaned by the Montreal Museum of Fine Arts, a set of paintings by former president Dwight D. Eisenhower, a showcase of 19th-century Russian antiques, and a selection of sports films.


In March 2000, the Giuliani administration again started soliciting bids for 2 Columbus Circle. The previous redevelopment effort had been abandoned because it had been planned in conjunction with Time Warner Center, which was already underway. This time, the city government sought to replace the building entirely, with the EDC describing 2 Columbus Circle as a "prime location for residential apartments". The city received thirteen bids by the deadline of May 2, 2000, including two bids from Joseph Moinian and the Dahesh Museum, who both proposed preserving the exterior as-is. Several major developers, such as hotelier Ian Schrager, had declined to submit bids for 2 Columbus Circle. Preservationists continued advocating for the building to be designated as a city landmark. Even though the LPC had indicated that it would not hold landmark hearings for the building, many supporters of 2 Columbus Circle's preservation had coalesced behind Dahesh's bid.
Though city officials had initially promised that the building would be sold quickly, the EDC had still not selected a winning bid after over a year. In March 2001, the Giuliani administration directed the Columbus Circle advisory board to review the proposals for 2 Columbus Circle. At the end of Giuliani's tenure as mayor in December 2001, there were rumors that Giuliani had selected Trump as the site's developer, but the EDC denied the allegations. Trump claimed in 2002 that Giuliani had promised to designate him as the site's developer. By early 2002, a decision was still pending, and members of the public expressed concerns about the lack of transparency surrounding the project.
Under the administration of newly elected mayor Michael Bloomberg, the EDC announced in June 2002 that it would sell 2 Columbus Circle to the American Craft Museum (later the Museum of Arts and Design, or MAD). The museum had not been one of the original bidders. Its bid of $15–20 million was slightly lower than Trump's bid, but EDC president Andrew Alper said Trump's proposal had been rejected because there were already two hotels next to Columbus Circle. The city government planned to sell 2 Columbus Circle for $17 million and allocate another $4.5 million in funding to the project. The American Craft Museum planned to spend at least $30 million on renovations, including replacement of the deteriorating facade. The museum invited small architectural firms to submit proposals for redesigning 2 Columbus Circle, and eleven firms expressed interest. In mid-2002, the American Craft Museum selected four finalists to participate in an architectural design competition for the building. The museum rebranded itself as the Museum of Arts and Design that October.


When 2 Columbus Circle was built, there was much criticism of its design. The Times reported in 1963 that the building had been likened to a seraglio and a traffic island. Ada Louise Huxtable derided 2 Columbus Circle as a "die-cut Venetian palazzo on lollypops", leading the building to be nicknamed "The Lollipop Building". The critic Alfred Frankfurter took issue with the wood paneling in the museum and the "spurious South Sea atmosphere" of the restaurants. Even the building's architectural style was disputed. The critic Stuart Preston compared the building to a Venetian palazzo, but Frankfurter wrote: "To attribute a 'Venetian' style to the design is to libel on the grandeur of the Queen of the Adriatic." Architectural critic Herbert Muschamp said much of the controversy arose from the fact that "this cultural campanile violated the modernist taboo against historically derived decoration".
Conversely, when 2 Columbus Circle opened, Thomas V. Ennis of the Times wrote that the building was a "bright spot" on the midtown section of Eighth Avenue. Olga Gueft, writing for Interiors magazine, said the colonnades and portholes "are too winsome for heavyweight criticism", contrasting with the "glittering ice-cage architecture" that was prevalent across New York City at the time. Newsday wrote that the building "represents a vivid departure from the steel-and-glass towers that have dominated many of New York's avenues in recent years." Ellen Perry of Progressive Architecture wrote: "This gallery is Stone-work, from what might be called the Middle Stone Age".
In 1974, Manuela Hoelterhoff wrote for The Wall Street Journal: "Slowly, that architectural oddity [...] is recovering from its peculiar birth in the middle of a traffic island 10 years ago", largely because of the Cultural Center's diverse offerings. The next year, John Canaday wrote in The New York Times that the building was a "white elephant", constricted largely by its small lot area and designed "in a weak moment" for Stone. According to novelist Tom Wolfe, the building was so widely disliked that Stone had to resort "to saying such things as, 'Every taxi driver in New York will tell you it's his favorite building.'" By the late 1990s, Huxtable said she got "a little lift, a sense of pleasure" when she walked past 2 Columbus Circle, as it was the circle's "only identifiable object". Muschamp called the building "a latter-day tribute to John Ruskin and the road not taken by modern architects after the collapse of the Gothic Revival in the late 19th century". In 2003, Laurie Kerr of The Wall Street Journal compared 2 Columbus Circle to the original World Trade Center, saying that neither project "ever fit into any of the architectural narratives of the city" like Lever House and the Plaza Hotel did.


