Columbia University was not making enough money from Rockefeller Center leases by the 1970s, and the university started looking to sell the land beneath Rockefeller Center, including the RCA Building, in 1983. That year, the New York City Landmarks Preservation Commission (LPC) held hearings to determine how much of Rockefeller Center should be protected as a landmark. The Rockefeller family and Columbia University acknowledged that the buildings were already symbolically landmarks, but their spokesman John E. Zuccotti recommended that only the block between 49th and 50th Streets be protected, including the RCA Building and RCA Building West. By contrast, almost everyone else who supported Rockefeller Center's landmark status recommended that the entire complex be landmarked. The LPC granted landmark status to the exteriors of all of the original complex's buildings, as well as the interiors of the International Building's and 30 Rockefeller Plaza's lobbies, on April 23, 1985. Rockefeller Center's original buildings also became a National Historic Landmark in 1987.
Columbia had agreed to sell the land to the Rockefeller Group, an investment company owned by the Rockefeller family, for $400 million in February 1985. The Rockefeller Group formed Rockefeller Center Inc. that July to manage the RCA Building and other properties. By late 1985, NBC began planning to relocate, leaving half the RCA Building's space vacant. The network needed 1 million square feet (93,000 m²) of space and the RCA Building's facilities required hundreds of millions of dollars in renovations. The same year, General Electric acquired NBC and began looking to save money. The developers of Harmon Meadow and Television City had both made offers to NBC, but demand for office space in New York City was starting to decrease, which led the building's owners to focus on keeping NBC at the RCA Building. NBC agreed to stay at 30 Rockefeller Plaza at the end of 1987 after city and state officials offered $72 million in tax exemptions, $800 million in industrial bonds, and sales-tax deferments on $1.1 billion worth of purchases. These incentives would not need to be repaid as long as NBC stayed at the building until 2002, or for 15 years. NBC extended its lease by 35 years so that it would last into 2022 and secured an option to buy the western and central sections of the skyscraper.
Meanwhile, the Rockefeller Group had begun expanding the Rainbow Room. The observation deck closed in 1986 because the expansion cut off the only access between the observation deck and its elevators. The Rainbow Room also reopened in December 1987 after the Rockefeller Group conducted an extensive renovation. The RCA Building was renamed the GE Building in July 1988, and the signage atop the building was changed accordingly, despite concerns that it could be confused with the General Electric Building on 570 Lexington Avenue. Mitsubishi Estate, a real estate subsidiary of the Mitsubishi Group, purchased a majority stake in the Rockefeller Group in 1988, including the GE Building and Rockefeller Center's other structures. Despite the renaming, 30 Rockefeller Plaza continued to be popularly known as the RCA Building. Subsequently, Rockefeller Center transferred some of the unused air rights above the British Empire Building and La Maison Francaise to the Rockefeller Plaza West skyscraper on Seventh Avenue. In exchange, the Rockefeller Group had to preserve the original buildings between 49th and 50th Streets under a more stringent set of regulations than the rest of the complex. While the GE Building's air rights were unaffected, the structure fell under the new regulations.
The Rockefeller Group filed for bankruptcy protection in May 1995 after missing several mortgage payments. That November, John Rockefeller Jr.'s son David and a consortium led by Goldman Sachs agreed to buy Rockefeller Center's buildings for $1.1 billion, beating out Sam Zell and other bidders. The transaction included $306 million for the mortgage and $845 million for other expenses. As that sale progressed, GE and Goldman Sachs discussed selling part of the GE Building to its namesake, allowing GE to lower its occupancy costs on the 1,600,000 sq ft (150,000 m²) that it occupied. In May 1996, GE bought the space for $440 million, as well as an option to renew the lease on the Today Show studios at 10 Rockefeller Plaza. Before either transaction was finalized, GE subleased 100,000 square feet (9,300 m²) of that space. Goldman Sachs made numerous upgrades to the building and allowed brokers to finalize leases more quickly. In addition to GE, other large tenants at 30 Rockefeller Plaza in the late 1990s included law firm Donovan, Leisure, Newton & Irvine and Chadbourne & Parke. Cipriani S.A. took over the Rainbow Room in 1998.


Tishman Speyer, led by David Rockefeller's close friend Jerry Speyer and the Lester Crown family of Chicago, bought the original 14 buildings and land in December 2000 for $1.85 billion, including the GE Building. The next year, Tishman Speyer began planning a renovation of the rooftop observation deck, which would be rebranded Top of the Rock. Kostow Greenwood Architects also started designing a renovation for NBC Studios. The observation deck plans were announced publicly in November 2003. Two existing elevator shafts were lengthened so that the observation deck could be accessed without going through the Rainbow Room to get to the "shuttle" elevators. In addition, a ground-floor entrance was created on 50th Street and a three-level storefront was converted into an observation deck entrance. The deck reopened in November 2005 after a renovation by Gabellini Sheppard Associates.
During the late 2000s, the building retained an 85 percent occupancy rate. The WNBC-TV newsroom was renovated during 2008, after NBC had announced earlier the same year that it would start a 24-hour news channel. In addition, Tishman Speyer hired EverGreene Architectural Arts to restore the lobby, and a two-year restoration commenced in 2009. The Rainbow Room closed that year after Rockefeller Center Inc. ended Cipriani's lease. The LPC designated the Rainbow Room as an interior landmark in 2012, and the restaurant reopened in October 2014 under new management. Additionally, the rotunda above the lobby was restored starting in 2014.
Comcast, which had bought a 51 percent ownership stake in NBCUniversal in 2009, bought the remaining ownership stake from GE in 2013. By then, GE occupied only two stories in the building. The sale included NBC's portion of 30 Rockefeller Plaza and the building's naming rights. In June 2014, the LPC granted Comcast permission to modify 30 Rockefeller Plaza. Comcast planned to rename the building and replace the signage on the roof. Additionally, a new marquee was added to the Sixth Avenue entrance, advertising it as the home of The Tonight Show Starring Jimmy Fallon. The GE signage was dismantled starting in September 2014, and 30 Rockefeller Plaza was officially renamed the Comcast Building on July 1, 2015. Toy store FAO Schwarz opened a store at 30 Rockefeller Plaza in November 2018. Tishman Speyer proposed installing additional visitor attractions at Top of the Rock, which the LPC approved in April 2022.


As Rockefeller Center was being developed, Variety magazine wrote: "The main building of the Rockefeller Center group is a notable structure and forms a fitting climax to half a decade of super-skyscraper construction, which, with this one exception, was abruptly brought to an end" by the 1929 crash. A Hearst's International magazine article described the RCA Building as "soaring to an incredible petrous peak", with the sunken plaza "shimmering in brilliant floodlight" at its base. After 30 Rockefeller Plaza was completed, the Federal Writers' Project observed in 1939: "Its huge, broad,  flat north and south facades, its almost unbroken mass, and its thinness are the features that impelled observers to nickname it the 'Slab'."
Architectural critic Paul Goldberger said, "Nothing is more attuned to romantic fantasies of New York than the RCA Building's black granite lobby, the Rainbow Room's ornamental framing of a 70-story view...". Goldberger wrote that the RCA Building's form was "made sumptuous by its mounting setbacks", contrasting with the "smaller and bulkier" International Building and other structures in the complex. In 2009, a Crain's New York reporter wrote: "NBC, which owns its space, lends the building a certain panache. So do the art, Christmas tree, gardens and immaculate condition of the center."
As the central building of Rockefeller Center, 30 Rockefeller Plaza is widely known. The building was also commonly nicknamed 30 Rock, which inspired the title of the NBC sitcom 30 Rock (2006–2013). Additionally, numerous movies and TV series that feature Rockefeller Center in their establishing shots have used imagery of 30 Rockefeller Plaza. Such films have included Nothing Sacred in 1937, How to Marry a Millionaire in 1953, and Manhattan in 1979. Two films have also discussed the destruction of Rivera's Man at the Crossroads in the lobby: The Cradle Will Rock in 1999 and Frida in 2002. Race Through New York Starring Jimmy Fallon, an attraction at the Universal Studios Florida amusement park, is also based on 30 Rockefeller Plaza's design.


32 Avenue of the Americas contains numerous setbacks on its exterior. Though setbacks in New York City skyscrapers were mandated by the 1916 Zoning Resolution in order to allow light and air to reach the streets below, they later became a defining feature of the Art Deco style. The setbacks have been characterized as looking like a "brick mountain" or a "steel skeleton draped with a finely crafted brick curtain". According to architectural historian Anthony W. Robins, 32 Avenue of the Americas is more geometrically organized than 60 Hudson Street and the Barclay–Vesey Building, as it was the last of the group to be completed.
32 Avenue of the Americas includes portions of two structures: the original Lispenard Building, completed in 1914, and the AT&T Long Distance Building, an expansion completed in 1932. The bulky 24-story massing of the Lispenard Building's northern and southern elevations were incorporated into the expanded structure, exceeding the sloping "envelope" mandated by the 1916 zoning law. Above the original building rose the 27-story "spine", aligned west/east.
The western elevation, along Sixth Avenue, consisted of a "screen" with 15-story wings on either side of a central portion rising 16 stories. Behind the 15-story sections rise two 21-story wings, followed by the original structure and the "spine". The other three elevations were designed around the paired window layouts of the original building's north and south elevations. The northeastern corner of the building contains setbacks at the 15th, 21st, and 22nd stories. The northwestern corner contains a diagonal chamfer.


A brick facade was used for 32 Avenue of the Americas and for Walker's other communications buildings, since he preferred the material for its texture and its flexibility in color combinations. The Sixth Avenue elevation is symmetrical, with a two-story main entrance in the center. The entrance portal is designed like a proscenium arch, with a bronze entrance grille above a set of bronze doors. Adjacent to the entrance portal is a sealed doorway leading to the Canal Street station of the New York City Subway, served by the A, C, and E trains; an open staircase to that station is on Sixth Avenue directly to the south. The entrance portal is flanked by two flagpoles at the third floor. Another recessed entrance exists on Church Street to the east; this entrance is smaller, containing a bronze frame and marble panels above a set of bronze doors. A garage door is located on the northern facade, with a roll-down metal gate, and there are also numerous auxiliary doors.
The remainder of the facade is emphasized by piers with a "V"-shaped texture, as well as spandrels with ornamental patterns. The walls are designed with undulating patterns that generally run at an angle to the adjacent streets. The bottom of the facade contains a water table made of pink granite. The original building mainly consists of a red-and-brown brick facade. On the original facade, each vertical bay includes a pair of six-over-six sash windows made of wood, or a pair of ventilation louvers. The newer portions of the facade are made of bricks tinted in different shades of red, orange, brown, and gray; these primarily have a rough texture with thick mortar joints between each brick. On the newer sections, each bay contains single or paired six-over-six sash windows made of steel.


