William Lescaze House and Office ARCHITECT: William Lescaze DATE: 1933-34 STYLE: Modern The Lescaze House of 1933-34, designed by William Lescaze for his own use as a combined residence and architectural office, is an embodiment of the theory and practice of one of the most influential exponents of modern architecture in the United States. The sudden appearance on East 48th Street of this startlingly “modern” facade of 1934 set between deteriorating brownstones of the post-Civil War period, had a dramatic impact upon the streetscape and the neighborhood.

For six months in 1936, this “House of the Modern Age” — a prefabricated, modernist, all-steel, one-family home — stood on a Park Avenue “million-dollar lot.” The house, advertised as “fireproof, cyclone-proof, termite- and lightning-proof,” was designed by Chrysler Building architect William Van Alen and assembled by National Houses, Inc., at a cost of $10,000. One of many experimental houses built during the Depression, it attracted 110,000 visitors who paid ten cents a tour. Abbott photographed the house the day before it was torn down, showing it surrounded by relics of Victorian Murray Hill, including the Murray Hill Hotel, which in turn were encircled by new skyscrapers. Today the “million-dollar lot” is occupied by an office building.."

In the mid-summer of 1863, tensions in New York had reached a boiling point. To replenish the Union Army after devastating casualties, Congress had passed the enrollment act, enacting the first draft. In New York, many of the newly arrived immigrants had been pushed by Tammany Hall and other political machines to become citizens, which made them eligible for this new draft. These newly minted citizens became incensed by the prospect of being drafted, and the anger quickly grew. The drawing of the draft numbers was a spark that drove the city into what would become the worst race riot of its history. Days later, anywhere from a hundred and twenty to more than a thousand were killed, thousands more injured, and with many prominent African-American and Abolitionist buildings destroyed.

Beaux-Arts Apartments ARCHITECT: Kenneth M. Murchison; Raymond M. Hood; Raymond Hood, Godley & Fouilhoux DATE: 1929-30 STYLE: Beaux-Arts Designed by Raymond Hood, among the most prominent American architects of the twentieth century, and built-in 1929-30, The Beaux-Arts Apartments is one of the earliest examples in New York City to reflect the trend toward a horizontal emphasis in the aesthetic of modern European architecture of the 1920s. Conceived as a corollary to the neighboring Beaux-Arts Institute of Design (a designated New York City Landmark), the Beaux-Arts Apartments at 310 East 44th Street and its twin building on the opposite side of the street were intended to provide residential and studio accommodations for architects and artists, as well as others interested in living in what was anticipated as a midtown artistic community.

Daily News Building ca. 1935 Acclaimed for its verticality, this building was considered by many as the embodiment of the soaring quality of the skyscraper. However, the vertical ribbons of equal width fail to express the location of the steel columns; and, as seen from within, the fenestration- a series of solids and voids- represent no improvement over that of the eighteenth century

Lexington Avenue at East 47th Street, east of the Grand Central rail yards, August 25, 1914. The building at left, with smokestacks, was the station's steam powerhouse until 1929, when it was demolished in favor of electric power. After the Waldorf-Astoria was completed in 1931, across 49th Street, certain of the hotel's most prominent guests made use of a private train platform originally built for service cars calling at the powerhouse.

Grand Central Station (as Grand Central Terminal was known between 1900 and its 1913 expansion), January 27, 1901. Grand Central Station included a stop on the city's first subway line. The IRT's inaugural line provided service from City Hall to Grand Central along today's Lexington Avenue Line (4/5/6), with the present-day 42nd Street Shuttle tracks connecting to the west side tracks of the Broadway—Seventh Avenue Line.

Bowery Savings Bank ca. 1933 The architectural firm of York & Sawyer made a name for itself designing a series of Romanesque buildings easily recognized on the exterior by their superb rustication, and by their rich, colorful interiors. Here, in the main banking room, we see a variegated assortment of marble columns. Historically it will be remembered that the Romanesque architects looted the temples of classical antiquity of their rich marbles and polished columns to produce their new buildings.

A minister straight out of the midwest by way of New York's Union Theological Seminary and East Harlem's Presbyterian church, socialist leader who fought against union corruption, and candidate for office for three decades, Norman Thomas, was a favorite of The Forward newspaper.

The former Lincoln Safe Deposit Company Building, 42nd Street, ca. 1910. Built on the eve of the twentieth century, the Lincoln Safe Deposit Company building stood diagonally across 42nd Street from the old Grand Central Depot. The transition to electric trains, and the erection of the new Grand Central Terminal with covered tunnels and state-of-the-art engineering that shielded tall buildings from railroad vibrations, brought on rapid changes in this area that would would through the 19120s, culminating in an explosion of Art Deco skyscrapers and apartment buildings. The Lincoln Safe Deposit Company building- which had a branch of the Lincoln National Bank within, was replaced by the 54-story Lincoln Building.

Murray Hill Hotel ca. 1935 Built in 1884, the 600-room Murray Hill Hotel offered its guests the ultimate in modern convenience, including a steam elevator and electric lights on the first two floors. During its glory years, Mark Twain, Grover Cleveland, Jay Gould, and J.P. Morgan were among its regular clientele. By the time Abbott photographed it in 1935, the “Old Lady” stood as an eloquent reminder of a bygone era. Rather than show the huge brownstone bulk of the building, Abbott chose two salient details: the hotel’s entrance, bedecked with enormous American flags; and its “spiraling” fire escapes. Sold in 1943, the Murray Hill Hotel survived until 1947, when it was demolished to make way for 100 Park Avenue, a 36-story office building.

Middleton S. and Emilie Neilson Burrill House ARCHITECT: Hoppin & Koen DATE: 1902-03 This house features a two-story limestone base with arched openings at the parlor level that is surmounted by a balustrade resting on massive console brackets. The Philadelphia brick and limestone-trimmed upper stories display ornate molded window enframements, with the second story having pedimented window frames enriched with console brackets, dentils, and guttae, and the third story having eared surrounds with prominent keystones and projecting sills.

Pershing Square Building ARCHITECT: York and Sawyer, John Sloan DATE: 1921-23 STYLE: Lombard Revival The Lombard Revival-style Pershing Square Building anchors a prominent corner directly across 42nd Street from Grand Central Terminal at Park Avenue. Designed by John Sloan, working with staff of York & Sawyer, the building is remarkable for the important role it played in the development of the city’s mass transit system, its transitional role in the history of the city’s building development, and its exceptional terra-cotta cladding. The Pershing Square Building is also noteworthy as an integral element of the redevelopment of the Grand Central Terminal area.

Grand Central Terminal, 1914.

277 Park Avenue, 1962. This Emery Roth & Sons office tower is a quintessential example of the modernist steel and glass towers that sprung up along Park Avenue in the late 50s through the 60s. This building is still owned by the Stahl Organization, the original developer of the project. The tower has 1.74 million square feet of office space spread over 50 stories. The famed architecture firm Emery Roth & Sons were known for "marketable designs that maximized the net rentable area," particularly after World War 2. This block-spanning lot had previously been occupied by a McKim Mead & White apartment building, though it was never meant to stand the test of time. In order to prepare for Midtown's development as a business district, the New York and Harlem Rail Road Company, who owned the lot at the time, had a foundation poured that could support a 75-story tower.

