138-576: Sony Building may refer to: Sony Building (New York) Sony Building (Tokyo) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Sony Building . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Sony_Building&oldid=545351410 " Category : Disambiguation pages Hidden categories: Short description
276-590: A frontage of 200 feet (61 m) on Madison Avenue and 189 feet (58 m) on both 55th and 56th Streets. The building is on the same city block as the Corning Glass Building to the west. Other nearby buildings include St. Regis New York and 689 Fifth Avenue to the southwest, the Minnie E. Young House to the south, the New York Friars Club and Park Avenue Tower to the east, 432 Park Avenue to
414-563: A sky lobby above the base. There is a broken pediment with a circular opening atop the building. Opinion of 550 Madison Avenue has been mixed ever since its design was first announced in March 1978. The AT&T Building at 550 Madison Avenue was intended to replace 195 Broadway , the company's previous headquarters in Lower Manhattan . Following the breakup of the Bell System in 1982, near
552-400: A 20,000-pound (9,100-kilogram) spherical blue sculpture by Alicja Kwade , hangs in the lobby. Spirit of Communication (also Golden Boy ), a 20,000-pound (9,100-kilogram) bronze statue, was moved to 550 Madison Avenue's main lobby in 1983. Created by Evelyn Beatrice Longman in 1916, it had stood atop AT&T's previous headquarters at 195 Broadway until 1981. The statue depicts
690-443: A 24-foot-tall (7.3 m) winged male figure on top of a globe, wrapped by cables, clutching bolts of electricity in his left hand. The statue was repainted in gold leaf when it was moved to 550 Madison Avenue. The statue was placed on a pedestal inside the lobby, with the circular window atop the main entrance arch seeming to form a halo above the statue. It was moved to AT&T's Basking Ridge, New Jersey , facility in 1992. From
828-596: A February 2010 blizzard , breaking the atrium's glass ceiling and injuring several inside. New York City Landmarks Preservation Commission The New York City Landmarks Preservation Commission ( LPC ) is the New York City agency charged with administering the city's Landmarks Preservation Law. The LPC is responsible for protecting New York City's architecturally, historically, and culturally significant buildings and sites by granting them landmark or historic district status, and regulating them after designation. It
966-424: A circular opening that extends the width of the roof. The opening measures 34 feet (10 m) across. Within the opening are ribbed slats, which contain vents for the building's HVAC system; according to Johnson, the vents were supposed to create steam puffs when there was a certain amount of moisture in the air. The remainder of the gable is trimmed with a stone coping . The granite slabs are suspended from
1104-451: A decision was made to change the process by which buildings are declared to be landmarks due to some perceived issues with the manner by which the LPC operates as well as the realization that the destruction feared when the LPC was formed was no longer imminent. By 1990, the LPC was cited by David Dinkins as having preserved New York City's municipal identity and enhanced the market perception of
1242-627: A full-time, paid workforce of 80, composed of administrators, legal advisors, architects, historians, restoration experts, and researchers. Students sponsored by the federal government, as well as volunteers, also assist the commission. The full-time staff, students, and volunteers are divided into six departments. The research department performs research of structures and sites that have been deemed potential landmarks. The preservation department reviews and approves permit applications to structures and sites that have been deemed landmarks. The enforcement department reviews reports of alleged violations of
1380-529: A heatedly discussed decision on August 3, 2010, the LPC unanimously declined to grant landmark status to a building on Park Place in Manhattan, and thus did not block the construction of Cordoba House . A major dispute arose over the preservation of theaters in the Theater District during the 1980s. The LPC considered protecting close to 50 legitimate theaters as individual city landmarks in 1982, following
1518-486: A large welcome message from its own offices nearby. New York magazine reported in February 1984 that the executive offices were not occupied and that full completion was not expected until that May. The building was completed sometime in 1984 but was overlooked by the media, which instead publicized the divestiture. It ultimately cost $ 200 million, a rate of about $ 200 per square foot ($ 2,200/m ), although New York placed