35 Hudson Yards (also Tower E ) is a mixed-use skyscraper in Manhattan's West Side composed of apartment units and a hotel. Located near Hell's Kitchen, Chelsea, and the Penn Station area, the building is a part of the Hudson Yards project, a plan to redevelop the Metropolitan Transportation Authority's West Side Yards.


The 360 Residential Condominiums skyscraper is located in Downtown Austin, Texas at 360 Nueces Street.  The building itself stands 581 ft (177 m) tall with 44 floors, 430 condos, and over 14,000 sq ft (1,300 m²) of retail space. The building topped out in November 2007, and construction was officially completed on May 22, 2008. 360 Condominiums was the tallest building in Austin from January 15, 2008 to June 29, 2009 when The Austonian surpassed it.  The tower also became the tallest residential tower in Texas, surpassing The Merc in Dallas before the Austonian also took that title. Currently, it is the fourth tallest building in Austin after The Independent, The Austonian, and the Fairmont Austin.
The Austin 360 Condominiums Tower was developed by Billy Holley and Judd Bobilin of Novare Group and Andrews Urban LLC, designed by Preston Partnership LLC, sales managed by Kevin McDaniel and built by JE Dunn Construction. It features a pronounced setback at the sixteenth story, to avoid obstructing a Capitol View Corridor.


The building was first proposed by the Atlanta, Georgia-based Novare Group and Austin based Andrews Urban LLC in 2006 as a 520 ft (158 m) 40 storied tower.  However, as an attempt to increase units, more floors were added. Construction began on June 20, 2006 after the plan was approved. Floors were added at a fairly steady pace from the first to sixteenth floors, when the terrace level was reached on April 20, 2007, nearly a year after construction started. Activity slowed, but then quickened after the setback floor was finished. Spire assembly started on November 14 and was affixed in position 6 days later. This made the tower officially taller than its predecessor, the Frost Bank Tower. The building was finally complete in 2008. After nearly 2 years of construction, 360 Condominiums opened on May 23, 2008.


As with most other condominiums, 360 Condominiums contains many amenities, located within the tower and the terrace located 174 ft (53 m) above the ground. Amenities include a swimming pool, a sundeck, theater, and clubroom.


WikiWeb_36 Krasnykh Orlov Street, Kamensk-Uralsky_1

The building is located on the intersection of Revolucionnaya and Krasnykh Orlov Streets (the former Verkhnaya Novaya). Revolucionnaya Street directly leads to the Church of the Intercession and the town cemetery.
The mansion was built in the late 19th century. The two-story building is square except for a narrow 1-window-wide fifth wall between the eastern and southern facades which faces the intersection. Visually, this wall is the center of the mansion. The eastern and southern facades are identical and evoke symmetry. For each facade there are four windows on both floors.
Eclecticism and classical and modernist styles stand out. The exterior walls are made of brick with bright trim. Patterns are made of red brick. Attic is continuous throughout the walls (??). On the south and south-east sides in the center of the attic there is a six-petalled sun. Above him stretched a curved edging that unites the walls into a common composition. Below is laid a brick cornice with rectangular notches - "breadcrumbs". The window openings are crowned by a rounded beam end. Each window is generously decorated with sandricks with a pommel of a pair of arcs. All the walls except the southeast are completed with shoulder blades in shape similar to rectangular columns. The middle wall is surrounded by semicircular pilasters. The western and northern courtyard facades are decorated more modestly, there is no attic, the number of windows is reduced to two. The windows are made without decoration. The foundation is high on rubble stone.
There is no data about the owner of the building or the architect.


388 Greenwich Street, originally called the Shearson Lehman Plaza and more recently the Travelers Building, is a skyscraper at 388 Greenwich Street, with frontages on North Moore and West Streets, in the TriBeCa neighborhood of Lower Manhattan in New York City. 388 Greenwich Street forms a complex with the neighboring 10-story 390 Greenwich Street near the Hudson River. Currently, the two buildings comprise the global headquarters of financial services corporation Citigroup. 388 Greenwich stands about ten blocks north of the World Trade Center site and is among TriBeCa's tallest. Like many other office buildings in Manhattan, 388 Greenwich Street contains in addition to office space, a fitness center, full-service dining facilities, a medical center, a conference center, a day care center, and an outdoor park. The building is one of the few in New York with double-deck elevators. On September 11, 2001, the building's courtyard was used as a triage center.


In December 2007, 388 Greenwich Street and 390 Greenwich Street were sold by Citigroup in order to reduce real estate exposure on its balance sheet. The complex was acquired by a joint venture consisting of SL Green Realty and SITQ for US$1.58 billion. Citigroup, however, maintained their primary presence in the complex through a 15-year leaseback arrangement. In 2016, the bank repurchased the complex and relocated the company's headquarters from 399 Park Avenue.


One 6,158 square feet (572.1 m²) duplex apartment, the larger of two on the "68th floor" the building, has its own ballroom, outdoor swimming pool, fitness centre and outdoor patio. The headline price of HK$71,280 per square foot was achieved. The definition of the floor area is unlike that in most other real estate markets; usable living space which includes the 340 square feet (32 m²) garden, and its share of communal areas. Based on a more common international measure, the square foot price would be about HK$88,000, or US$11,350 ($1,032 per square metre). According to the developer, it was sold to an unnamed buyer from mainland China through a locally registered company. A second unit on the same floor fetched HK$397 million or HK$64,605 psf. There was much controversy about price fixing by Henderson Land Development when the company announced that it had sold a duplex apartment in the building for a record-breaking price in 2009 to an undisclosed buyer; later it was found that the buyer was a company registered in the British Virgin Islands. Not long after that it came to light that all 24 flats that Henderson Land Development had sold were bought by companies registered in the British Virgin Islands and all of them were registered by the same law firm.
In March 2015, one of its units was sold for a price of HK$433 million, with the price per sqft. amounting to HK$93,000. This supersedes the HK$82,000 price per sq.ft. record set by Swire Properties’ Opus Hong Kong and throughout Asia in 2012. Although it was sold at a higher price of HK$439 million in 2009, the lower stamp duty rate at the time resulted in a lower price per square foot. The buyer is confirmed to be a non-Hong Kong resident and therefore the stamp duty payable represents a total of 23.5%, which means the buyer will have to pay over HK$100 million in stamp duty expenses.
It is Asia's most expensive property, according to the World Records Academy – the previous world record was set in London, where a flat in One Hyde Park was sold for US$9,585 per square foot. The previous Asian record was set in June 2008, when Sun Hung Kai Properties sold a 5,497 square feet (510.7 m²) penthouse at The Arch for HK$41,100 per square foot. The record price set off concerns about a property bubble, and talk of the possibility of liberalising the supply of building land from the government. Experts, however, disagreed that there was any bubble, saying that property of this type was not representative of the mass housing market.
The chairman of another developer, Hang Lung Properties, expressed scepticism over the square foot price achieved, but the Henderson chairman insisted the price was real. Henderson admitted that the buyer of the record-breaking flat bought six units, whilst the South China Morning Post reported an unnamed source which said all 24 units were bought by the same individual. The SCMP noted that all 24 flats sold on the first day were bought by BVI-registered shell companies, and were handled by the same firm of solicitors. Market scepticism of the record prices achieved were due principally to the apparent over-valuation – the average price achieved was $40,000/sf, said to be at least 50 percent higher than an equivalent property nearby on Robinson Road according to estate agencies; a typical property would yield gross rental of two percent, compared to the market average of five. In May 2010, after having paying HK$1.82 billion for a plot of land on the Peak for the family residence, Lee Shau-kee admitted his son had considered the penthouse at the development, but was deterred by the asking price.
A 5,732 square feet (532.5 m²) 4-bedroom duplex flat on the 46th floor with a 1,754 sq ft rooftop terrace was sold in December 2015 for HK$595 million ($76.2 million), or HK$103,700 per sq ft ($143,000 per sq m), making it the most expensive apartment in Asia.


Due to the meaning of numbers in Chinese culture, "auspicious" numbering system was adopted by the developers, where the top floor was "88" – Chinese for double fortune. It is already common in Hong Kong for ~4th floors not to exist; there is no requirement by the Buildings Department for numbering other than that it being "made in a logical order." A total of 42 intermediate floor numbers are omitted from 39 Conduit Road: those missing include 14, 24, 34, 64, all floors between 40 and 59; the floor number which follows 68 is 88. The Democratic Party accused the developer of misleading the public; Albert Ho, its chairman, said "..This is a classic incident to show how powerful big developers are in Hong Kong." The Consumer Council recognised the accepted common practice of skipping the 13th and 14th floors, but suggested that developers "imaginary heights brought back to earth." Henderson said that the floor numbers omitted are in line with information in sales brochures and were not inconsistent with the approved building plans and the occupation permit. Its chairman, Lee Shau-kee, said "buyers like those numbers and we aren't cheating them."
The New York Times noted that Hong Kong has had many controversies over whether developers have overstated the square footage of apartments and the value per square foot of property transactions, for example, how to count terraces, common areas and other features. An editorial in Ming Pao said: "Though developers have used controversial marketing gimmicks, the government has rarely exercised its powers to protect consumers. Citizens disapprove of developers. Many are convinced that some government policies are excessively favourable to them. That is why the generality of citizens have the impression that the government colludes with businesses."