James Gardner, architecture critic for the New York Sun wrote that the original building "was indubitably a landmark; the best that can be said for its replacement is that, if we're lucky, no one will ever notice it." Five years after the renovation was complete, Gardner maintained that the redesigned structure was "far inferior" to Stone's original design. Francis Morrone, also of the Sun, wrote: "Where Stone's original building read as neatly scaled to its setting, Mr. Cloepfil's redesign reads as a piece of abstract sculpture that, at building scale, seems all wrong." Witold Rybczynski wrote in Slate that the new design "feels like an alien presence", and architecture critic Justin Davidson said, "This version won't satisfy those who thought it should never have been touched." In 2008, Ouroussoff named the renovated building as one of seven buildings in New York City that should be torn down because they "have a traumatic effect on the city".
Some critics defended the new facade. Huxtable wrote that "criticism of the structure has been alarmingly out of proportion and flagrantly out of control". Paul Goldberger praised the new building's "functional, logical, and pleasant" interior in a review in The New Yorker, even though the "proportions and composition seem just as odd and awkward as they ever did".


2 Willow Road is part of a terrace of three houses in Hampstead, London designed by architect Ernő Goldfinger and completed in 1939. It has been managed by the National Trust since 1995 and is open to the public. It was one of the first Modernist buildings acquired by the Trust, giving rise to some controversy. Goldfinger lived there with his wife Ursula and their children until his death in 1987.


Goldfinger himself designed much of the furniture in No. 2, and the house also contains a significant collection of 20th-century art by Bridget Riley, Prunella Clough, Marcel Duchamp, Eduardo Paolozzi, Henry Moore and Max Ernst.
Nos. 1 and 3 remain private homes.


The 30 Albert Street is a future residential skyscraper to be located at 30 Albert Street in Brisbane, Australia. The tower will rise to 270.5m (274m AHD) which is currently the maximum height allowed in Brisbane central business district.
The 91-storey tower will include 857 apartments; one bedroom, two-bedroom, three-bedroom apartments and one penthouse. Recreation areas with pools and dining and lounge rooms will be located across three dual-level decks on the low-rise (levels 6–7), mid-rise (levels 66–67) and high-rise (levels 83–84). Retail space is planned for the ground floor levels.
Development application was lodged with the Brisbane City Council in August 2015 and replaced in August 2016.