Ford Foundation Building ARCHITECT: Eero Saarinen Associates; Kevin Roche John Dinkeloo Associates DATE: 1963-67 STYLE: Modern The Ford Foundation and its architects, through this new building, offered New York an alternative model for a modern office building, creating an elegant, transparent glass cube enclosing a twelve-story high, lush, indoor landscaped atrium visible from outside. The architects, in an approach unusual for modern movement buildings in the 1960s, carefully considered the context in planning the building’s design, relating the interior atrium and its garden to the small parks of Tudor City directly to the east.

The Vanderbilt YMCA, ca. 1937. Opened in 1932 and designed by Warren and Wetmore, this Young Men's Christian Association building was originally called the "Railroad YMCA" because of its housing program for railroad workers. In 1972, it was renamed the Vanderbilt YMCA, to recognize Cornelius Vanderbilt, the railroad tycoon.

New York Central Building/Helmsley Building ARCHITECT: Warren & Wetmore DATE: 1927-29 STYLE: Beaux-Arts, Skyscraper The New York Central Building is the skyscraping counterpart of Grand Central Terminal. It was designed by the same architects in the same materials and Beaux-Arts style, simultaneously developing some of the depot’s most innovative circulation systems. Swallowing Park Avenue traffic and thereby relieving congestion around the terminal, the building functions as an open gate to the “Gateway to a Continent.” With a distinction all but unique in a grid patterned Manhattan, it has a double focus, as powerful by day as it is dramatic by night.

Interborough Subway sign on Park Avenue, just south of 42nd Street, ca. 1980.

Commodore Hotel ca. 1920 This is one of a series of photographs documenting Chef Leoni and his extensive staff and facilities at the recently completed Hotel Commodore. Staff exercise sessions such as that depicted here were not uncommon. Byron also photographed the Siegel-Cooper sales clerks exercising atop the roof of the famous department store.

Murray Hill Hotel fire escapes, November 19, 1935. Berenice Abbott's photo captures the intricate ironwork of the Murray Hill Hotel fire escapes. The building in the background is located at 22 East 40th Street (now 275 Madison Avenue), a 43-story Art Deco skyscraper by Kenneth Franzheim.

Constructed in 1913, the Biltmore Hotel was the first post-Grand Central Terminal commission for Warren and Wetmore (who had used some seriously underhanded methods to secure Terminal City work)

The Daily News, New York's first tabloid paper, was founded in 1919 and was immediately immensely successful; its circulation was 1.4 million, the largest in the nation, just a decade later. Its owner, Captain Joseph Medill Pederson, bought an inexpensive, mid-block property on East 42nd Street between Third and Second Avenues (the elevated train lines on these avenues made the area unappealing to most developers); he envisioned a small headquarters with editorial offices and, more importantly, a printing press, that would capitalize on easy distribution to Times Square and the rest of the city. His architect, Raymond Hood, saw that a tall rental tower would bring his client added income and create an identity for the paper. Pederson reluctantly agreed and the 476-foot tall tower pictured soon came into being. The building is actually L-shaped. A long, 10-story front along 41st Street (right) houses the printing press and loading areas; the 39-story tower (left) rises within the 90-foot wide length between 41st and 42nd Street. A deal with the city regarding the school along Third Avenue meant the building had three-and-a-half entirely unobstructed sides, uncommon for a mid-block tower. Yet it is the exterior articulation of the building that was most remarkable. Vertical piers of white brick alternate with uniform bands of recessed windows with rougher red and black brick spandrels in between. Even the crown of the building, where a false front hides the water towers, continues this pattern. Derived entirely from the needs of the uniform office spaces within, "the exterior more or less created itself," explained Hood. The stripped verticality is one of the purest expressions of "form follows function" of its period. The transmission tower for WPIX TV rises another 275 feet on top of the building (WPIX was owned and operated by the Daily News, "New York's Picture Newspaper," from the late 1940s until 1991 when the paper was sold to Rupert Murdoch). In 1958, an addition was added to the 42nd Street and 2nd Avenue corner (Harrison & Abramovitz) that repeats the exterior articulation of the tower with wider windows.

MetLife Building, ca. 1995. The MetLife Building first opened in 1963 as the Pan Am Building, the then-headquarters of Pan American World Airways. At the time of its opening, the 59-story skyscraper was one of the largest office buildings in the world. While commemorated for its size, the building itself has long faced opposition. It became highly controversial, even while in the stage of design because it was originally planned as a reconstruction project in conjunction with a Grand Central Terminal renovation. Given its Park Avenue location and implications on aesthetic, those who protested its construction also expressed concern over the building's imposing modern design and impact on the streetscape. In 1962, the writer Wolf Von Eckhardt in The New Republic even called the structure ''conspicuous for its ugliness and arrogant disregard for its surroundings.'' The next year Ada Louise Huxtable, architecture critic of The New York Times, called it ''gigantically second rate.'' In 1981, the building was purchased by the Metropolitan Life Insurance Company, and its designation changed to the MetLife Building by early 1993.

Ford Foundation Building, ca. 1979. Designed by the architecture firm of Kevin Roche John Dinkeloo and Associates (both former principles at Eero Saarinen and Associates), this International style building was completed in 1968. The building was constructed for and continues to house the Ford Foundation. Some of the modern features of the building include load-bearing concrete and weathered steel as the materials, which are highly visible, as well as simple, unadorned facade. The most striking feature of the design is the interior garden within a greenhouse-like atrium. Visible through the glass facade, the large open space and lush vegetation were designed to create transparency and an interactive experience for the building's occupants and visitors.

Daily News Building ca. 1935 Founded in 1919, the New York Daily News was America’s first tabloid and soon became its best-selling newspaper. The Daily News Building, designed by Raymond Hood in 1930, combined the paper’s nine-story plant with a 36-story rental office tower. Hood gave the News a signature building, whose white-and-black striped brick facade was audaciously stark. From the vantage point of the Chanin Building, a new office tower at East 42nd Street and Lexington Avenue, Abbott captured the bold presence of the building, set against the lowly tenements of Kips Bay, with Tudor City and a Consolidated Edison power plant in the background. In 1931, Abbott took a similar photograph of the building; she may have returned to the site in 1935 to replace a lost or damaged negative. On her second visit, she was unable to gain access to the Chanin Building roof and was forced to photograph from a lower floor. As a result, the perspective is skewed, and the building appears to lean to the left. Today Abbott’s view is obstructed by the Mobil Building (1955). In 1994, the Daily News moved its editorial offices to the West Side and its plant to New Jersey.

John Williams Campbell was born in Brooklyn in 1880 into a well-to-do family. His father was treasurer of the Credit Clearing House, a credit bureau for merchandise wholesalers. At the age of 18, Campbell joined his father at the firm and moved up the ranks, becoming a senior executive seven years later. By the 1920s Campbell was making millions as president of the Credit Clearing House and served on the board of the New York Central Railroad. This story is adapted from a Museum of the City of New York blog, which can be viewed here.