As at the end of March 2010, Land Registry records show only one of the 24 flats sold had been completed on, giving rise to concerns that the developer might have released misleading information. An editorial in the SCMP said greater transparency for property deals is needed: "Unusual sales transactions at 39 Conduit Road [...] call for closer scrutiny of the property market by the authorities. It does not appear that the developers have broken any law. But [...] have given rise to allegations they were seeking to manipulate the market." A reply from Henderson to the Lands Department of 24 March, which said it had entered into a verbal agreement with the 24 buyers to extend the transaction date for two to four months, subject to further extension, was not considered satisfactory by the Finance Committee of Legislative Council, which pressed the Lands Department to summon senior management of Henderson Land to explain in person why the sales of 24 flats in the development could not be completed five months after they were purportedly sold. Following the response, which was not made public, the Lands Department made a second request for more information from the developer; a four-page response was received, in which Henderson explained it allowed the buyers, all unconnected with Henderson, to extend the transaction deadline after the Hong Kong Monetary Authority issued a notice on 23 October to banks to reduce lending to finance purchase of luxury homes. The Standard reported that the Lands Department remain unsatisfied with why there was only oral agreement on the deferrals.
On 15 June, Henderson's announcement that all but four of the 24 properties at the development sold in October for record prices had been cancelled was met by uproar. Henderson said that "there was nothing untransparent", and that failure to complete was "very standard" in the industry, and the buyers' initial deposits had been forfeited. The company said the properties would be remarketed. The government has pledged to follow up on the transactions. Current regulations in force are not codified, and are in the form of a voluntary code of conduct agreed with the Property Developers' Association. The revelations, as well as on-going complaints that property sales lacked transparency and allegations of the government's collusion with officials, are putting the government under increasing pressure to enact legislation governing property transactions and render property sales practices more transparent, at the risk of angering at the city's powerful developers. The only four flats to complete were on the 30th and 31st floors, and had sold for between only HK$37,800 and HK$40,900 a square foot–less than half of the 'record. Combined with the fact that the cancelled deals were all transacted through BVI shell companies, like the law firm which handled the conveyancing, cast suspicion that they were bogus; Lee maintained they were genuine and was prepared to wager 100:1 should the deals be proven false. The Hong Kong Institute of Surveyors said the sale cancellation had done "serious damage to the developer's image and integrity"; legislators from across the political spectrum called for an investigation and further action to deal with market abuses.
In July 2010, police officers from the Commercial Crime Bureau raided the offices Henderson and those of the legal firm acting for them, taking away documents for the 20 cancelled transactions. In February 2011, the police revealed that four buyers were responsible for the 20 transactions in question, and that they had interrogated three of them; none was arrested. Media in mainland China reported that one of the buyers of three of the apartments was Ding Yuxin (also known as Ding Shumiao), who reported to be party to corruption investigations involving Railways Minister Liu Zhijun and who was herself arrested by mainland authorities in January 2011.


In 2011, the venue was named as the fifth busiest music arena in the world with ticket sales of 670,000 putting it behind The O₂ Arena in London, the Manchester Arena, Antwerp's Sportpaleis and Melbourne's Rod Laver Arena. In 2012 it rose to 4th place, and in 2013 it dropped to 9th place.


Patrons are advised to use public transport to get to the venue. Parking services for the nearby Point Village are suggested. In addition to the ferry services and shuttle buses noted on the venue's web site, Dublin Bus number 151 provides a scheduled public service to the venue.
Due to the high volume of pedestrian traffic leaving the venue after concerts, extensive traffic restrictions are put in place along the North Wall Quay after such events, which can cause both the North Wall Quay and the East-Link (Dublin) toll bridge to be restricted for vehicular traffic by the Gardaí.
A Luas light rail extension from the Red Line to the back of the venue opened on 8 December 2009, and links the DART train services at Connolly Station to the venue. It coincided with a performance by Lily Allen. The Luas stop is called The Point.
Those travelling to the 3Arena from Dublin Airport can avail of either the public Dublin Bus route 747, or the Greystones or Dalkey Aircoach services that stop outside the venue, while several other private operators also call at the venue.


In late 2012, the large advertising and media company GroupM was confirmed by several sources to be in the preliminary negotiations to anchor 3 World Trade Center in a deal that would allow construction to begin on the planned 80-story office tower. The lease would be about 550,000 square feet in size, a large enough commitment to qualify the project for up to $600 million in public benefits in the form of a mix of equity and loan guarantees from the city, the state, and the Port Authority. In December 2013, GroupM was signed on as anchor tenant, leasing 500,000 square feet (46,000 m²) at the building. This allowed the tower to resume construction.
In January 2014, U.S. senator Chuck Schumer obtained $340 million in federal Recovery Zone bonds to finance the project's construction. Afterward, Silverstein asked government officials to refinance the building, in exchange for contributing a greater share of private capital. The PANYNJ planned to vote on a subsidy that would have doubled the loan, but the agency postponed the vote in March 2014 and again the following month. On June 25, 2014, the PANYNJ reached an agreement with Larry Silverstein to finance the completion of 3 World Trade Center. The financing included the sale of $1.6 billion of tax-exempt bonds, the largest-ever unrated bond deal in the municipal bond market. Other sources of funding included $600 million in insurance proceeds, $210 million in cash contributions from the New York City and State governments, and $55 million in cash from Silverstein Properties. Following the financing, the tower crane returned and a new anticipated completion of late 2017 was announced.
Unusual for a high-rise, the building's concrete core was built before the rest of the structure was completed. In 2015, the design was modified and the height reduced by 89 feet (27 m) to its current height of 1,079 feet (329 m). As of June 2015, 3 World Trade Center's core had risen to the 19th floor and steel to the 14th floor. On June 28, 2015, one more tower crane was built on the site. Another crane arrived in July, bringing the total to four cranes. On May 20, 2016, the tower's concrete core reached the symbolic height of 1,000 feet (300 m), thus officially reaching supertall status and exceeding the roof height of neighboring 4 World Trade Center. On June 23, 2016, 3 World Trade Center's core was topped out. In a ceremony held at the base of the building, a 2-ton bucket of concrete was signed by workers, and executives, including developer Larry Silverstein, and was hoisted up with an American flag, which was also used with the topping out of 7 and 4 World Trade Center, to the top of the tower.
On the evening of August 11, 2016, a construction crane struck one of 3 World Trade Center's windows. There was a heavy wind gust at the time, and construction workers were securing the crane when it veered into a 12th-story glass panel, cracking it. No one was injured. On October 6, 2016, the entire building was topped out when the last steel beam was lifted and installed on top. The glass facade was completed in August 2017, at which point several retailers had signed leases for the atrium retail space.


3 WTC's anchor tenant GroupM had expanded its space to 700,000 square feet (65,000 m²) in January 2016. The stock exchange platform IEX leased 45,000 sq ft (4,200 m²) in the building in April 2018. This was followed the next month by global consulting company McKinsey & Company, which leased 186,000 square feet (17,300 m²). The building officially opened on June 11, 2018. At the time, the building was 38 percent occupied.
In the first three months of 2019, Silverstein leased space to Hudson River Trading, Casper Sleep, beverage firm Diageo, technology startup Asana Inc., and mortgage lender Better.com. These five leases totaled 355,000 square feet (33,000 m²). Later that year, ridesharing company Uber leased more than 300,000 square feet (28,000 m²), and law firms Kelley Drye & Warren and Cozen O'Connor also leased space there. Private equity firm Blue Wolf Capital Partners leased space in early 2020, and Uber sought to sublease some of its space by the end of that year. Casper subleased some of its space to advertising company Index Exchange in 2021.


3 World Trade Center was designed by Richard Rogers of Rogers Stirk Harbour + Partners. The structural engineer for the building was WSP. It is 1,079 feet (329 m) tall with 80 above-ground stories. The lowest 17 stories of the tower comprise a podium. There are five stories of retail, spanning the basement and sub-basement levels as well as the first three above-ground stories.


The facade is composed of double-glazed, low emissivity glass panels. Most of the facade is a curtain wall with 10,000 panels of annealed glass, which are more resistant to shattering compared with traditional glass panels. The curtain wall panels span from the floor to the ceiling on each story. They measure 13.5 feet (4.1 m) high on each of the podium stories and 24 feet (7.3 m) high on each of the tower stories. At the base of the building, a cable-net wall surrounds the lobby on three sides. The cable-net wall is composed of panels measuring 5 feet (1.5 m) wide and 10 feet (3.0 m) tall.
The eastern and western elevations of the facade contain K-shaped bracing, which is composed of diagonal beams clad in stainless steel. The diagonal beams reinforce the superstructure and remove the need for structural columns at the corner. The stainless steel cladding is used to protect the beams from weathering, and it was also intended to complement the glass panels on the facade. The roof of the building is flat, though originally it was planned with several spires.


3 World Trade Center covers 2.5 million square feet (230,000 m²) in total. Each of the building's stories spans 30,000 to 70,000 square feet (2,800 to 6,500 m²). The building uses 27,000 short tons (24,000 long tons; 24,000 t) of steel and 145,000 cubic yards (111,000 m³) of concrete. 3 WTC also includes 44 passenger elevators and five service elevators. Eight of the passenger elevators serve the first 17 stories exclusively, and there are two passenger and two freight elevators within the retail section of the building. There are also four staircases within the podium and two staircases within the upper stories.


There are nine entrances to 3 WTC's lobby. The floor of the lobby is made of Sardinian gray granite. The western wall of the lobby is made of Zimbabwe black granite and measures 43 feet (13 m) high. The walls of the elevator banks contain glass panels with a metallic mesh embedded into them. There are also LED wall panels next to the elevators themselves. One wall of the lobby contains Joystick, a 46-foot-wide (14 m) mural by James Rosenquist, which was originally painted in 2002 and reinstalled at 3 WTC in 2020. The lobby's ceiling measures up to 62 feet (19 m) high, though it slopes down to as low as 22 feet (6.7 m). The ceiling is made of a stretched material, behind which are LED lights; at the time of 3 WTC's opening, this was the largest stretched ceiling in the world.
The rest of the ground, second, and third stories are used as retail space. There are two basement levels, which also contain retail and are part of Westfield World Trade Center mall. The five retail stories are connected by two passenger elevators and four staircases. The mall connects to the World Trade Center Transportation Hub, which in turn links with the New York City Subway and PATH trains.