The groundbreaking ceremony took place on December 4, 2012. Early construction work focused on building a platform to cover much of the Eastern Rail Yard, for much of Phase 1 to sit upon and to allow the Gateway Rail Tunnel project to pass underground with a clear path. The platform is rested on caissons that are drilled underground into the  solid bedrock known as Manhattan schist. On December 12, 2013, it was announced that Tutor Perini Building Corp. was awarded a US$510 million contract to build the platform.
In 2013, Time Warner (later WarnerMedia, and now Warner Bros. Discovery) announced its intention to move most of its offices to 30 Hudson Yards, vacating its current headquarters at the Time Warner Center, also owned by Related, at Columbus Circle. The company would occupy half the building, below the 38th floor.
In mid-2015, Related received a $690 million loan from Bank of America, Wells Fargo, and CIBC which allowed construction to start. By January 2016, the structure's first few aboveground floors were already complete. Construction of the observation deck at the top of the tower began in April 2018. The observation deck was nearly complete by mid-2018.
In January 2019, WarnerMedia hired Douglas Harmon and Adam Spies of Cushman & Wakefield to find a buyer that would sell their office condominium and allow the company to lease it back—known as a sale-leaseback. WarnerMedia's office condo included more than 1.4 million square feet on floors 16 through 51 and represented approximately 60 percent of the 90-story tower with 2.6 million square feet.
The building opened on March 15, 2019. One month later, WarnerMedia executed a leaseback and sold their space to Related and Allianz for $2.2 billion after signing a 15-year lease for 1.5 million square feet (140,000 m²). The sale closed in June 2019. The partners financed the purchase with a 10-year, $1.43 billion commercial mortgage-backed security interest-only loan from Deutsche Bank, Wells Fargo, and Goldman Sachs. In June, KKR took out a $490 million mortgage from Deutsche Bank on their office condominium space.


17N: CNN Newsroom, Early Start, Reliable Sources
19X: multi purposed studio
19Y: At This Hour, CNN Tonight, New Day, Quest Means Business
19Z: Don Lemon Tonight, Erin Burnett OutFront, Fareed Zakaria GPS
21L: Anderson Cooper 360°


Kohn Pedersen Fox was chosen for the design of the building. Originally planned to be 1,337 feet (408 m) tall, the building was later downsized to 1,295 feet (395 m) tall, making it still the development's tallest building. WarnerMedia's space features amenities including a cafeteria, a fitness center, a two-level auditorium and cinema and an outdoor deck.
The building's lobby will contain artwork by Spanish artist Jaume Plensa consisting of 11 stainless steel spheres hanging from the ceiling, meant to represent global unity and cultural diversity.


30 Rockefeller Plaza is part of the Rockefeller Center complex in the Midtown Manhattan neighborhood of New York City. It was intended as the central structure of Rockefeller Center, both physically and symbolically. The land lot is nearly rectangular and covers 107,766 sq ft (10,011.8 m²), bounded by Sixth Avenue (officially Avenue of the Americas to the west, 50th Street to the north, Rockefeller Plaza to the east, and 49th Street to the south. The site has a frontage of 545 ft (166 m) on 49th and 50th Streets and a frontage of 175.46 ft (53 m) on Sixth Avenue. The main entrance is on Rockefeller Plaza, a private pedestrian street running through the complex, parallel to Fifth and Sixth Avenues. In front of 30 Rockefeller Plaza's main entrance, below ground level, is the Lower Plaza.  The building is assigned its own ZIP Code, 10112; it was one of 41 buildings in Manhattan that had their own ZIP Codes as of 2019.
Across Sixth Avenue, the building faces 1221 Avenue of the Americas to the southwest, 1251 Avenue of the Americas to the west, and 1271 Avenue of the Americas to the northwest. Radio City Music Hall, 1270 Avenue of the Americas, and 50 Rockefeller Plaza are directly to the north. Across Rockefeller Plaza are the International Building to the northeast, La Maison Francaise and the British Empire Building to the east, and 1 Rockefeller Plaza and 608 Fifth Avenue to the southeast.  In addition, 10 Rockefeller Plaza is to the south. The site was previously part of the campus of Columbia University, which retained ownership of most of the land well after the complex was built.


30 Rockefeller Plaza was designed by the Associated Architects of Rockefeller Center, composed of the firms of Corbett, Harrison & MacMurray; Hood, Godley & Fouilhoux; and Reinhard & Hofmeister. Raymond Hood was the complex's lead architect. The Associated Architects designed all of Rockefeller Center's buildings in the Art Deco style. Developed as part of the construction of Rockefeller Center, 30 Rockefeller Plaza opened in 1933 as the RCA Building. 30 Rockefeller Plaza is 872 ft (266 m) tall and was built as a single structure occupying the entire block between Sixth Avenue and Rockefeller Plaza. The design was influenced by Rockefeller Center manager John Todd's desire for the building to use its air rights to their maximum potential. 30 Rockefeller Plaza rises to a flat roof, unlike some of the other skyscrapers built in New York City around the same time. These included the Chrysler Building, 70 Pine Street, and 40 Wall Street, which used spires to reach their maximum heights. Hartley Burr Alexander, a mythology and symbology professor who oversaw Rockefeller Center's art program, led the installation of artwork throughout the complex. The building's artwork was designed around the concept of "new frontiers", depicting modern society.