Vanderbilt Concourse Building, 1917. Designed by one of Grand Central's architectural firms, Warren & Wetmore, between 1914 and 1916, the Vanderbilt Concourse Building was one of the early office buildings of Terminal City. At 20 stories it has a limestone base and brick facade. The building is topped on all facades by a three-story loggia (covered exterior corridor) and a simple, though decorative, cornice. In 1971, as the railroad company, by then Penn Central, was suffering financial instability, this building as sold along with at least five other parcels owned by the railroad. In recent years this building has been suggested for landmark designation due to its Terminal City history, in an attempt to preserve a number of older buildings at risk with the rezoning of east Midtown.

Yale Club, ca. 1975. The Old Yale Alumni Association of New York was founded in 1868 and was formalized as the Yale Club in 1897. An elite social club for alumni and faculty of Yale University, they moved into their current home at 50 Vanderbilt in 1915. Designed by Yale alumnus, James Gamble Rogers, the Renaissance Revival skyscraper was constructed on land leased by New York Central Railroad as part of the real estate development around Grand Central. The facade is rendered in limestone, brick, and terra cotta. The architect consulted with Warren & Wetmore, the architects of the Terminal and other nearby buildings, to ensure the club blended in with the style of its neighbors. Supposedly (according to the Ken Burns documentary) the club horded enough liquor to last them through Prohibition. The club allowed female members beginning in 1968. To the scorn of some of the other clubs and the unhappiness of a portion of its members, the Yale Club became the first of New York's Ivy League clubs to allow a business casual dress code in 1999.

Chrysler Building, ca. 1979. The eagle “gargoyles” that protrude from the 61st floor are made from a corrosion-resistant Nirosta, an alloy of chrome-nickel steel. The style of the 61st floor eagles was inspired by the hood ornaments of a 1929 Chrysler. The 31st floor is also adorned with stylized corner eagles. They are replicas of the 1929 Chrysler radiator caps.

Church of Our Saviour, ca. 1975. A mid-century take on Romanesque ecclesiastical architecture, Our Saviour was designed by the architect Paul C. Reilly and completed in 1959, for a Roman Catholic parish established in 1955.

277 Park Avenue, 1926. This apartment building designed by McKim Mead & White was completed in 1925. The structure took up the entire block with its 12 sections and 432 apartments and included a "drive-in...giant interior court" according to the New York Times. The building was funded by the New York & Harlem Rail Road through the construction of the new Grand Central Depot, who's railyards below prompted a redevelopment of Park Avenue. One notable previous tenant was John F. Kennedy's presidential campaign. In 1931, the Real Estate Record and Guide noted that of this part of Park Avenue, "no further long-term leases are being granted," to make way for the area's growth as a business district. The building was leased in 1923 for a maximum of 63 years, though in 1948 it was repossessed by the New York and Harlem Rail Road Company. After a much-disputed demolition in the 50s, construction began on a new 50-story office tower to take its place in 1962. Surprisingly, the foundation which the (much shorter by comparison) original apartment sat on had been cast strong enough to support a 70-story building. The rail company had anticipated a tower all along.

Chanin Building, 122 East 42nd Street, ca. 1985. The Chanin Building, developed by Irwin S. Chanin, was the third tallest in the world when it was completed in 1929. Sloan & Robertson, who also designed the Art Deco Graybar Building on the next block, constructed the building with the assistance of Chanin’s own architect, Jacques Delamarre. Towering 56-stories high, the Art Deco skyscraper is among New York’s most prominent. Its facade features sculptural decoration in terra cotta, bronze, and limestone by Rene Paul Chambellan, and makes use of a mixture of of colored glass, stone, and metal throughout. The 50th and 51st floors, near Irwin Chanin’s offices, featured a full movie theater.

Entrance to 275 Madison Avenue, ca. 1990.

Behind the majestic design and décor of Grand Central Terminal is a triumph of engineering and ingenuity. Grand Central didn’t just do things better than other train terminals. It did them differently. It pioneered new approaches to organizing space. It invented new technologies. And it overcame the daunting challenge of building a vast, durable, efficient train station—much of it buried deep underground—in the bustling center of the nation’s busiest city. More and more people were riding more and more trains. Grand Central needed additional tracks…and efficient ways for passengers to reach those tracks. With little space to spread out, the station dug down. Engineers created a vast underground structure: four tracks in the Park Avenue tunnel and a 123-track train shed designed to support heavy locomotives plus the weight of the buildings overhead. A series of crossovers let trains reach any platform from any track. Inside the station, meanwhile, pedestrian ramps took passengers swiftly from level to level. The design also included a centralized hot water heating system—the largest of its kind at the time—with four miles of pipe serving the station and surrounding buildings.

Leopold Eidlitz designed this parish as a hybrid of the High Victorian and German Romanesque style in 1873. The new building for the Church of the Holy Trinity replaced a low Victorian "cottage ornee" at this very site. Colloquially, this church was known as Dr. Tyng's Church, which endearingly referred to the congregation's organizer - a young Dr. Stephen H. Tyng who was regarded as one of the most notable religious figures of his time. Unfortunately, this beautiful structure did not survive for long. It was razed after the parish merged with St. James in 1895.

Designed by the same firm as the Empire State Building, 245 Park Avenue replaced the 1911-built Grand Central Palace. Completed in 1967, the 48-story skyscraper has variously been called the American Tobacco Company Building, the American Brands Building, and the Bear Stearns Building (before they moved to 383 Madison Avenue). In the late 1970s, the publishing firm Doubleday was headquartered here. Today tenants include Heineken, Major League Baseball, and the asset and wealth management groups ofJ.P Morgan Chase.

Commodore Hotel, 1919. The second Terminal City hotel named for railroad baron, Commodore Cornelius Vanderbilt, this 2,000-room hotel was completed in 1919 to the designs of Warren and Wetmore, one of GCT's architectural firms. The hotel boasted the "Most Beautiful Lobby in The World," which was also the world's largest. A successful venture for more than 50 years, the hotel suffered in the 1970s as the railroad company which owned the building, (then) Penn Central filed for bankruptcy. The suffering hotel was sold in 1977 to the Donald Trump Organization in partnership with the Grand Hyatt Corporation (with some shady dealings which gave the buyers an unprecedented 40-year tax abatement). Under the new ownership, the hotel was gutted and its masonry facade was covered by a reflective glassy skin. So though the Grand Hyatt New York may look like a 1980s glassy structure, the 1919 building remains hidden beneath. Today only the single smoke stack of the original building peaks out from the glass building.

North side of West 44th Street towards Lexington Avenue, August, 13, 1914. This street scene of 1914 provides a view of Grand Central Terminal that is no longer available. Looking from the east, today the 1927 Graybar Building stands at 420 Lexington Avenue blocks the view of GCT from East 44th Street. The business at right is a baggage delivery firm which advertised their services for 25 cents.

Chanin Building ARCHITECT: Irwin S. Chanin; Sloan & Robertson DATE: 1927-29 STYLE: Art Deco The Chanin Building, built in 1927-29, rises 56 stories at the corner of Lexington Avenue and 42nd Street. Designed by the architectural firm of Sloan & Robertson with sculptural decoration by Rene Chambellan, it is a major example of Art Deco architecture in New York City. Erected under the supervision of the Chanin Construction Company, the building still serves as the organization’s headquarters.