The 40–step stairway is a historic stairway in the Jung District of Busan, South Korea. It sits at one end of the 40-step Culture & Tourism Theme Street, which is a tourist attraction intended to recall the history of the area and in particular its importance to refugees during and after the Korean War.  The staircase itself was known as a common location for refugees to seek reunification with their families and friends, given the lack of functional communications during the War.  The 40–step stairway appears in the film Nowhere to Hide.


480 Queen Street is a 153-metre (502 ft) premium grade office tower in Brisbane, Australia located at 480 Queen Street in the Brisbane central business district's golden triangle. The project was designed by BVN Architecture and developed and constructed by Grocon, in partnership with Dexus Property Group.
A key design feature is a 1,400-square-metre (15,000 sq ft) area known as Hobbs Park with river views on level four, open to all tenants and the public. As well as adding to the amenity for tenants, it makes a significant community contribution by preserving the river views from the St John's Cathedral grounds. Other building features include 600 bike spaces and 45 showers to complement its proximity to the riverside bikeway, floor plates of up to 2,800 m² (30,000 sq ft), about twice the size of other premium CBD towers, 1,600 m² (17,000 sq ft) of retail at ground, second and fourth levels will include high quality food and beverage outlets designed to enhance the broader precinct and a rooftop tree grove at level 31.
It is intended to be 6-star Green Star and 5-star NABERS rated. 480 Queen Street has achieved early leasing success with 80 per cent of the building's 55,000 m² (590,000 sq ft) of office space leased to BHP, HWL Ebsworth, Herbert Smith Freehills, Allens, DLA Piper, PriceWaterhouseCoopers and Regus.
480 Queen Street is Grocon's third Brisbane construction project and follows the Common Ground affordable housing project in Hope Street, South Brisbane and an office building for the Australian Tax Office in 55 Elizabeth Street.


4 World Trade Center (also known by its street address, 150 Greenwich Street) is a skyscraper that is part of the World Trade Center complex in New York City. It is located on the southeast corner of the 16-acre (6.5 ha) World Trade Center site, where the original nine-story 4 World Trade Center stood. Pritzker Prize-winning architect Fumihiko Maki was awarded the contract to design the 978 ft-tall (298 m) building. It houses the headquarters of the Port Authority of New York and New Jersey (PANYNJ).
The building's groundbreaking took place in January 2008, and it opened to tenants and the public on November 13, 2013. As of 2016, it is the third tallest skyscraper at the rebuilt World Trade Center, behind One and 3 World Trade Center. However, 2 World Trade Center is expected to surpass the height of both 3 and 4 WTC upon completion. The total floor space of the building includes 1.8 million square feet (167,000 square meters) of office and retail space.


The old 4 World Trade Center was a nine-story low-rise office building completed in 1975 that was 118 ft (36 m) tall, and located in the southeast corner of the World Trade Center site. The building was designed by Minoru Yamasaki and Emery Roth & Sons. The first tenants, the Commodities Exchange Center, started to move into the building in January 1977. On July 1, 1977, the Mercantile Traders finalized the move. The building's major tenants were Deutsche Bank (Floor 4, 5, and 6) and the New York Board of Trade (Floors 7, 8, and 9). The building's side facing Liberty Street housed the entrance to The Mall at the World Trade Center on the basement concourse level of the WTC. Much of the southern two-thirds of the building was destroyed, and the remaining north portion virtually destroyed, as a result of the collapse of the South Tower during the September 11 attacks and its remains were later demolished to make way for the construction of new skyscrapers: 4 World Trade Center and 3 World Trade Center. 4 World Trade Center was home to five commodities exchanges on what was at the time one of the world's largest trading floors (featured in the Eddie Murphy movie Trading Places). Following the destruction of the building during 9/11, rescuers and surveyors exploring the building's basement discovered large amounts of gold and silver bullion in the vault; a sizeable amount of coins that had been stored there by the Bank of Nova Scotia were purchased in 2002 as cleanup efforts began by Lee S. Minshull of California, who then submitted the coins to Collector's Universe, the owner of PCGS; these coins come in one of two labeled coin slabs. The unique label of Collector's Universe and no coin grade was used on the earliest slabbed coins recovered from WTC4. PCGS graded and put their label on the later slabbed coins, and both sets have since entered the hands of collectors.


Groundbreaking took place in 2008. The building reached street level in November 2009. The safety cocoon was installed December 2010. The first glass was installed May 2011. In November 2010, three PureCell fuel cells were delivered at the World Trade Center site which together will provide about 30% of the tower's power. The structural engineer for the building is Leslie E. Robertson Associates, New York City. Robertson was also the chief engineer for the original Twin Towers in the 1960s.
On February 16, 2012, one of the building's construction crane cables snapped while lifting steel, causing the steel to fall 40 stories from the building, landing on a flat bed truck. No severe injuries were reported, and the only reported injury was a fleeing worker who slipped and fell. Construction on the building eventually resumed after the accident.
On June 25, 2012, steel topped out at floor 72. Structural steel and concrete completed by June 1, 2013, followed by the removal of construction fencing in September 2013 and the building's opening on November 13, 2013. Cost of construction of 4 World Trade Center was US$1.67 billion, funded by insurance funds and Liberty bonds. The first tenants to move in were two government agencies, and as of July 2015, the building is 62% leased.


The above-ground portion of the building dedicated for retail use (which consists of the ground floor, the three floors immediately above the ground floor as well as the two floors below ground), accommodates offices using two  distinct floor shapes. From floors 7 through 46, the typical floor space is 36,350 square feet (3,376 square meters) in the shape of a parallelogram (which is designed to echo the configuration of the site). From floors 48 through 63 the floor space is 28,000 sq ft (2,600 square meters) in the shape of a trapezoid, shaped so that it opens toward the tip of Manhattan Island and also triangulated to face One World Trade Center. The tower includes five levels of mechanical floors. The New York Power Authority selected UTC Power to provide 12 PureCell Model 400 fuel cells that will be used to provide electricity, water and heat. According to the developer, the systems combined will rank as one of the largest installations of fuel cells in the world. The upper floors of the building have no interior columns.
The PANYNJ is headquartered in 4 World Trade Center, leasing approximately 600,766 sq ft (55,813.0 m²) in 4 World Trade Center for its new headquarters. PANYNJ was formerly headquartered at 1 World Trade Center in the first World Trade Center complex before it was destroyed. Afterwards the PANYNJ moved into 225 Park Avenue South in Midtown Manhattan, before returning to the World Trade Center in 2015.
The lower levels of the building are used by retail businesses, including Eataly, and connected via an underground "retail and transportation concourse" to the PATH's World Trade Center station and the New York City Subway's WTC Cortlandt station. The city of New York also plans to lease 581,642 sq ft (54,036.3 m²) of space, which is not in use yet, in the completed building. A February 2017 announcement by Spotify that it would lease floors 62 through 72 for its United States headquarters, along with a subsequent expansion announcement that July, brought 4 World Trade Center to full occupancy. SportsNet New York, carrier of New York Mets broadcasts, moved its headquarters from 1271 Avenue of the Americas to an 83,000 sq ft (7,700 m²) facility in 4 WTC. The SportsNet New York studios in 4 WTC also double as the New York City studios for NFL Network, hosting their morning show Good Morning Football.
The building's elevators are supplied by Schindler, and are the second fastest in North America at 9 m/s (1800 fpm).


500 Boylston Street is also seen on the television show Boston Legal. The fictional law firm Crane, Poole & Schmidt's Boston office is located on the building's 14th, 15th and a fictional 28th floor due to the building only having 25 floors. There are also no balconies attached to these floors where Boston Legal was set.


500 Fifth Avenue is a 60-story, 697-foot-tall (212 m) office building on the northwest corner of Fifth Avenue and 42nd Street in Midtown Manhattan, New York City. The building was designed by Shreve, Lamb & Harmon in the Art Deco style and constructed from 1929 to 1931.
500 Fifth Avenue was designed with a facade of bronze, limestone, and terracotta at the base; it is clad with of brick above the fourth floor.  While the lowest four floors contain a decorative exterior, little ornamentation is used above the base. The primary entrance is on Fifth Avenue, and storefronts are located at ground level. Upon its opening, the building contained design features including fast elevators, well-lit office units, and a floor plan that maximized the well-lit office space. The 1916 Zoning Resolution resulted in a structure that incorporated setbacks, resulting in the lower floors being larger than the upper floors.
500 Fifth Avenue was built for businessman Walter J. Salmon Sr. In the 1920s, prior to the building's development, the underlying land had become extremely valuable. Similarly to the much larger Empire State Building nine blocks south, which was constructed simultaneously, 500 Fifth Avenue's construction was highly coordinated. 500 Fifth Avenue opened in March 1931, but the structure garnered relatively little attention after the Empire State Building opened shortly afterward. The building was designated an official city landmark by the New York City Landmarks Preservation Commission in 2010.


The building's primary entrance is on Fifth Avenue about 70 feet (21 m) north of 42nd Street. Storefronts are located at ground level on the eastern and southern elevations. As a result of the creation of a special Fifth Avenue zoning district in 1929, new buildings on the avenue within Midtown had to include stores on their first two floors. The main entrance is flanked by triple-story pylons. Above the entrance is an allegorical limestone relief depicting the building's construction, which was carved by Edward Amateis. This relief depicts a gilded woman next to a model of the building, with a staff in her hand. Ornamentation depicting a pair of carved eagles is placed on the 42nd Street facade.
Lamb cited several factors in the "modern architectural treatment" of 500 Fifth, including the ornamentation and material usage. Bronze, limestone, and terracotta were used on the base's facade. The second through fourth floors contained decorated limestone piers as well as light-green spandrels ornamented with chevrons and folds. There were also shallow reliefs with depictions of fountains and foliation.
Above the fourth floor, the exterior was made mainly of brick. The facade above the fourth floor consisted of recessed brick spandrels with black terracotta panels, which provided "vertical accents" to the building. The idea for the terracotta-and-brick spandrels was probably taken from the Daily News Building, where a similar spandrel design was used. Little ornamentation is used above the base, except for terracotta panels with chevrons. The northern elevation of the facade is a largely uninterrupted brick wall with three vertical strips of black terracotta. In total, the building uses over 3.3 million bricks.