The massing of 30 Rockefeller Plaza is designed in three parts. The easternmost section contains a 66-story tower with by two stories of retail on the west and east. The tower is surrounded by a shorter "U"-shaped section to the north, west, and south. Some sources give 30 Rockefeller Plaza's height as 70 stories, but this arises from a hyperbolic press release by Merle Crowell, the complex's publicist during construction. At the middle of the site was a windowless nine-story section, which housed NBC's studios. The western part of the site steps up again to a 16-story tower. The western section at 1250 Avenue of the Americas, formerly also known as RCA Building West, is accessed mainly from Sixth Avenue. The facade of the annex rises straight from the sidewalk, with notches at the corners, because the corner lots were private properties at the time of the building's construction in 1935.
The massing was influenced by the 1916 Zoning Resolution, which restricted the height that the street-side exterior walls of New York City buildings could rise before they needed to incorporate setbacks that recessed the buildings' exterior walls away from the streets. The base of the building could only rise to 120 feet (37 m) before it had to taper to a tower covering 25 percent of the site. The eastern tower appeared to violate this principle since it measured 103 by 327 feet (31 by 100 m), but the base measured only 200 by 535 feet (61 by 163 m). The base does not occupy its entire plot, which measures 200 by 670 feet (61 by 204 m). The tower section was recessed so far into the block that it could have risen without any setbacks. Hood decided to include setbacks anyway, as they represented "a sense of future, a sense of energy, a sense of purpose", according to architecture expert Alan Balfour. Above the lowest stories, the north and south elevations rise straight up for 33 stories before setting back gradually. There are three setbacks each on the north, south, and east elevations.
Hood also created a guideline that all of the office space in the complex would be no more than 27 ft (8.2 m) from a window, which was the maximum distance that sunlight could permeate the windows of a building at New York City's latitude. The setbacks on the northern and southern sides of 30 Rockefeller Plaza allow the building to comply with Hood's guideline. The setbacks correspond to the tops of the elevator banks inside; this arrangement is repeated on the facade of the International Building. Similarly, 30 Rockefeller Plaza also contains notches at its corners. The eastern elevation's setbacks were included exclusively for aesthetic purposes. By contrast, the layout and massing of Rockefeller Center's other buildings were intended to maximize rental profit.


30 Rockefeller Plaza's limestone facade includes spandrels with quadruple-leaf motifs in a Gothic-inspired style. influenced the design of the rest of the complex. The first story is clad with Deer Island granite to a height of 4 ft (1.2 m). The remainder of the facade contains Indiana Limestone and aluminum spandrel panels. Some 212,000 cubic feet (6,000 m³) of limestone, 4,100 cubic feet (120 m³) of granite, and 6,000 spandrels were used in the construction. The limestone covered 600,000 square feet (56,000 m²). The limestone blocks are laid slightly irregularly and contain striations for visual effect. In addition, 10.38 million bricks were integrated into the facade.
30 Rockefeller Plaza also had 6,045 windows upon its completion, with 19,700 panes between them, covering 168,340 square feet (15,639 m²) in total. Thirty-six of the windows measured 9 by 16 feet (2.7 by 4.9 m) and were storefront windows. Those on the mezzanine level were composed of 9-by-12-foot (2.7 by 3.7 m) panels flanked by smaller sidelights. Another 165 were casement windows, which had panes measuring 6 by 18 inches (150 by 460 mm); most of these were above the 65th floor. The remaining 5,824 were casement windows measuring 4 by 6 feet (1.2 by 1.8 m). About 5,200 of these windows contained Venetian blinds, which were installed by the Mackin Venetian Blind Company.