George S. Bowdoin Stable, ca. 1976. This charming Dutch Revival stable, designed by architect Ralph S. Townsend, was built in 1902 for William R.H. Martin, a real estate developer. Martin sold the building to George S. Bowdoin, a banker and partner of J.P. Morgan, in 1907. After Bowdoin’s death in 1913, his daughter Edith Bowdoin took over the property. During Edith tenure, the downstairs level was converted to a garage, while the second story remained her living quarters until 1944. Since then, the building has had several private owners, with a brief period as a non-profit arts center, the Carriage House Center for the Arts.

This streetscape of the north side of East 38th Street, east of Third Avenue looks very different today. While the two-story brick building at no. 215 still stands, the rest of these buildings are long gone. In their place, the northbound Queens Midtown Tunnel exit street cuts through from 37th Street to 41st Street.

Adelaide L.T. Douglas Residence (right), ca. 1911. The buildings at left were later razed for the construction of the Roman Catholic Church of Our Saviour. By 1908, Adelaide L.T. Douglas, a prominent socialite, was separated from her husband William Proctor Douglas — and widely believed to be carrying on an affair with J.P. Morgan. In 1909, with her husband living at a separate residence uptown, Mrs. Douglas commissioned the architect Horace Trumbauer to build a new Louis XVI-style mansion on Park Avenue (the previous building on this site had been damaged during subway construction in 1902). Trumbauer’s opulent design was befitting of a client of Adelaide Douglas’s status — though it’s rumored that J.P. Morgan underwrote construction. The six-story mansion, completed in 1911, includes a rusticated limestone base, intricate relief carvings, a fourth floor colonnade, mansard roof, and wrought iron detail at every level. After Douglas’s death in 1935, the mansion was converted to apartments. In 1959, it was acquired by the United States Olympic Association. Nineteen years later, it was sold to the government of Guatemala, which established its United Nations mission there.

Bowery Savings Bank ARCHITECT: York & Sawyer; William Louis Ayres DATE: 1921-23 STYLE: Italian Romano Byzantine The architects incorporated a monumental banking room into a revenue-generating eighteen-story office tower, which has its own impressive entrance vestibule and lobby. The Italian Romano-Byzantine precedents for the design are expressed in the basilica-like banking room. The fine materials, rich and varied finishes, and allegorical referents create an interior in which thrift is celebrated as a virtue and practiced as a ritual

Postum Building, 1936. One of the 1920s office building additions to the Terminal City neighborhood, the Postum Building was completed in 1925. A Neoclassical building designed by the firm of Cross and Cross, it calls to mind the style of Warren & Wetmore's Terminal City creations, while lacking the more decorative elements of the earlier buildings.

East 41st through 42nd Streets. Tudor city, playground and pool for children.

Chrysler Building, ca. 1993. A New York City icon, the Art Deco Chrysler Building was designed by William Van Alen and constructed between 1928 and 1930. The land on which the building was erected was originally owned by Brooklyn real estate magnate William Reynolds. He contracted Van Alen to design a massive skyscraper to be called the Reynolds Building. For unknown reasons (though, likely, a disapproval of the architect's plans), he sold the land and the building plans to the Chrysler Corporation in 1928. Groundbreaking on the building occurred in September 1928, and the race was on to building the tallest building in the world. (The competing building was 40 Wall Street, designed by Van Alen's estranged former partner Craig Severance.) Though 40 Wall Street broke ground after the Chrysler Building and was completed earlier, Van Alen and Chrysler won the height competition, when they secretly erected a 186-foot spike or "vertex," pushing the building to 1,046 feet tall. The building only remained the world's tallest for less than year, eclipsed by the Empire State Building in 1931. The Chrysler Building is still the world's tallest steel-supported brick building. The exterior, now iconic, is clad extensively in metal ornamentation. Much of the details are references to the automobiles that the company manufactured. Most notably the building's gargoyles (in this case eagles) take the form of Chrysler radiator caps, car fenders, and hood ornaments. The Chrysler Building remains popular among New Yorkers, tourists, and architecture professionals. In 2005, the Skyscraper Museum asked one hundred architects, builders, critics, engineers, historians, and scholars to pick their 10 favorite skyscrapers from a list of 25. The Chrysler Building came in first place as 90% of them placed the building in their top 10 favorite buildings.

William Wilgus, New York Central Railroad's largely self-taught chief engineer, was the mastermind behind Grand Central Terminal's innovative engineering technology. With the plan for electrification and the sinking of the railroad tracks below grade, while building the new modern terminal, Wilgus also convinced railroad officials to commercialize the air above the new street-level decking. In leasing the area above the tracks to developers, the Railroad could increase its profits and create a bustling business district that surrounded, supported, and benefited from Grand Central Terminal. Terminal City, as it was called, began to develop even before GCT was complete in 1913. Between 1909 when the Grand Central Post Office opened and the early 1930s when the Depression largely halted construction, the neighborhood boomed with hotels, apartment hotels, private clubs, and office buildings. Many of these structures were designed by Warren & Wetmore, one of the two architectural firms that created Grand Central. Most of the best-known hotels of Terminal City, including the Biltmore, Roosevelt, and the Commodore, were constructed by the mid 1910s, while the office buildings, including the Graybar and New York Central Buildings, were largely completed in the 1920s. This walk does not propose to be a complete list of all Terminal City development. It does not include any post-World War II constructions and it concerns itself ONLY with some of the Terminal City structures that are still extant. Some of the buildings will be easily recognizable, while others, though technically the same structure, bear no resemblance to their former selves. So lace up some comfortable shoes and let's get exploring.

209-211 East 48th Street, February 1, 1938. This 1934 townhouse (seen at the right) is considered the first modernist residence in New York City. Called the William Lescaze House for the architect who designed and lived in the home, the house employed the newest available technology, materials, and methods of construction.With his partner George Howe, Lescaze pioneered modernism in America, building the first International style skyscraper in the U.S. in Philadelphia in 1930. The concrete and glass home was designed to be beautiful, economical, and efficient, as per Lescaze's opinion on the merits of modernism. The structure was not an entirely new building, but the massive gut renovation, exterior redo and addition to a pre-Civil War brownstone. This house was the first recorded structure in the city to use glass blocks, an architectural feature now common in vernacular architecture.

Blind performers on 42nd Street outside of Grand Central Terminal, undated.

Yale Club of New York City Building ARCHITECT: Tracy & Swartwout DATE: 1900-01 STYLE: Beaux-Arts The former Yale Club of New York City Building is located along “Clubhouse Row,” West 44th Street between Fifth and Sixth Avenues. Its neighbors including the Harvard Club, New York Yacht Club, Association of the Bar of the City of New York, and former City Club. This Beaux-Arts style building, constructed in 1900-01 by builder Marc Eidlitz & Son, was designed by Evarts Tracy & Egerton Swartwout, both Yale University graduates, Yale Club members, and former employees of McKim, Mead & White

The "Air Lines Knot-Hole Club," pictured here, was "to kibitz the erection of the world's largest airline terminal." The word "kibitz" is Yiddish for "spectator," though particularly one who might offer poor advice. The "knot holes," (perhaps referring to imperfections in wood grain) are viewing holes that allowed inspectors and other curious members of the public to check out what's going on beyond the construction fence. In 2013, an iteration of these "knot holes" became a local law, stating that "every 25 feet, fences must have 12-inch by 12-inch viewing panels." However, the Airlines Terminal Building, completed in 1939, most likely placed them as an advertising gimmick to excite inquisitive New Yorkers.