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#17328696864661656-550: A lease for large parts of the Seaport area and desired to redevelop it, generating fears among locals that the New Market Building would be altered or destroyed. The corporation has offered to provide a more modest food market (at 10,000 sq ft (930 m )) into their development plans, but market organizers have not been satisfied as they believe this proposal is not guaranteed or large enough, and would still not ensure
1794-467: A new facility in Basking Ridge, New Jersey, in 1970, although the company denied that it was fleeing to the suburbs. John D. deButts , who became AT&T's CEO in 1972, also wished to construct a new Midtown headquarters as a monument to the company and to boost his own name recognition. The 195 Broadway headquarters had a capacity of only 2,000 workers, but AT&T had 5,800 headquarters workers by
1932-517: A number of neighborhoods. This success is believed to be due, in part, to the general acceptance of the LPC by the city's developers. By 2016, the LPC had designated 1,355 individual landmarks, 117 interior landmarks, 138 historic districts, and 10 scenic landmarks. One of the most prominent decisions in which the LPC was involved was the preservation of the Grand Central Terminal with the assistance of Jacqueline Kennedy Onassis . In 1978,
2070-409: A part-time basis. By law, the commissioners must include a minimum of six professionals: three architects, a historian, a city planner or landscape architect, and a realtor. In addition, the commissioners must include at least one resident from each of New York City's five boroughs (who may also be a professional). All of the commissioners are unpaid, except for the chairman. The commission also employs
2208-682: A proposed landmark designation are recorded. According to the Landmarks Preservation Law, a building must be at least thirty years old before the LPC can declare it a landmark. Approval of a landmark designation requires six commissioners to vote in favor. Approved designations are then sent to the New York City Council , which receives reports from other city agencies including the New York City Planning Commission , and decides whether to confirm, modify, or veto
2346-447: A reputation for being inhospitable, dark, and windy. Following a renovation in the 1990s, the arcade was enclosed with recessed display windows with grids of bronze mullions. When the windows were replaced in the early 2020s, transparent mullions were added. At the extreme ends on Madison Avenue are single-story flat arches surmounted by flagpoles. These lead to recessed passages along 55th and 56th Streets, which act as an extension of
2484-438: A review of the project, but construction continued nonetheless. Faced with rising construction costs, the architects had to substitute cheaper materials; for example, granite in the elevator cabs was replaced with wood. The construction of the superstructure commenced in March 1980. Before installing the steel beams, workers assembled the shear tubes at the building's core, along with the 50-ton granite columns that supported
2622-441: A small cafe, library, hearth room, pool room, screening room, and fitness center. Between the annex to the west and the main tower to the east was an atrium measuring 40 feet (12 m) wide by 100 feet (30 m) tall. The public atrium between the annex and the tower was originally covered by a metal and glass roof, the ceiling of which was a half- barrel vault (shaped as a quarter-circle). The atrium directly faced that of
2760-618: A small number of low-rise historic buildings from the earlier eras remain. In 2003, Svehlak wrote a manifesto arguing for the landmark designation of "a trilogy" of three contiguous buildings on Washington Street, the thoroughfare that was most closely associated with "Little Syria". These consisted of the Downtown Community House – which hosted the Bowling Green Association to serve the neighborhood's immigrants – 109 Washington Street (an 1885 tenement), and
2898-520: A steel parapet. The pediment, inspired by classical designs, was included to unify the symmetrical facades. Johnson may have also been inspired by his dissatisfaction with the Citigroup Center 's sloped roof, visible from his own office in the Seagram Building. Johnson/Burgee wanted to make the roof recognizable upon the skyline, and they decided upon a pediment because it was well suited for