In July 1929, Salmon announced his plans for the corner lot, a 58-story building at 500 Fifth Avenue, measuring 100 feet (30 m) along Fifth Avenue and 208 feet (63 m) along 42nd Street. The skyscraper was estimated to cost $2.35 million (equivalent to $28,352,000 in 2020) and be completed in late 1930. The Real Estate Record wrote that "the time appeared ripe for an improvement on this corner". The lot was considered the second-most-valuable undeveloped lot in Manhattan, behind 1 Wall Street. To finance construction, the developer issued $7 million worth of sinking fund bonds, equivalent to $84,453,000 in 2020.
Shreve, Lamb & Harmon were selected to design the new building. Because the zoning ordinances allowed higher buildings along 42nd Street than Fifth Avenue, Salmon merged the zoning lots of 500 and 508 Fifth Avenue, enabling him to construct a taller building than was usually permitted. This also required a separate design for the Fifth Avenue side of the building. Some 450,000 to 500,000 square feet (42,000 to 46,000 m²) of rentable office space would be provided, as well as space for banking on the second and third floors, and retail on the first floor. The plans called for numerous architectural features including setbacks and "light courts". The New York City Department of Buildings received plans for 500 Fifth Avenue in October 1929. The following month, the Bristol Building's tenants were evicted, and that December the Bristol Building was demolished. The site was cleared in January 1930 and excavation of the foundation began the next month.
Similar to the Empire State Building nine blocks south, which was being constructed simultaneously by Shreve, Lamb & Harmon, each structural component at 500 Fifth Avenue was planned in advance. According to architect Richmond Shreve, a lead associate at the firm, the former's construction "required feats of organization in some respects never before attempted." 500 Fifth Avenue was erected by general contractor Charles T. Wills Inc. and steel contractor McClintic-Marshall Co. Assembly of the steel frame commenced in March 1930 and, with a system of derricks being used to expedite construction, the frame was topped out by that July. The building thus became the tallest skyscraper on Fifth Avenue for less than a month, as the Empire State Building subsequently surpassed it. Installation of the brickwork commenced in April 1930, concurrently with the steel frame's construction, and was completed by that September. By the end of the year, the building was essentially complete. The construction process employed up to 2,200 workers, and ultimately cost $4 million (equivalent to $55,848,000 in 2020).


500 Fifth Avenue officially opened on March 3, 1931. John Tauranac, in his book The Empire State Building: The Making of a Landmark, wrote that upon 500 Fifth's completion, "The Building Record and Guide was calling Forty-second Street and Fifth Avenue 'the best known corner in the world'." In its early years, 500 Fifth Avenue was largely overlooked in the real estate community, as more attention was placed upon the Empire State Building, the world's tallest building at the time. Furthermore, office rental activity was affected by the Wall Street Crash of 1929. Conversely, at the beginning of 1931, Fifth Avenue was experiencing high demand for storefront space, with only 12 of 224 stores being unoccupied. 500 Fifth Avenue, along with 608 Fifth Avenue and the Empire State Building, were expected to add a combined 11 stores. Despite other developers' speculation that Salmon would construct a three-story residence at the roof, Salmon said the corner was "just a little to prominent for real home life".
Salmon had said in December 1930 that, although he foresaw it might take a long time to fill the space at 500 Fifth Avenue, "the enterprise was undertaken with the greatest faith in the future of midtown expansion and development." The 15th, 16th, and 20th floors were completely rented by May 1931. Rental activity continued and, by the end of the year, lessees included Electrolux, Western Universities Club, and several railroad companies. Other tenants in the mid-1930s included the Austrian and Japanese consulates; the Austrian consulate closed in 1938, when the country was taken over by Nazi Germany, and the Japanese consulate moved the following year to the International Building at Rockefeller Center. 500 Fifth Avenue was the original transmitter site for CBS Radio's New York City FM station (W67NY, later called WCBS-FM) in 1941.
The Mutual Insurance Company leased the adjacent lots at 508–514 Fifth Avenue from the Manufacturers Hanover Corporation (then known as the Manufacturers Trust Company) in 1944. Because Salmon's existing lease of 508 Fifth Avenue ran through 1965, Manufacturers Trust subleased the lot at 508 Fifth Avenue from Salmon. The terms of the sublease specified that the portion of any structure at 508 Fifth Avenue could not be more than 63 feet (19 m) tall, or obstruct the adjacent skyscraper in any other way. The Manufacturers Trust Company Building at 508–514 Fifth Avenue was completed in 1954, and ultimately contained four stories and a penthouse. The Manufacturers Trust penthouse was set back from the lot line at 508 Fifth Avenue because it rose above the maximum height permitted in the sublease agreement.
The land under 500 Fifth Avenue was owned separately from the building itself and, in 1955, the land was sold to Metropolitan Life Insurance, now known as MetLife. The New York Reading Laboratory, a reading room in the basement, operated during that decade. In 1980, a Yugoslavian bank on the 30th floor was bombed, with Croatian nationalists claiming responsibility, though no one was hurt and the structure suffered minimal damage. The facade was restored in the 1990s, and the building was owned by a Mexican investment group by 2004. Through the 21st century, 500 Fifth Avenue continued to be used as an office building. The LPC designated the building's facade as a landmark on December 14,  2010.


The building is located on 50 West Street, in the Financial District neighborhood of Lower Manhattan in New York City. The site borders a high-rise rental building called 90 Washington to the north while being surrounded by a privately owned parking garage to the south and east of the structure.


Developer Time Equities purchased the former office building at 50 West Street in 1983. On June 7, 2007, the skyscraper designs were presented  by Time Equities' CEO Francis J. Greenburger to the Financial District, Battery Park City and Quality of Life committees of Community Board 1. On October 5, 2007, they were approved by the City Planning Commission. Initially the building plans fought opposition arising from the fact that the tower did not include money for affordable housing, but later a $5 million agreement settled this situation, including $430,000 to local P.S./I.S. 89 for a computer science program. The site was occupied by two buildings, one of them being a 1912 13-story building, known as the Crystal Building that has a 3-story-high mansard roof, which were demolished between the end of 2007 and the first months of 2008.
Developer Time Equities broke ground in June 2008 on a 66-story hotel/condo tower at 50 West Street. By the fall of 2008, construction work had stopped due to the financial crisis, and, according to Mr. Greenberger, was saved for better times. In 2011, the developer obtained new construction permits. The hotel, which was planned to be located in the first fourteen floors, was discarded and substituted by multilevel retail space. In addition, after damage from Hurricane Sandy in 2012, the developers decided to make the building flood-resistant by rising the sill height on the ground floor and using floodgates at the entrances, as well as moving the mechanical room to higher floors.
In August 2013, Time Equities' CEO Francis Greenburger secured a $288 million loan from PNC Financial Services, Wells Fargo, M&T Bank, MUFG Union Bank, MidFirst Bank, and Emigrant Bank. An additional $110 million in equity was raised from hedge fund Elliott Management Corporation, and work was resumed after a five-year delay. In December 2013, Time Equities launched a teaser website for 50 West Street which revealed new renderings and showcased the panoramic views of the tower. Facing south, landmarks like Governors Island, the Statue of Liberty, and Ellis Island can be seen.
Sales started in spring 2014 and construction was scheduled to be completed in 2016. The building topped out in September 2015. Occupancy began in 2017. Their campaign called 'Defy the Laws of Luxury' was launched in October 2016. The campaign won two 2016-2017 ADDY Awards, one for Online/Interactive Website and one for Still Photography.


The building contains 191 residential units, ranging from one to four bedrooms, including an array of duplexed and double  height living rooms throughout all the tower. and two penthouses. Sales for available units range in price from $1,960,000 to $22,645,000. Four floors of the building are devoted to state-of-the-art amenities such as a water club including a swimming pool, sauna, steam room, hot tub, fitness room, a lounge with sofas, private screening room, children's playroom, game room, demonstration kitchen and dining room, library, as well as a dining terrace.
The building has an open air, private observation deck that sits in the 64th floor atop the building at 734 feet (224 m). It is equipped with binocular tower viewers, barbecue stations and private dining areas.


The 511 Federal Building is a former federal post office that is currently known as the Arlene and Harold Schnitzer Center for Art and Design of the Pacific Northwest College of Art (PNCA) in Portland, Oregon, United States. PNCA moved into the building in February 2015, after a $32 million remodeling project.
Previous occupants of the building included the Department of Homeland Security offices for U.S. Citizenship and Immigration Services and U.S. Immigration and Customs Enforcement, as well as the Department of Agriculture.
The building was constructed in 1916–1918 and opened in 1919 after being commissioned by the Secretary of the Treasury, one of the last post offices built under the 1893 Tarsney Act, and cost $1 million. It was designed by architect Lewis P. Hobart. It is located between Portland's Old Town Chinatown and the Pearl District. It was added to the National Register of Historic Places in 1979, as the U.S. Post Office. The building is six stories tall and has a footprint of approximately 20,000 square feet (1,900 m²). It has a basement and sub-basement, complete with walled off shanghai tunnels.


The building's facade is framed within a concrete diagrid, which shifts the tower's structural system to the exterior, thereby allowing more open space for the interior of each floor. The diagrid was designed by WSP Global, which spent over a year modifying the details of the design. Nouvel and the WSP engineers collaborated extensively on the superstructure's design because Nouvel wanted 53 West 53's facade to reflect the arrangement of the diagrid. The diagrid includes vertical, diagonal, and horizontal girders to carry weight loads while also stiffening the frame against wind. The design of the facade around the diagrid was inspired by drawings made by Hugh Ferriss.
As designed, the north and south facades slope away from the street as they rise, while the west and east facades are perpendicular to ground level. The exterior curtain wall is made of 5,747 triple-glazed panels manufactured in Germany. The curtain wall consists of glass panes, aluminum frames, and ventilation grates. Mockups of the windows were tested in a wind tunnel before being installed. The curtain wall is anchored to the concrete floor slabs. Part of the lower stories' facade, and some portions of the west and east facades that abut other buildings, are made of masonry. Custom window blinds were required for the inwardly angled facades. Most of the facade is maintained by a window-washing rig on the bulkhead, but the lowest stories of the building are maintained by cranes, and the storefront windows are washed at street level.
The girders consist of concrete poured around steel pieces of rebar. The diagrid was initially planned to be made of steel, but concrete was ultimately used because of concerns over cost, ceiling heights, weight, and collaboration with labor unions. According to WSP vice president Gustavo Oliveira, difficulties arose over how to connect the rebar within the concrete girders at each of the nodes where girders intersect. Furthermore, there were approximately three dozen nodes where at least four girders intersect; the largest node, on the north side of the sixth floor, connected six girders. Therefore, for each node, a steel core was created and rebar pieces were anchored to that core. The concrete was poured in place, except for the pinnacles, which were prefabricated. The concrete had to be poured gradually because the steel cores were almost impossible to reposition after the concrete had dried up.