New York Central Building, 1929. Considered by many the crowning achievement of Terminal City, the New York Central Building wears the honor well, with its pyramidal roof topped by a copper-clad lantern. Completed in 1929 to the designs of Warren & Wetmore (one of their final New York commissions) the headquarters for the New York Central Railroad Company stood 172.5 meters tall. The grand building was rendered in the Beaux Arts style, though by the time of its completion, architecture in the city had moved on, and many critics felt the building was retrograde (though it nicely complemented the Terminal itself). Because the building straddles Park Avenue and creates a physical (and visual) termination point of the street, the 35-story structure was designed with both pedestrian and vehicular arcades to facilitate movement through the building. The railroad sold the building in the 1950s during a period of financial woes. It was purchased in 1977 by real estate mogul Harry Helmsley and was unapologetically renamed the Helmsley Building. During the ensuing "renovation" all of the decorative details on the building, including the sculptures, were coated with a layer of gold paint. The building was sold again in 1998 (with the requirement that the name remains) and a 2002 renovation project removed the paint from the decorative brass and stone surfaces.

Manhattan Storage and Warehouse, 1922. Constructed in 1882 for the Manhattan Storage and Warehouse Company, the fortress-like structure on Lexington Avenue was designed by James Ware (best known as the creator of the dumbbell, or old law, tenements). The building was considered an experiment for the new company. The goal of the firm and its new building was to furnish merchants with a location to store goods for a season, as needed. The completed building was a success and the firm (and their architect Ware) would go on to build a number of other large warehouse structures in the city. In 1927 the warehouse was razed for the construction of the 56-story Art Deco Chanin Building.

100 Park Avenue, ca. 1950. This shiny glass tower was designed by Kahn & Jacobs in 1950 in the International style. As one of the first large office buildings constructed in New York after the Depression, the structure is astylar in ways that architects, up until that point, could not previously imagine. Unlike prewar buildings which were drawn to be responsive to the environment, new advances in technology set this building apart. With the advent of central air-conditioning and fluorescent lighting, the tower was designed to emphasize floor space rather than airspace and light. Its ground floor alone is 40,000 feet, making it the prototype of the "block-through" office building in New York City. In 2008, the property was redeveloped by Moed de Armas and Shannon and awarded "International Building of the Year" by the Building Owners and Managers Association (BOMA).

New York Central Building (now Helmsley Building) Interior ARCHITECT: Warren & Wetmore DATE: 1927-29 STYLE: Beaux-Arts The interior survives as an integral part of the planned enclave known as Terminal City. It functions as a through-corridor between 45th and 46th Streets, and it presents an excellent example of axial Beaux-Arts planning. Construction of the lobby in between two vehicular tunnels and over double-layer railroad tracks required extraordinary engineering solutions. It reflects the railroad’s imperial prowess in its lavish appointments. The well-maintained surfaces, fixtures, elevator alcoves and cabs comprise one of the finest Beaux-Arts lobbies in New York.

GRAND CENTRAL DEPOT Railroads brought people, profits…and pollution. Residents complained. So in 1854 the city banned soot-belching steam engines below 42nd Street, keeping them far from New York’s populated heart. Trains arriving from the north unhitched their engines at 42nd and towed passenger cars the last few miles downtown by horse. Despite these restrictions, the Hudson, New Haven, and Harlem Railroads were eager to expand. To coordinate their services (and save money) they agreed to share a new transit hub. With 42nd Street the southern limit for steam engines, it was the logical station location.Grand Central Depot opened in 1871. Three towers represented the three participating railroads. Thirty years later, a new Annex doubled the Depot’s size. But double wasn’t enough. Rail traffic had quadrupled.

38 East 40th Street. ca. 1905. Designed by Ernest Flagg, this home was the first in Manhattan to use the Hennebique process, a late 19th-century method for reinforced concrete.

Grand Central Post Office, ca. 1910. Constructed by the associated architecture firms of Reed & Stem and Warren & Wetmore, the Grand Central Post Office was completed in 1909, three years before Grand Central Terminal (by the same architects) was finished. It is the oldest surviving structure of the area that became Terminal City. When opened the entire structure was devoted to postal functions. At seven stories, the post office is considerably shorter than most of the Terminal City structures (excepting GCT, itself). In 1992, though, a 31-story tower was built within and on top of the 1909 building.

Graybar Building ARCHITECT: Sloan & Robertson DATE: 1925-27 STYLE: Art Deco, Byzantine While the powerful stepped massing conforms to the 1916 zoning resolution that required structures to setback as they rise, the exotic decorative program blends Art Deco and Byzantine-style aesthetics, particularly the monumental stone reliefs that frame the three portals. These impressive robed figures clutch symbols of air, water, earth and fire, as well as objects that relate to the Graybar Electric Company, a major tenant.

Park Avenue Malls, 1934. These patches of green were originally fenced in shrubs that were planted to obscure the view of railroad vents. From 1894 until 1920, the Park Avenue Association formed a coalition that would totally cover the unsightly vents and eventually receive funding from private donors to plant over 7,000 trees in the malls. Flowers were added to the narrow plots by 1946. In 1969, the Parks Department hired landscape architect Clara Coffey to redesign the malls. She removed the fencing and tall hedges which disrupted the view of the well-maintained little gardens, which no longer hid subway vents. Today, the Carnegie Hill Neighbors and Fund for Park Avenue maintain the Mall and host an annual tree lighting ceremony at its intersection with 91st Street.

152 East 38th Street ARCHITECT: Unknown DATE: 1858 STYLE: Federal Elegance and charm are abundantly evident in the architectural quality of this three-story Federal-style brick house. Separated from the street by a spacious forecourt and an inner landscaped garden, this outstanding townhouse is partly shielded from view by a one-story brick wall dividing the forecourt from the garden. The wall and six slender columns with modified Ionic capitals support a covered walkway intended to provide shelter for those about to pass through the two entrance gates in the arched openings of the wall.

Commodore Hotel Ballroom ca. 1919 The size of the mammoth Hotel Commodore (Warren & Wetmore, architects), completed in 1919, had 1,956 guest rooms on 28 floors. The hotel at 42nd Street and Lexington Avenue claimed to have the largest banquet and ballroom in North America. It seated 3,500 and hosted many of the country's most important functions. In 1980 the glass-clad Grand Hyatt hotel opened, built over the structural shell of the Commodore.

Intersection of East 46th Street and Lexington Avenue, March 2, 1917. The building seen at left is the Grand Central Palace. Designed by the team of associated architects that created Grand Central Terminal (Warren and Wetmore and Reed and Stem) the Palace was an 13-story exhibition hall completed in 1911. It replaced the the 1893 Grand Central Palace which at Lexington Avenue between 43rd and 44th Streets had to be demolished for the new train station. The 1911 Beaux-Arts building hosted large-scale events and exhibitions, including auto, boat, flower, and trade shows on its lower three floors. In 1911 the First Industrial Aeroplane Show, the first time most New Yorkers had ever seen a plane, was presented at the Palace. It was also the home of the Westminster Dog Show for many years. The upper floors were leased as offices. The final exhibitions were installed in 1953 and a decade later the building was demolished, two years before the Landmarks Law was passed. The replacing building was the 44-story 245 Park Avenue.