30 Rockefeller Plaza was designed with about 2,100,000 square feet (200,000 m²) of rentable space in total. The eastern tower contains the Rainbow Room restaurant on the 65th floor, while the Rockefeller family office occupied the tower's 54th through 56th floors until 2014. The tower is the headquarters of NBC and houses NBC Studios, NBC News, MSNBC, and network flagship station WNBC. 30 Rockefeller Plaza also contains offices for NBCUniversal Cable and, until 1988, the NBC Radio Network.  Part of NBC's space also extends into the central part of the building.
The superstructure uses 58,500 short tons (52,200 long tons; 53,100 t) of steel. To transport visitors to the top floors, Westinghouse installed eight express elevators in the RCA Building. They moved at an average speed of 1,200 ft/min (370 m/min) and were so expensive that they constituted 13 percent of the building's entire construction cost. One elevator reached a top speed of 1,400 ft/min (430 m/min) and was dubbed "the fastest passenger elevator ride on record". These elevators cost about $17,000 a year to maintain by 1942. The mechanical core also contains emergency-exit staircases, though there are fewer staircases on upper floors. For example, building plans indicate that the 12th story has three sets of emergency staircases, while the 60th story has two sets of staircases.


Josep Maria Sert was originally hired to paint four murals in the northern lobby corridor: Time; Spirit of Dance; Man's Triumph in Communication; Conquest of Disease; Abolition of Bondage; Fraternity of Men; and Contest-1940, depicting different aspects of the world and mankind. Frank Brangwyn painted four murals on the southern corridor, all of which symbolize humans' relationship with spirituality; he complemented these murals with stencils of the themes that were represented. Rockefeller Center's managers had asked Brangwyn to omit a depiction of Jesus Christ from one of the panels; the artist ultimately depicted Jesus with his back turned. Brangwyn's and Sert's corridor murals measure 17 by 25 feet (5.2 by 7.6 m) each. Architectural writer Robert A. M. Stern described Brangwyn's murals as "insipid", a quality worsened by the fact that the themes were stenciled onto the murals. By contrast, Stern said: "Sert at least allowed the meaning of his paintings to fall into happy obscurity."
After the building had opened, Sert was commissioned to paint the mural American Progress at the center of the lobby, measuring 50 by 17 feet (15.2 by 5.2 m). The mural was installed in 1937. It depicts a vast allegorical scene of men constructing modern America and contains figures of Abraham Lincoln, Mahatma Gandhi, and Ralph Waldo Emerson. The space occupied by American Progress was originally taken up by Diego Rivera's Man at the Crossroads mural, which was controversial because of its communist imagery and was destroyed in 1934. Rockefeller officials commissioned a sixth mural from Sert, representing the past, present, and future, which they installed in the lobby in 1941. The mural measures 100 by 50 feet (30 by 15 m) and is installed on the ceiling.


The 65th floor of the building is an event room and restaurant named the Rainbow Room. The space was designed by Wallace K. Harrison of Associated Architects. Interior designer Elena Bachman Schmidt, a one-time apprentice of Elsie de Wolfe, contributed to the design of the interior decor, such as the furniture, curtains, and elevator doors. Vincente Minnelli was assigned to help Schmidt select the colors of the walls. The restaurant opened in 1934, it was the highest restaurant in the United States for decades, though it was closed during much of the 1940s. The most recent version of the restaurant opened in 2014 after a restoration by Gabellini Sheppard Associates.
The Rainbow Room occupies the eastern part of 30 Rockefeller Plaza's 65th floor, which covers 13,500 square feet (1,250 m²). The central part of the floor has elevator banks, restrooms, a gallery, and a private dining room. The western part houses Bar SixtyFive and an outdoor terrace. The dining room itself is a 4,464-square-foot (414.7 m²) space. The restaurant has a 32-foot-wide (9.8 m) rotating dance floor. The seats of the Rainbow Room are organized in tiers, and there is also a platform for bands and a shallow balcony for entertainers. There are stairs and a dumbwaiter behind the platform, as well as several banquet rooms on the 64th floor. Above the dance floor hang several concentric "rings" that recess into the ceiling.