Langan, the geotechnical engineer, monitored the underlying bedrock and conducted seismic planning. The ground underneath the building consists of 8–35 ft (2.4–10.7 m) of fill, followed by 5–8 ft (1.5–2.4 m) of sand, 2–61 ft (0.61–18.59 m) of decomposed mica schist, and a hard layer of mica schist bedrock. Much of the underlying ground in Midtown Manhattan could support loads of 60 short ton/sq ft (590 t/m²), but the western portion of 53 West 53's site had formerly contained a stream. Groundwater was present 15–18 ft (4.6–5.5 m) below ground level at the site. The weathered mica on the western part of the site could only support 8 short ton/sq ft (78 t/m²). Furthermore, the site abutted several adjacent buildings and the New York City Subway's 53rd Street Tunnel (carrying the E and M trains). Overall, the depth of sufficiently load-bearing bedrock under 53 West 53's site varied as much as 70 ft (21 m).
The site was excavated using 33 reinforced concrete caissons each measuring 3 ft (0.91 m) across.  The caissons descend at least 30 ft (9.1 m) deep. Where the site abutted the subway tunnel, the caissons descend 70 ft (21 m) deep, the same depth as the subway tunnel. Some "high-capacity" caissons were drilled at the western end of the site to shift some of the loads to below the tunnel. The floor of the sub-cellar is placed on a grade/mat foundation. The foundation is surrounded by concrete walls that are on average 2 ft (0.61 m) thick. The shear walls and columns on the eastern boundary of the site are placed on concrete footings that rest directly on the bedrock, while the shear walls and columns on the southern and western boundaries are placed on concrete caps above the caissons. The basement story is composed of a 16 in-thick (410 mm) concrete slab, while the ground story is made of a 14 in-thick (360 mm) concrete slab.


The main contractor for the superstructure was Lendlease. The floor slabs for 53 West 53 are generally made of cast concrete 12 in (300 mm) thick. While most of the tower's support columns are along the tower's perimeter, there are also some interior columns. Steel trusses transfer loads from the interior columns to a shear wall core along the eastern edge of the tower. The northeast corner of 53 West 53 also includes a 24 ft (7.3 m) cantilever above an emergency electrical generator owned by Con Edison. A portion of the MoMA space, on floors 2, 4, and 5, is supported by two columns, one of which is a steel column measuring 3 by 3 ft (0.91 by 0.91 m). Massive steel trusses on the sixth and eighth stories (floors 6 and 12, respectively) divert the loads above the MoMA space. There is a crawl space measuring 3.7 ft (1.1 m) high above the 5th floor. Above that is a mechanical story with separate sections for MoMA and the residential units.
At the 35th through 37th stories (floors 45 through 47, respectively), a 2 ft-thick (0.61 m) outrigger wall runs around the tower, connecting the diagrid and shear wall. Mechanical rooms are placed within these floors, dividing 53 West 53 into two segments with separate electrical, mechanical, and plumbing systems. One mechanical system serves the floors above these rooms while the other system serves the floors below. There are five steel spires above floors 21, 24, 73, 83, and 86; their steel construction allowed greater flexibility for constructing the roof. To stiffen the top of the building, the 73rd, 74th, and 76th stories (floors 83, 84, and 86) consist of 20 in-thick (510 mm) concrete slabs. A 650-short-ton (580-long-ton; 590 t) tuned mass damper was installed in the double-height 74th story to provide stability against high winds or earthquakes.


The entrances to the building are through 53rd and 54th Streets. The lobby contains 9,000 sq ft (840 m²) of space and is divided into three sections: an entrance foyer, a main lobby, and an elevator lobby. The main lobby has a coffered ceiling as well as an oak floor with inlaid marble tiles. The walls of the lobby are covered with oak paneling, and the ceiling is supported by the diagonal columns of the diagrid. The ground floor next to the lobby also includes a library with a fireplace.
MoMA's gallery space is on floors 2, 4, and 5. The gallery space includes the Daylit Gallery on floor 2 and the Studio on floors 4 and 5. There is no third story because the floor numbers follow those of the main MoMA building, and MoMA's third story does not extend into 53 West 53. The MoMA galleries are internally disconnected from the rest of 53 West 53 and are not served by the building's elevators. The only exits from the MoMA space are through the main building to the east, as well as emergency exits that lead directly to 53rd and 54th Streets. The gallery space covers 40,000 sq ft (3,700 m²). A terrace extends from the south facade at the sixth story.


In January 2014, MoMA decided to raze the American Folk Art Museum, which was between MoMA's existing structure and the proposed 53 West 53rd Street. The architectural community protested the planned demolition in part because that building was relatively new, having been completed in 2001. MoMA decided to proceed with the demolition because the American Folk Art Museum was in the way of MoMA's planned expansion, which included exhibition space within 53 West 53rd Street. In September 2014, Hines and Pontiac purchased a combined 240,000 sq ft (22,000 m²) air rights from MoMA and St. Thomas Church for $85.3 million. At that time, the building became known as 53 West 53.
Work on excavating the site started later that year. Excavation proceeded slowly because of the presence of the subway tunnels under 53rd Street and other facilities owned by the New York City Transit Authority. Investment bank Goldman Sachs had joined the project by 2015. Marketing for 53 West 53 began in May 2015, and the first listings for units at the building became publicly available in that September. The units ranged from a one-bedroom apartment on floor 17, marketed at $3 million, to the penthouse on floors 81 and 82, marketed at $70 million. The building's sales gallery, on Fifth Avenue, included a digital board with information about the units and images of other Nouvel buildings. A model unit, to exhibit the materials in the interior of each apartment, was also constructed in the sales gallery.
Foundation work began in September 2015 after the excavations were completed. By November 2016, concrete pouring had reached the 20th story. Work on the superstructure progressed at a rate of one story every four days.  The tower was halfway completed by September 2017, with the superstructure having reached the 58th story. Much of the superstructure and facade were in place by the beginning of the following year. The building officially topped out in June 2018, and the final spire was installed in late December 2018.


Faced with Portland stone and covering a site with an irregular footprint, the upper office floors of the building are on a cruciform plan, stepping back towards the central clock tower at the top. The cruciform design afforded the optimum level of natural light to the offices. The ground floor now contains a shopping arcade and has many art deco details. Previously, the ground floor was also given over to London Transport offices, including a travel information centre, cash office and a library. The whole building straddles St James's Park tube station, the east and west wings being immediately above the railway tunnel. When finished, it was the tallest steel-framed office building in London, until construction of another Holden building, the University of London's Senate House (based on similar designs and materials).
On each elevation, the pediment above the sixth floor is decorated with a relief, collectively known as 'the four winds', although the four points of the compass are repeated twice for a total of eight reliefs. Each relief was carved by an avant-garde sculptor of the day.
Halfway along the north and east facades are a matched pair of sculptures, Day and Night by Jacob Epstein. The modernism and graphic nakedness of these sculptures created public outrage on their unveiling. Newspapers started a campaign to have the statues removed and one company director, Lord Colwyn, offered to pay the cost. Frank Pick, the managing director of the UERL at the time, took overall responsibility and offered his resignation over the scandal. In the end, Epstein agreed to remove 1.5 inches from the penis of the smaller figure on Day and ultimately the furore died down.
The function suite on the 10th floor of the building was formerly set up as a dining room for the Chairman and senior executives. At this level, there are also four roof gardens, one of which was dedicated to the wife of a former managing director in recognition of her enthusiasm in encouraging this early form of environmental work.
The building, first listed as Grade II in 1970, was upgraded to Grade I in 2011.
In 2013, it was announced that 55 Broadway would be converted into luxury apartments, once London Underground moved operations from the building in 2015 to their new headquarters in the Olympic Park, Stratford, London. In May 2014, it was announced that the architects, TateHindle, would lead the redevelopment and, in June 2015, planning permission and listed building consent was granted: however, this was not implemented and the planning permission expired in June 2018.
In September 2019, a long-term lease of the property was sold by Transport for London for £120 million to Integrity International Group, founded by Tony Matharu.
In May 2020, it was announced that Blue Orchid Hotels, a subsidiary of Integrity International, would convert the structure into a luxury hotel.


When the World Product Center was canceled, the site of 555 West 33rd Street became available for development again. The 710-foot-tall (220 m), 51-story 55 Hudson Yards building was designed to take its place, although the building is an office building rather than a medical building.
The building, at 11th Avenue's east side between 33rd and 34th Streets, is located to the north of 35 Hudson Yards, and on the west side of the Hudson Park and Boulevard, adjacent to 50 Hudson Yards and the entrance to the new 34th Street New York City Subway station. Located on the site of the canceled World Product Center, the 1.3-million-square-foot (120,000 m²) building, designed by Eugene Kohn and Kevin Roche, cost US$1 billion. The building is the first collaborative effort between the two firms. In 2013, Extell was paid by The Related Companies in exchange for the 55/One Hudson Yards building, in a deal that allowed Related to develop the site.
Construction was originally not set to start until at least half of the building was pre-leased, but was fast-tracked to 2015. Because of the 7 Subway Extension construction underneath the building, the foundation had already been built; the 55 Hudson Yards building sits over a ventilation building and a station entrance for the extension. Construction started on January 22, 2015, and was expected to be complete by 2019. 55 Hudson Yards was built with a concrete frame, as opposed to a steel frame, in order to speed up construction and lower costs. As of May 2017, construction was up to 38 floors and the tower was to be complete by 2018. The tower topped out in August 2017. Tenants began moving into the building in early 2019.