View north along the east side of Lexington Avenue toward 49th Street, October 20, 1915.

Explosion in front of the Murray Hill Hotel, January 27, 1902. On Jan 27, 1902, a wooden shed at 41st and Park Avenue filled with 200 pounds of dynamite exploded. The nearby Murray Hill Hotel saw extensive damage. The explosion, followed quickly by billowing flames and flying glass killed five on the ground, while the tunnels being dug (the reason for the explosives) were largely undisturbed.

Grand Central Terminal Interior. For the Oyster Bar at Grand Central Station, Guastavino Jr. devised a series of vaults of cream-colored tile to create a space that was both intimate and expansive. The vaults endured the ultimate test in 1997 when a fire ravaged the popular restaurant. Thousands of tiles delaminated from the ceiling and had to be replaced, but engineers cited the results of the Guastavino Company’s fire tests of a century earlier to prove that the basic structure was still sound. The bar reopened only 12 weeks after the fire.

Contrasting 331 East 39th Street with Chrysler and Daily News Buildings ca. 1938 Standing near an abandoned tenement between First and Second Avenues, Abbott looked northeast toward two glamorous corporate headquarters on East 42nd Street. The campaign posters for Congress affixed to the tenement, for incumbent Republican John J. Connor and his opponent the Communist Israel Amter, speak to the neighborhood’s Irish and Jewish working-class constituents. Today, a garage and parking lot for Con Edison occupy 331 East 39th Street, and apartment buildings block the view of the famous skyscrapers.

Beaux Arts Institute of Design ARCHITECT: Frederic C. Hirons; Dennison & Hirons DATE: 1928 STYLE: Beaux-Arts Founded in 1893 by American architects who had studied at the prestigious Parisian Ecole des Beaux-Arts, the Society of Beaux-Arts Architects had a profound impact on architectural practice in this country by its dedication to fostering the principles established by the Ecole. The Beaux-Arts Institute of Design, chartered in 1916 to accommodate the expanding educational programs of the Society, served as the national headquarters for architectural instruction based on the curriculum of the Ecole and influenced several generations of American architects.

In the 1920s, the growing obsolescence, squalid conditions, and rising vacancies in old-law tenements near booming business district provoked developers to dream of lucrative, high-density private construction. Businessman Fred French believed slum clearance was the key to making central city life appealing to the middle-class. Successful redevelopment – what he called “scientific rebuilding” – would require wholesale demolition to change the entire atmosphere of a neighborhood so it could compete with suburban life. Underwritten by an investment plan that sold small-denomination stocks that promised solid returns to investors, French quietly assembled hundreds of tenement properties in Midtown’s east side for his Tudor City project. Clearing for the large hilly site began construction in 1926, and French quickly constructed twelve towers ranging from 10 to 32 stories. The high land coverage and population density were mitigated by the ample open space in adjacent private parks and the quality of the heavily ornamented neo-Tudor buildings. French marketed Tudor City as an amenity-rich alternative for white-collar workers who wanted to “walk to work” rather than endure hours of rail or subway commuting. Designed for the “average salary earner” and his family, the small but luxuriously finished units were complemented by common facilities and overseen by careful community controls.

Grand Central Eagle, ca. 1966. The current Grand Central Terminal was preceded by two other train stations: Grand Central Depot (1871) and Grand Central Station (1901). Grand Central Station, which was not so much a new building as the renovation and expansion of the earlier Depot, was the shortest-lived of the iterations. Completed between 1898 and1901, it stood for less than a decade, replaced by the Beaux Arts icon in 1913. A feature of Grand Central Station still lives though. Adorning its four towers were larger-than-life cast iron eagles. As Grand Central Station was being demolished, a number of them were removed and sold or auctioned off. One is seen here in Mount Vernon, New York in 1966. In 1999 the first of the eagles returned to the Terminal and was installed at the Lexington Avenue entrance to the Grand Central Market at 43rd Street. Two years later, a second eagle, rescued from a monastery in Garrison, New York, was installed here at the Terminal entrance at Vanderbilt and 42nd Street.

Heckscher Building, 1916. August Heckscher, a German-born real estate developer, built this Madison Avenue skyscraper in 1916. Though it was constructed before the 1916 Zoning Resolution codifying setback requirements for skyscrapers, the Heckscher Building, designed by Jardine, Hill & Murdock, featured a five-story base, with a setback 27-story tower above. However, as reported by Christopher Gray in a 2002 Streetscapes column, Heckscher’s then-unique design had more to do with the peculiarities of lease terms for some of the assembled Madison Avenue plots. Be that as it may, the Heckscher building now stands among a thicket of Midtown skyscrapers, each with its own creative response to the 1916 regulation preserving light and open space.

Hotel Manhattan, 1922. The Hotel Manhattan was a 16-story structure completed in 1896 to the designs of Henry Janeway Hardenbergh. At 250 feet tall, it was once (likely briefly) the tallest hotel structure in the world. It was crowned by a stately mansard roof. The hotel was demolished in 1961 and replaced in 1963 by a Kahn & Jacobs-designed glass tower.

Grand Central Terminal, ca. 1975. Here is a case in which distinguished architecture and a brilliant engineering solution were wedded to produce one of the fabulous railroad terminals of our times. Grand Central was always a place one was proud to show to out-of -town visitors until the mean clutter of shops and splays ruined its once magnificent interior scale. Nonetheless, the exterior windows, with their great expanses of glass and steel, represent the best of Parisian Beaux Arts Architecture.

150 East 38th Street In 1934, Mr. Pettengill, an engineer and antiques dealer hired architect Robertson Ward to combine 150 and 152 East 38th Street into an office and home. House & Garden praised the design in 1936, called the "Pettengill Project," which placed offices and a conference room in the front house and living quarters in the set-back house at 152. Robertson Ward later designed resort buildings in Acapulco and Barbados, and the Mill Reef Club in Antigua. Eventually, the two properties were severed, although the LPC designated 152 East 38th Street in 1967.

The 42nd Street entrance to the Daily News Building, ca. 1985.

Grand Central Terminal, Park Avenue Viaduct and the Grand Central station of the Third Avenue El, 1920.

The most fanciful and famous top of all of Manhattan's ornamental beauties is certainly the Chrysler Building, a quintessential expression of Jazz-Age New York. Its flashy modernism was communicated through the stainless steel crown with its crescendo of seven scalloped domes and spiky triangular windows. The needle spire stretched its height to 1,046 ft., which won it the title of the tallest building in the world from 1930 to 1931, until the completion of the Empire State Building. This Story is adapted from an exhibition at the Skyscraper Museum, which can be viewed here.

Socony-Mobil Building ARCHITECT: Architect: Harrison & Abramowitz; John B. Peterkin DATE: 1954-56 STYLE: Skyscraper This structure is a vivid study in contrasts, juxtaposing deep blue structural glass with stainless steel, smooth and embossed surfaces, as well as curved and rectilinear forms. These juxtapositions give the Socony-Mobil Building its singular character; while the zoning-driven massing was typical of speculative office buildings erected during this period, the sparkling elevations gave the project a strong modern identity. Aside from modest alterations to the base and storefronts, this office tower remains one of the postwar era’s and neighborhood’s most striking skyscrapers.