From 1937 onward, the roof of the eastern tower contained neon letters spelling "RCA". The letters each measured 22 feet (6.7 m) wide by 24 feet (7.3 m) tall; at the time of the building's completion, the letters were the world's highest neon signs. These were replaced by "GE" letters in 1988.  The letters were replaced again with the new united Comcast/NBC logo, rendered in longer-lasting LED lighting. The new signs consist of a 10 ft (3.0 m) tall Comcast wordmark and NBC logo on the northern and southern elevations, as well as a 17 ft (5.2 m) NBC logo on the building's western elevation.
In 1960, a 12-foot-wide (3.7 m), 400-pound (180 kg) weather radar dish for the National Weather Service was installed atop the roof when the building became the NWS's headquarters. KWO35, the NOAA Weather Radio station serving the majority of the Tri-State area, transmitted from atop the building and remained there until 2014. Due to interference with a U.S. Coast Guard radio channel, the transmitter was eventually relocated atop the MetLife Building. The weather radar station was used as Doppler 4000 during WNBC-TV's local newscasts. It was operational until February 1, 2017, when StormTracker 4, an S-band weather radar at Rutgers University's Cook Campus, started operating.


The designs for Radio City Music Hall and the RCA Building were submitted to the New York City Department of Buildings in August 1931, by which time both buildings were to open in 1932. Work on the steel structure of the RCA Building started in March 1932. Several artists were hired to design artwork for the RCA Building. Lee Lawrie was hired to design the RCA Building's eastern entrance in June 1932, at which point the sunken plaza in front of the building was also announced. The next month, Barry Faulkner was commissioned to create a large glass mosaic on the western entrance facing Sixth Avenue. Gaston Lachaise received the commission for bas-reliefs on the Sixth Avenue entrance in September 1932. The same month, Hood and the complex's manager John Todd traveled to Europe to interview five artists for the lobby. Frank Brangwyn, Josep Maria Sert, and Diego Rivera were hired the following month, despite John Rockefeller Jr.'s hesitance to hire Rivera, a prominent communist. Henri Matisse had been reluctant to commission a highly visible lobby mural, and Pablo Picasso had refused to even meet with Hood and Todd.
Installation of the exterior stonework began in July 1932 and proceeded at a rate of 2,000 cubic feet (57 m³) per day. Window installation began the same month. The building's structural steel was up to the 64th floor by September 16, 1932. The photograph Lunch atop a Skyscraper was taken on September 20, 1932, during the construction of the 69th floor; it was part of a publicity stunt promoting the RCA Building. The building was topped out on September 26, 1932, when an American flag was hoisted to the top of the primary 66-story tower on Rockefeller Plaza. The Indiana limestone cladding had been erected to the 15th floor on the Rockefeller Plaza wing, and the facade of the Sixth Avenue wing had been completed. The stone was fabricated at four factories in New York state and then shipped to New York City. Two traveling cranes lifted the stone from the ground to two hoists 70 feet (21 m) high, which then raised the stone to the upper floors. The stonework of the primary tower was completed on December 7, 1932, without fanfare. Officials said at the time that they did not host a ceremony for the stonework's completion because the elevators only ran to the 55th floor. It had taken only 102 workdays to install the 212,000 cubic feet (6,000 m³) of stonework.
Rockefeller Plaza was added to the city's official street map in January 1933, and the RCA Building gained the address 30 Rockefeller Plaza. The next month, John D. Rockefeller III honored 27 mechanics for their work on the RCA Building. At the time, The New York Times reported that 1,600 workers were busy completing the interior work. According to the main contractors, the laborers, plasterers, and metal lathers involved in the project would need to be compensated the equivalent of 25,000 eight-hour workdays. The building would require 26,900 short tons (24,000 long tons; 24,400 t) of plasterwork, covering about 650,000 square yards (540,000 m²). By April 6, 1933, there were 1,400 mechanics working to complete the RCA Building, which was 90 percent complete; the upper floors were mostly finished, but the base was still incomplete. As late as April 24, more than 1,000 workers were still fitting out the RCA Building. As a result of the Depression, building costs were cheaper than projected. The final cost of the first ten buildings, including the RCA Building, came to $102 million (equivalent to $1.5 billion in 2020 dollars).