55 Hudson Yards was originally conceived as a 1.75-million-square-foot (163,000 m²), 877-foot-tall (267 m) building with 56 stories at 550-570 West 34th Street. It was expected to keep the latticed glass facade and a curved roof, as well as many of the old design plans of the World Product Center because Extell was designing One Hudson Yards. However, in late 2013, a design change was made that downsized the building to 1.3 million square feet (120,000 m²). Also, the building would have had a modified beige façade, as well as a 710-foot (220 m) flat roof. The building sits on an area bounded by 11th Avenue, Hudson Park and Boulevard, and 33rd and 34th Streets. The lowest ten floors span 44,000 square feet (4,100 m²) each while the floors in the stories above each measure 28,000 square feet (2,600 m²).
Early projections placed the building as having either 47 or 50 floors, but final plans amounted to 51 stories. (the top floor is a mechanical floor, with office space occupying the fifty floors below it).
In May 2014, renderings for the building changed for the second time. The building's third plan depicted a facade with a mostly metallic overlay and a base larger than the rest of the building. However, the square footage and height remained the same as in the second plan. The building's facade was based on the cast iron facades of buildings in SoHo.


The building has energy-efficient features, and is expected to get a LEED Gold award. Features of the building include destination dispatch elevators; columnless exterior corners featuring floor-to-ceiling windows; and 12 feet (3.7 m) ceilings. To lower costs and allow flexibility during the build, construction emphasized the use of concrete over steel.
The tower includes terraces on the tenth floor and within the tower's interior floors and its base; the tenth-floor terrace overlooks the Hudson Park and Boulevard. The terrace contains an outdoor wooden balcony, as well as 5,000 square feet (465 m²) for landscaping.


After 40 years of ownership, the Wolkoff family decided to develop the 5 Pointz site, stating that allowance of the murals on the building had been for temporary purposes and that redevelopment of the site had been planned ever since it started to be used for graffiti. On August 21, 2013, the New York City Planning Commission unanimously voted to approve plans to build condos on the property, while the New York City Landmarks Preservation Commission rejected a landmark status nomination by artists because the art was less than 30 years old at the time. The development plans include two residential towers with retail space and affordable housing. There would be a 1,000-unit apartment complex with a 250-spot parking lot, a public park. Wolkoff wanted to demolish 5 Pointz by the end of 2013 for this purpose. On October 9, the New York City Council unanimously approved the $400 million development plan. The proposals for the building also called for 10,000 square feet (930 m²) to be used exclusively for art panels and walls in the building, including ground level facades to be used for curated graffiti. It was estimated that in the last decade of the building's existence, 11,000 murals had been painted on the interior and exterior.
In October 2013 Cohen, speaking to The Guardian, made an appeal to the famous street artist Banksy. Hoping that Banksy's influence could help save 5 Pointz, he said "We're not asking you to give us money, but your words could help. Why don't you put a comment out?" This was in the midst of Banksy's highly publicized month-long residency in New York City, during which he released a new piece each day somewhere in the city and posted clues to its whereabouts on his website. There was no response from Banksy until October 31, the final day of his residency, when the message posted on his website which accompanied his last piece read, "Thanks for your patience. It's been fun. Save 5pointz. Bye."
On November 12th, 2013, a district court denied a request for a preliminary injunction preventing the destruction of the paintings, with a written opinion soon to follow. On the night of November 19, 2013, Wolkoff hired workmen, who whitewashed the graffiti on the exterior of the 5 Pointz building at his instruction. Wolkoff provided images that showed the building's previously graffiti-covered walls partially covered in white paint. A message posted to 5 Pointz's Twitter account on the morning of November 19 confirmed the reports. Despite a lawsuit filed by 5 Pointz proprietors, as well as a rally three days prior to gain petition signatures to protect the building from demolition, the sudden whitewashing indicated that it was already gone. On November 20, the Southern District of New York issued their written opinion stating that while the "Court regrettably had no authority under VARA to preserve 5Pointz as a tourist site," the whitewashing could result in the Wolkoff family having to pay damages to 5 Pointz artists.
Asbestos abatement work began on the property in February 2014, the first step in the building demolition process. During this period a group of urban explorers entered to document the building's interior. As of August 2014, 5 Pointz was nearly fully demolished. By November 2014, most of the building was reduced to rubble, while part of the building's shell still stood.
The apartment complex was later revised to include 1,115 units, including 223 affordable apartments, as well as 20 art studios and 40,000 square feet (3,700 m²) of commercial space. Foundations for the two new buildings on the site, one with 41 stories and the other with 48, were completed in late 2015. The towers stood at 5 and 12 stories, respectively, by January 2017, and the buildings were topped-out at their final height in 2018. Renderings of the new complex's interior show murals representative of the old building's street art, as well as an "engraved graffiti logo" made of steel within the complex's lobby. The buildings are expected to open in early 2020.


News of the building's demolition was generally negatively received by artists, and at least two works of protest have been done upon the building. On February 3, 2014, in protest of the building's demolition, artists sprayed "Art Murder" in big blue and red letters on the side of the building. On March 10, 2014, upset artists, who had lost a proposal to attain landmark status for the building, staged a protest by draping a large yellow "Gentrification In Progress" banner around the building. According to an article in Complex magazine in November 2014, some artists felt that they had been disrespected when the murals were painted over, and that they had lost a sense of community with the demolition of the building. Additionally, the destruction of 5 Pointz resulted in a scarcity of cheap and legal mural spaces, according to one artist interviewed. In lieu of 5 Pointz, some mural artists are going to Jersey City and the Bronx instead.
Another, similar controversy arose when Wolkoff decided to use "5 Pointz" as the name for the new condominiums being constructed on 5 Pointz's site. He had claimed to own the rights to the building's name because he owned the building; however, an application to trademark the name was rejected in March 2014 because it was too close to a similar, existing trademark. Wolkoff has said that the name refers to the building site, not the art; his comment had insulted some artists at the site, with two artists saying that "it's ironic that the same corporation which single-handedly destroyed all the artwork known as 5Pointz is trying to capitalize on its name" and that "the disrespect continues".
In June 2015, artists whose works had been featured at 5 Pointz filed a second federal lawsuit against Jerry Wolkoff, stating that the destruction of the building violated the 1990 Visual Artists Rights Act, and that they did not receive the notice of the building's demolition 90 days in advance. This came after federal judge Frederic Block of the District Court for the Eastern District of New York ruled that the artists could have a jury trial, as opposed to a bench trial where only judges would hear the artists' and Wolkoff's arguments. The trial, which began in mid-October 2017, was seen as an important case since it would decide whether graffiti could be categorized as art that could be federally protected. In November 2017, a jury recommended that Block issue a verdict that Wolkoff's destruction of the graffiti was illegal. In February 2018, Block awarded $6.7 million to 21 of the artists whose works had been destroyed. Wolkoff appealed the decision and in February 2020, the Second Circuit Court of Appeals upheld Block's 2018 decision. Wolkoff made a final appeal to the Supreme Court of the United States, which declined to hear the case in October 2020.


The building has served as a backdrop for movies and TV shows, including the climax for the 2013 film Now You See Me. Additionally, in 2011, 5 Pointz was the fictionalized site of a major fire in the series finale of the TV show Rescue Me.
The striking, graffiti-covered warehouse has been used in music videos as well. Such videos are usually by several hip-hop and R&B stars, including Doug E. Fresh, Kurtis Blow, Grandmaster Caz, Mobb Deep, Rahzel, DJ JS-1, Boot Camp Clik, Joan Jett, and Joss Stone.
A parody of the building features in the 2008 videogame Grand Theft Auto IV in the fictional East Island City neighbourhood. The warehouse depicted in the fictional Liberty City also features graffiti surrounding it.


The 5th Avenue Theatre (often referred to as 5th Avenue or the 5th) is a landmark theatre building located in Seattle, Washington. It has hosted a variety of theatre productions and motion pictures since it opened in 1926. The building and land is owned by the University of Washington and was once part of the original campus. It is operated as a venue for nationally touring Broadway and original shows by the non-profit 5th Avenue Theatre Association. The theatre, located at 1308 Fifth Avenue in the historic Skinner Building, has been listed on the U.S. National Register of Historic Places since 1978.
The 2,130-seat theatre is the resident home to the 5th Avenue Musical Theatre Company, and employs over 600 actors, musicians, directors, choreographers, designers, technicians, stage hands, box office staff, and administrators, making it the largest theatre employer in the Puget Sound region.  A non-profit, the theatre company is supported by individual and corporate donations, government sources, and box office ticket sales.
The 5th's subscriber season programming includes six to seven shows per year, a mix of locally produced revivals of musical theatre classics, and premieres of bound-for-Broadway shows, and national touring musicals. The 5th Avenue Theatre has established a tradition of being a "testing ground" for new musicals before they make their debut on Broadway, launching hits such as Jekyll & Hyde, Hairspray, and The Wedding Singer. The theatre also hosts a variety of special events, and offers education and outreach programs to school-age children and adults reaching over 61,000 students, professional performers, and audiences each year.