337 East 41st Street, April 7, 1946. The block of East 41st Street between First and Second Avenues was developed over few years in the early 1870s by two real estate developers. All of the homes were Italianate in style. This house at no. 337 was one of 19 residences developed by S. S. Stevens and designed by the up-and-coming firm of Hubert & Pirsson. Three stories tall and faced in brownstone, the structures were planned as middle class, single family homes. No. 337 would alternate between a single family and multi-family residence for much of its history. By the 1920s most of rowhouses on this block and the surrounding streets had been purchased and replaced with new apartment buildings and housing projects. Today no. 337 is once again a single family home and the lone survivor of its original streetscape.

Roosevelt Hotel, 1924. Named in honor of former President Teddy Roosevelt, the 1924 hotel was constructed on land leased by the New York State Realty and Terminal Company, a division of the New York Central Railroad. Designed by George B. Post & Son, the hotel was built with storefronts and not lounges on the sidewalk level, owing to its construction during Prohibition. Hotel guest once had direct access to Grand Central through a basement tunnel. The hotel was purchased in 1943 by Conrad Hilton, who three years later founded the Hilton Hotel chain. The Roosevelt was the first hotel to have a television in every room, which they instituted in 1947. The hotel has undergone numerous large scale renovations in the last 20 years and remains open as a luxury hotel.

Hotel Belmont, 1922. The Hotel Belmont was the tallest hotel in the world when completed in 1906. Built over subway infrastructure (which necessitated considerable underground supporting columns) the 23-story hotel was designed by Grand Central Terminal architects Warren and Wetmore. Despite the high cost and the ornate nature of the building, it was not reviewed favorably upon opening. The Architecture Record called the the cornice “ponderous” and “rather loud.” A critic had even more negative opinions of the interior where he found decorative features to be questionable, useless, and boring. He also called the entranceway “rather cold and uninviting." Despite these judgements, the hotel was successful, its proximity to the train terminal a major benefit. In 1930, quietly and with little fanfare, the hotel closed. On May 3, after a final luncheon, the full-time residents moved out. The furniture, housewares, decorative features, and utilitarian items were sold at auction. Demolished in 1931, plans for a skyscraper were floated but nothing came of them. After three years of being vacant, construction began on the low rise Art Deco Airlines Terminal Building, which was completed in the early 1940s.

Lefcourt-Colonial Building, 1930. The Lefcourt-Colonial is a 45-story, Art Deco office building that was commissioned in 1930 by Abraham E. Lefcourt. Designed by the Charles F. Moyer Company and Bark & Djorup, the building has a storied history as part of Lefcourt's real estate empire. While the Lefcourt Colonial is only one of Lefcourt's many buildings in New York (20 in Manhattan!), it is one of his most iconic. The building's most prominent feature, its tower, can actually be seen from almost any point in the midtown area!

15 Vanderbilt Avenue ca. 1923 John Campbell leased 15 Vanderbilt Avenue (known widely as the Campbell Apartment) from William Kissam Vanderbilt in the same year that this photo was taken: 1923. Campbell, a member of the New York Central's board of directors wanted an opulent office, and he got one. Located at the southwest corner of Grand Central, it was at 3,500 square feet, the largest ground floor office space in Manhattan. Nor was Campbell content with size alone, he hired architect Augustus Allen to decorate the space. Allen, known for his luxury architecture, had worked for many a robber baron before and knew his way around opulence. He reimagined the room inspired by 13th-century Florentine architecture. Allen added leaded windows, wood detailing, and hand-painted ceilings. The centerpiece of the office was an enormous faux fireplace. Nor was the apartment reserved for business, Campell would hold music recitals and other social events in it as well. It is said that the Persian rug he installed was worth 300,000$ at the time. Upon Campbell's death in 1957, the apartment was used for less glamorous activities. Initially used as signalman's office, the Metro-North Commuter Railroad police took ownership of the space. Under them, it served a number of functions, including gun storage and office space. At one point, the wine cellars were even used as a prison. Needless to say, the space was well worn and like much of the city in rather shabby shape. In 1999, however, it was given a new use: a luxurious cocktail bar. Several costly renovations in the past decades have restored it to its former glory and is now a bar called The Campbell.

There’s no place like Grand Central. The sheer scale and elegance of the main concourse transforms the daily commute into a complex choreography as commuters and tourists negotiate through the hallways, overheard conversations turn into mysterious plots of other people’s dramas, and what can be mundane becomes a unique experience. Grand Central has seen a steady tide of humanity for the past 100 years, becoming a beloved New York landmark.

In the late 1930s and 1940s, a plane ticket from New York to Europe cost the equivalent of five-thousand dollars. Airfare was a privilege of the wealthy and the Airline Terminal Building was built to accommodate them. The Airline Terminal Building saw its cornerstone laid by Mayor Fiorello La Guardia on April 22nd, 1940. The building served multiple airline companies, including American, Eastern TWA, United, and PanAm. The terminal provided a convenient Midtown hub for passengers to purchase tickets, have their bags checked, dine, and watch the news in a 600-seat theater before being transported by bus to the airport to catch their flight. The building opened on January 26, 1941, ferrying passengers to the New York Municipal Airport. Initially, it brought passengers to Newark, which the same year, as well as Idlewild when it opened seven years later. This sleek, 5-story Art Deco structure was designed by architect John Peterkin in what was then called the modern-classical style. Its stark, symmetric facade faced Grand Central across 42nd Street. Above the door of the building was a mural depicting a map of the planet, projecting its role as was the gateway to the world. Inside, a blue dome raised over gold painted walls, offering an atmosphere that was reminiscent of "Arabian Nights," according to the New York Times. However, after Newark and Idlewild airports opened, buses pulling traffic through grid-locked Midtown stopped seeming like an amenity. A sister terminal opened on First Avenue between 37th and 38th street near the Midtown-Queens tunnel in 1954. The original Airline Terminal Building began to just offer ticketing services. Declining in value and usage, the terminal was shuttered in 1978 to make way for a corporate headquarters.

231 East 47th Street, later the site of Andy Warhol's first "Factory," September 23, 1947. In 1963, as his Pop Art works began to gain traction, Andy Warhol rented a large studio space on 47th Street for an annual rent of $100. Sometimes described as the "Silver Factory" for its tin foil and paint decor, Warhol's fourth floor loft became a fashionable performance space, production studio, and party venue for the artist and his acolytes, known as the Warhol superstars. The Factory moved to a new downtown space in 1968, with the "Silver Factory" building slated for demolition.

Graybar Building, ca. 1925 Established as a small electric and telecommunications firm in 1869, this company became Western Electric in 1872 and grew into a large multinational business. By the turn of the century, Western Electric was the main producer of telephone equipment in the United States. In 1925 the company was split, with a new firm handling distribution of supplies and equipment. It was named Graybar after the company's original founders, Elisha Gray and Enos Barton. In 1929 the company was bought out by its employees for its capitalized value, which was $3 million in cash and $6 million in cumulative preferred stock. Two years before this buyout the company moved into their new home at 420 Lexington Avenue. One of the final buildings constructed in “Terminal City,” the Art Deco structure with Byzantine-styling was completed to the designs of Sloan & Robertson. The tan brick building has a monumental Lexington Avenue facade with three limestone figurative bas reliefs that frame the three entrances. The southernmost portal (the entrance to the Graybar Passage to the Terminal) includes some playful ornamentation; here animal heads surround the marquee struts (the supports attaching the marquee to the building) and sculptural rats seem to be climbing the struts. The rats were a reference to New York's maritime history. The Graybar Company was headquartered in this building until 1982, when they moved to Missouri. In 2016 33 years after leaving the building that retained their name, the Graybar Company returned to the building, leasing 3,000 square feet of office space.