Todd, Robertson, Todd Engineering Corporation, which was constructing Rockefeller Center, relocated to the RCA Building on April 22, 1933, becoming the first tenants. The RCA Building was slated to officially open on May 1, 1933. Its opening was delayed until mid-May because of a controversy over Rivera's Man at the Crossroads, which in large part stemmed from the communist motifs of the mural.  On May 10, 1933, Rivera was ordered to stop all work on the mural, which was covered in stretched canvas and left incomplete. Brangwyn's murals were also incomplete at the time of the building's opening. Rivera's mural remained covered until February 1934, when workmen peeled the mural off the wall. Columbia University originally owned most of Rockefeller Center's land as well as the complex's buildings, including the RCA Building. However, Columbia received no rental income; Rockefeller Center's managers collected the rent and owned the land under the western part of the complex, including a section of the RCA Building West.
The RCA offices moved to the RCA Building's 52nd and 53rd floors in June 1933. The Rockefeller family took up space throughout the building to give potential tenants the impression of occupancy. Their Rockefeller Foundation, as well as the General Education Board and the Spelman Fund of New York, had leased space, and the Rockefeller family's Standard Oil Company moved into the RCA Building in 1934. NBC was one of the first tenants in the new RCA Building and, with 35 studios packed into the base, it was also one of the largest tenants. Westinghouse moved into the 14th through 17th floors of the RCA Building, receiving the contract for the building's elevators as a result. American Cyanamid took four floors and part of another. Other space was taken by the Greek consulate, the Chinese consulate, the National Health Council, and a branch of the Chase National Bank. A double-height space at the center of the ground story, which had been difficult to rent, opened as the Municipal Art Exhibition in February 1934. The space, referred to as the Forum, had contained a large stairway leading up to a second-story balcony with exhibition rooms. Despite the large number of tenants, Rockefeller Center was only 59 percent rented by the end of 1933.
Shortly after the RCA Building's opening, there were plans to use the building above the 64th floor as a public "amusement center". That section of the building had several terraces, which could be used as a dance floor, observation deck and landscaped terrace gardens. On the 65th floor, there was also a two-story space for a dining room with a high ceiling. Frank W. Darling quit his job as head of Rye's Playland to direct the programming for the proposed amusement space. In July 1933, the managers opened an observation deck atop the RCA Building, which consisted of 190 by 21 ft (57.9 by 6.4 m) terraces on the 67th, 69th, and 70th floors. The 40-cents-per-head observation deck saw 1,300 daily visitors by late 1935. Meanwhile, the floors below the observation deck were planned as a restaurant, solarium, game room, and ballroom, which would later become the Rainbow Room. The Rainbow Room opened on October 3, 1934.
A revolving beacon was installed atop 30 Rockefeller Plaza in 1935, the first such beacon to be installed in Manhattan. That September, the ground-floor retail space was fully leased. The New York Museum of Science and Industry leased the Municipal Art Exhibition space shortly afterward after Nelson Rockefeller became a trustee of the museum. Subsequently, Edward Durell Stone removed the partitions on the second floor of the exhibition space, and the museum opened there in February 1936. The central wall of the main lobby remained empty until 1937, when Jose Maria Sert's American Progress was installed. At the time, the RCA Building was 84 percent leased. By 1938, the NBC studios at the RCA Building received 700,000 annual visitors, while the observation deck had 430,000 annual visitors.