Located in the Skinner Building, a historic office block ranging from five to eight stories with retail shops on the ground level, the theatre is surrounded on three sides, with its entry facing its namesake avenue. In addition to an auditorium with an original seating capacity of 3,000, the theatre contains a grand entry hall, and a mezzanine that once featured a tea room in addition to a waiting room and women's lounge.
The interior design of the 5th Avenue Theatre was modeled to reproduce some of the features of  historic and well-known Beijing landmarks. The Norwegian artist Gustav Liljestrom executed the design based on his visit to China, and on Chinesische Architecktur, published in 1925, an illustrated account of Ernst Boerschmann's travels in China.
The ornate historical Chinese style of the theatre distinguishes itself from the Neo-Renaissance exterior of the Skinner Building. Only at the street entry under the marquee does the viewer get a preview of the interior design. Here, adorning the ceiling are plaster representations of wood brackets, beams, and carved reliefs painted in a polychromatic scheme and decorated with stenciled dragons and flower patterns. Carved cloud shapes screen light fixtures to create an indirect lighting effect as the viewer approaches the wooden, brass knobbed entry doors. The original central free-standing box office was replaced by the current box office located to the side of the entry as part of a 1979 renovation. The original Imperial guardian lions (Ruì Shī), commonly called foo dogs or foo lions, originally located outside the entry were moved inside as part of the 1979 renovation.
The interior architecture of the theatre is an "excellent imitation of Chinese wooden temple construction". The two story rectangular lobby features red, stenciled columns wrapped in plaster rising to a timbered roof structure of decoratively painted beams supporting a canopy of bamboo, also imitated in plaster. The original pair of guardian lions, both male, guard the stairway to a second level gallery that serves the theatre balcony. In addition to the Imperial guard lions, other original furnishings, light fixtures, and decoration remain intact.
The decorative details continue in the 2,130-seat auditorium, but the highlight and focal decorative feature is the octagonal caisson from which a sculpted five-toed Imperial Chinese dragon springs. A large chandelier of glass hangs from the dragon's mouth, in reference to the Chinese symbol of a dragon disgorging flaming pearls. One claim puts the size of this caisson at twice the size of the model on which it was based in the throne room of the Hall of Supreme Harmony in the Forbidden City. The opening night program spoke effusively of it:
... Its most imposing feature is the great dome...its symbolic themes borrowed from Chinese legends, its motifs from Chinese poetry. Coiled within an azure sphere and surrounded by glowing hues of cloud red, emblematic of calamity and welfare; blue of rain; green symbolic of plaque; black of flood; and gold of prosperity—is the Great Dragon, guardian genius of the place, his presence shadowed and multiplied in varying forms throughout the structure. On the huge beams surrounding and supporting the dome are five-clawed dragons—the Emperor's emblem—spitting fire in pursuit of the Jewel, rendered in the shape of a disc emitting effulgent rays, and symbolic of Omnipotence.
The dragon motif is repeated in the radial coffers of the caisson and the timbered coffers throughout the theatre. The Imperial dragon is accompanied by the symbol of the Empress, the Chinese phoenix (Fèng huáng), sometimes called Ho-Ho or Ho-Oh Bird from the Japanese. This personal symbol of the Empress is also repeated throughout the theatre, but most prominently in relief as part of the grills above false balconies that once screened organ pipes. In addition to these symbols, orange blossoms, chrysanthemums, and lotus flowers appear throughout the theatre. The highly decorated proscenium arch and safety curtain maintain the Chinese design influence.
Beyond the decorative features of the building, the 5th Avenue Theatre also contained notable technical features when originally built. An ascending orchestra pit and independent Wurlitzer organ platform allowed the musicians to be raised up to main stage height or to orchestra pit level from the basement below. The ventilation system had thermostatic controls throughout the building, and allowed the air to be 'washed' prior to its introduction into the venue at outlets under every third seat.


The theatre celebrated its grand opening on September 24, 1926, with an opening unit program that included both film and live vaudeville performances. The opening program included the silent film Young April, Fanchon and Marco's stage presentation The Night Club, and Lipschultz and his Syncopated Soloists. Oliver Wallace, a popular local musician and composer, returned from Portland, Oregon, to be the accompanying organist for opening night. Wallace had been the first theatre organist in a Seattle motion picture house.
Opening night was also marked by festivities outside the theatre. Seven blocks of downtown Seattle around the theatre were closed to street car and automobile traffic. Lured by free street car, bus, and taxicab rides, thousands of people packed Fifth Avenue between Seneca Street and Pike Street, University and Union Streets. The Seattle Times reported:
It is doubtful that any Friday night in Seattle's history saw more people circulating through all the downtown streets than were there last night. The density in the center of the activities was such that street cars were diverted...
— The Seattle Times
In the street outside the theatre a street carnival took place. Living up to the moniker for the theater's marquee, "the Magic Sign of a Wonderful Time," spotlights scanned the night sky, banks of Klieg lights illuminated the streets outside the theater, and flares were shot from the roofs of nearby buildings. Additionally, dance bands were placed at the closed intersections to provide entertainment and, using giant screens to project the words, a sing-along was orchestrated on Fifth Avenue in front of the theatre. An estimated crowd of between 50,000 and 100,000 people participated in the events.


Following the grand opening, the theatre served as a venue for vaudeville and film, and following the decline of vaudeville as a movie palace until the 1970s. With the economic recession, the advent of television, and movie complex development in the suburbs, crowds dwindled and the theatre struggled to stay open. It was forced to close its doors in 1978 along with the nearby Orpheum theatre. A variety of re-use possibilities were proposed for the theatre including a Chinese restaurant, a triplex movie theater, an office building, or a shopping center. The city of Seattle was unable to protect the theatre as a designated landmark because of its unique position on the site of the original territorial university grounds owned by the state of Washington.
In 1979, 43 business leaders formed the non-profit 5th Avenue Theatre Association and underwrote a US$2.6 million loan to save the theatre. Among these was Ned Skinner of the shipbuilding family who was an active patron of the theatre. Architect Richard McCann oversaw the restoration efforts.
Several changes were made during the renovation. The vertical marquee which had marked the theatre's presence from 1926 to 1980, was removed, the orchestra pit and auditorium seating were rebuilt, the dressing rooms moved, and the technical systems updated. However, the furniture, fixtures and interior signage were retained. Even the paint was carefully restored to its original luster. The renovation made it suitable again for live performances and filled Seattle's need for a touring Broadway musical venue. Renovation work was completed without federal, state, or local funds.
June 16, 1980, marked the theater's rebirth and a new chapter in Seattle's arts community. At the Grand Opening Gala for the renovated theatre, actress Helen Hayes christened the stage with a kiss and declared the 5th "a national treasure." Beginning on July 3 the 5th presented Annie, the first touring Broadway musical to appear at the theatre. The sold-out show ran for 10 weeks with a total of 77 performances.
The 5th Avenue Theatre continues to thrive with the assistance of many generous donors and volunteers.


From the renovation in 1980 until 1985 the non-profit 5th Avenue Theatre successfully operated as a venue for touring Broadway shows. As the United States went through an economic downturn from 1985 to 1989 there was a shortage of touring shows for venues like the 5th. Consequently, many of the country's Broadway houses went unused for extended periods of time. However, the 5th remained open during these years with a reduced staff and was used for community events and local promoters.
This situation forced the theatre to move beyond merely being a presenter of touring musicals. In 1989, the non-profit 5th Avenue Theatre established a resident theatre company, dubbed The 5th Avenue Musical Theatre Company, to produce musicals locally. Since the theatre company's establishment, the 5th's yearly subscriber season programming has included 6 to 7 shows: national touring musicals, locally produced revivals of musical theatre classics, and premieres of bound-for-Broadway shows. With 150 musical theater performances each fall-to-spring subscriber season which attract over 30,000 subscribers and average ticket sales of 300,000 tickets annually, the 5th ranks among the nation's largest musical theater companies.
The musical company employs over 600 actors, musicians, directors, choreographers, designers, technicians, stage hands, box office staff, and administrators, making the 5th the largest theatre employer in the Puget Sound region.  A non-profit, the theatre company is supported by individual and corporate donations, government sources, and box office ticket sales.


The theatre also hosts a variety of special events, and offers a number of education and outreach programs to school-age children and adults reaching over 61,000 students, professional performers, and audiences each year. One example of this is the 5th Avenue High School Musical Theatre Awards which evaluate and honor the performances of student actors and stage hands in Washington state high school productions. At the end of each school year, a Tony Awards-style ceremony is held which includes high-profile presenters, performances by nominees, and acceptance speeches by the award recipients. The awards ceremony has become a useful scouting event for colleges looking to recruit talent for their drama departments.


60 Hudson Street, formerly known as the Western Union Building, is a 24-story telecommunications building in the Tribeca neighborhood of Manhattan in New York City. Built in 1928–1930, it was one of several Art Deco-style buildings designed by Ralph Thomas Walker of Voorhees, Gmelin and Walker for telecommunications in the early 20th century. 60 Hudson Street spans the entire block between Hudson Street, Thomas Street, Worth Street, and West Broadway.
60 Hudson Street is 371 feet (113 m) tall. Its design shows the influence of Dutch and German Expressionism, with Art Deco detailing. The building's shape features asymmetrical massing and numerous setbacks. The brick facade uses a gradient color scheme with nineteen distinct hues, moving from darker shades to lighter ones as the building rises, and several ornate entrances at ground level lead to a barrel-vaulted brick lobby.
60 Hudson Street was initially the headquarters of Western Union, and its construction was commissioned by Western Union president Newcomb Carlton. The building was described as the world's largest telegraph building upon its opening and served as the combined headquarters for all of Western Union's divisions, which were scattered across New York City prior to the building's completion.  Though Western Union relocated elsewhere in 1973, its former headquarters remains a communications center, and since the late 20th century, has housed a colocation center, making it one of the most important Internet hubs in the world. The exterior and lobby were designated as official New York City landmarks in 1991.


60 Hudson Street is 371 feet (113 m) tall and contains 24 stories. It occupies a trapezoidal plot measuring 193 feet (59 m) on Hudson Street to the west, 180 feet (55 m) on West Broadway to the east, 254 feet (77 m) on Thomas Street to the south, and 329 feet (100 m) on Worth Street to the north. The Worth and Thomas Street elevations are parallel to each other and perpendicular to the West Broadway elevation. The Hudson Street elevation runs diagonally, intersecting both Worth and Thomas Streets.
The building was designed by Ralph Walker of Voorhees, Gmelin and Walker in the Art Deco style. 60 Hudson Street was the third Art Deco building in the New York City area that Walker designed, after the Barclay–Vesey Building (1927) and New Jersey Bell Headquarters Building (1929); it was followed by 1 Wall Street (1931) and 32 Avenue of the Americas (1932), as well as telephone buildings in Upstate New York. Within the New York City area, McKenzie, Voorhees & Gmelin designed numerous other buildings for AT&T or its affiliates during the same time span. 60 Hudson Street was one of several technologically advanced headquarters erected in the mid-20th century for communications and utility companies in the U.S. Unlike the AT&T buildings, 60 Hudson Street lacks a unified iconography in its ornamentation.