Pershing Square Building, 1940. In 1914 the hotel which had previously occupied this large corner lot, the Grand Union Hotel, closed after it was acquired by the city. The city and its transit agency, the Interborough Rapid Transit Company, had big plans for the site. They proposed a large diagonal subway station which would connect the older section of the IRT (under Park, then Fourth Avenue) and the new section (which would proceed uptown via Lexington Avenue). The building was razed and despite wartime delays the station was complete in 1920, providing a strong foundation for the construction of a large building above. Designed by John Sloan, working with the architecture firm of York & Sawyer, the 1923 Pershing Square Building is a Lombard Romanesque- Renaissance Revival structure. The textured brickwork and multi-colored terra cotta of the facade predates its popularity in later Art Deco buildings. Interestingly, because the subway station foundations of the building were begun prior to the 1916 zoning laws, it was was designed without adherence to newly required regulations regarding setbacks (it was the last tall building without setbacks). Given its prime location above the busy subway station and adjacent to the railroad station, the building was a very successful venture within Terminal City. Early tenants included a number of large corporations, such as the Irving Trust Company, as well as smaller offices of real estate agents, lawyers, and investors. The building was renamed the American Can Building in 1945 for one of its then largest tenants. Today called the Pershing Square Building, once again, or simply 125 Park Avenue, the Terminal City office building remains largely unchanged and was designated a landmark in 2016.

Liggett Building, 1922. The Carrère and Hastings-designed Liggett Building was a commercial office building completed as part of the Terminal City development in 1922. Despite its first class architectural pedigree, the building itself was not a showy structure, given the firm's other major works. In 2016 the Liggett Building and four of its surrounding neighbors were razed in preparation for the construction of One Vanderbilt, a gargantuan, glassy skyscraper to be erect across Vanderbilt Avenue from Grand Central (it will rival the Empire State Building when completed). Whatever one's opinion on the new development, the removal of these five buildings did provide New Yorkers with something none of them had ever seen... an unobstructed view of the west facade of the venerable Terminal.

George S. Bowdoin Stable ARCHITECT: Ralph S. Townsend DATE: 1902 STYLE: Dutch Revival This two-story stable building was constructed in 1902 for William R. H. Martin, a businessman and real estate developer active in the Murray Hill section of the city. Architect Ralph S. Townsend designed this small building in a distinctive Dutch Revival style, with an elaborate stepped gable and oversized stone quoins and voussoirs

Richard Thibaut Wallpapers, 1922. Established in 1886, Thibaut is America’s oldest continuously operating wallpaper firm. The two-story showroom building was completed circa 1921 to the designs of Trowbridge & Livingston, replacing two older homes. It is unknown how long the wallpaper firm occupied the low rise building, but in 1927 the facade of this building was retained when the structure had a massive addition constructed. The design of the resulting 22-story office building was created by the firm of Albert Buchman and Ely Jacques Kahn for the National Bank of Commerce.

Biltmore Hotel, 1914. Constructed in 1913, the Biltmore Hotel was the first post-Grand Central Terminal commission for Warren and Wetmore (who had used some seriously underhanded methods to secure Terminal City work). At 26 stories the Terminal's neighbor stood five times as tall, with two imposing wings surrounding a center light court. The terrace at the sixth-floor setback provided guests with a roof garden and occasional ice skating rink. As early as the 1920s the gold clock of the lobby was a well-known and popular meeting spot, for New Yorkers "Meet me under the clock," directed one to the Biltmore. Not only known in popular culture, the hotel was the location of a number of important geo-politcal events. In 1916 the Treaty of the Danish West Indies was signed there, transferring the now U.S. Virgin Islands to America for $25 million in gold. In 1942 the Biltmore Conference was vital in the establishment of Palestine as a Jewish Commonwealth. By the 1980s the once thriving area known as Terminal City was run down and full of aging structures. The Biltmore was closed in 1981 and, though a somewhat perfect candidate for landmark designation, the demolition of the structure began soon thereafter. Shocked preservationists worked to save some of the interiors. The building was not fully razed, but was gutted, taken down to its steel framing, and rebuilt as 335 Madison Avenue. Today the rescued clock and piano live in the lobby of the new building.

The 1,046-foot Chrysler Building was the tallest building in the world from 1930 to 1931 and was part of an intense race for this title. In 1928, developer William H. Reynolds hired William Van Alen to design the world's tallest building for a site leased at the northeast corner of Lexington Avenue and 42nd Street, across from Grand Central Station. Later that year, Reynolds sold both leases and plans to Walter P. Chrysler, who wanted to build a new headquarters for the Chrysler Corporation. Van Alen altered the plans to reflect his new patron: a domed lantern became a metal-clad spire; the frieze on the 30th floor became a line of hubcaps; new gargoyles were enormous, Chrysler Eagle radiator caps; fenders and hood ornaments became part of the decoration. Groundbreaking took place on September 19th, 1928. In 1929, however, Van Alen's former partner, H. Craig Severance, began work on an even taller building at 40 Wall Street for the Bank of The Manhattan Company. Not to be outdone, Van Alen secretly had a 185-foot spire built within the fireshaft of the Chrysler Building. As soon as Severance had completed his 927-foot structure in August 1930, Van Alen had the 27-ton spire raised to the top of the Chrysler Building in a mere 90 minutes, surpassing his downtown rival handily. The Chrysler Building has an H-plan with setbacks at the 16th, 23rd, and 30th floors. The main shaft rises 68 floors, although offices only go up to the 65th (the 66th through 68th housed the exclusive Cloud Club and an observation lounge). Four banks of eight elevators each brought up over one thousand workers and visitors daily at an unprecedented speed. The novel use of aluminum and chrome-nickel steel for exterior details was mirrored in an interior of luxury; elaborate, wood marquetry, rich, varied marbles, and dramatic custom lighting created an interior as theatrical as its exterior. Van Alen and Chrysler fell out over allegations of contractors' bribery; the Chrysler Corporation never fully utilized its space and Van Alen's career virtually ended. Moreover, critics were unimpressed with the building, calling its metal-clad form too "romantic," "overly ambitious," or even worse, "merely advertising." However, it is just these aspects that make the building perhaps the most notable of New York's skyline. When completed, it became the tallest man-made structure in the world, surpassing even the Eiffel Tower in Paris. Its reign was short-lived. On May 1st, 1931 the 1,250-foot Empire State Building opened at 350 Fifth Avenue (Shreve, Lamb & Harmon) and became the World's Tallest Building for over four decades.

In the late 1930s and 1940s, a plane ticket from New York to Europe cost the equivalent of five-thousand dollars. Airfare was a privilege of the wealthy and the Airline Terminal Building was built to accommodate them.

Subway construction at East 46th Street and Lexington Avenue, September 14, 1917.