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#17328696864663036-419: Is 647 feet (197 m) tall, as measured from sidewalk level to the highest point of the tower's broken pediment . There are no setbacks . Unlike other postmodernist structures with irregular ground-level plans, 550 Madison Avenue was designed as a rectangle at ground level, similar to older International Style buildings. The tower stories have a footprint measuring 200 by 90 feet (61 by 27 m). There
3174-505: Is beginning to take shape". At its peak, the project's three foremen had to balance the requests of about "three dozen powerful prime contractors and 150 subcontractors and suppliers", according to Inc magazine. Workers from more than 70 trades were involved in the construction of the building. The cladding was attached to the steel frame starting in September 1981, several months behind schedule. The workings were so complex that even
3312-683: Is cited as a catalyst for the architectural preservation movement in the United States, particularly in New York City. The Mayor's Committee for the Preservation of Structures of Historic and Esthetic Importance was formed in mid-1961 by mayor Robert F. Wagner Jr. This committee had dissolved by early 1962. Wagner formed the Landmarks Preservation Commission on April 21, 1962, with twelve unsalaried members. Soon afterward,
3450-619: Is different from Wikidata All article disambiguation pages All disambiguation pages Sony Building (New York) 550 Madison Avenue (also 550 Madison ; formerly known as the Sony Tower , Sony Plaza , and AT&T Building ) is a postmodern –style skyscraper on Madison Avenue between 55th and 56th Streets in the Midtown Manhattan neighborhood of New York City , New York, U.S. Designed by Philip Johnson and John Burgee with associate architect Simmons Architects,
3588-523: Is equivalent to that of a 60-story building with 8-foot (2.4 m) ceilings, but the building has higher ceilings and thus fewer stories. At 550 Madison Avenue, ceilings were typically 10 feet (3.0 m) high, and executive suites had ceilings of 12 feet (3.7 m). At the time, computer hardware required taller ceilings than was usual. As originally designed, the acoustic ceiling panels had air conditioning vents and minimal ceiling lighting, as each worker's desk had task lighting. In addition to offices,
3726-481: Is just inside the large arch on Madison Avenue. The lobby measures 50 by 50 feet (15 by 15 m) and originally contained a floor made of black-and-white marble, as well as walls made of granite. The floor pattern was inspired by the designs of British architect Edwin Lutyens . The lobby's ceiling was a groin vault . One wall of the main lobby contained an arcade with Byzantine-inspired column capitals, behind which
3864-447: Is responsible for deciding which properties should be subject to landmark status and enacting regulations to protect the aesthetic and historic nature of these properties. The LPC preserves not only architecturally significant buildings, but the overall historical sense of place of neighborhoods that are designated as historic districts . The LPC is responsible for overseeing a range of designated landmarks in all five boroughs ranging from
4002-425: Is the largest municipal preservation agency in the nation. As of July 1, 2020 , the LPC has designated more than 37,800 landmark properties in all five boroughs . Most of these are concentrated in historic districts, although there are over a thousand individual landmarks, as well as numerous interior and scenic landmarks. Mayor Robert F. Wagner Jr. first organized a preservation committee in 1961, and
4140-510: Is used, representing over 160,000 cubic feet (4,500 m ) of the material. The stonework cost $ 25 million in total and required an additional 6,000 short tons (5,400 long tons; 5,400 t) of steel to support it. Varying reasons are given for the use of granite. Johnson considered pink granite as "simply the best" type of stone, and Ritchie said the Stony Creek pink granite had "more character" than granite from other sources. Burgee said
4278-589: The Andrew Carnegie Mansion , Percy R. Pyne House , and Oliver D. Filley House , all of which ultimately became individual landmarks after the LPC's formation. Other structures such as the Van Cortlandt House , Morris–Jumel Mansion , Edgar Allan Poe Cottage , and Dyckman House were preserved as historic house museums during the late 19th and early 20th centuries. Advocates also led efforts to preserve cultural sites such as Carnegie Hall , which in
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4416-730: The Bowling Green U.S. Custom House , and six buildings at Sailors' Snug Harbor . The first landmark district, the Brooklyn Heights Historic District , was designated in November 1965. Within its first year, the LPC designated 37 landmarks in addition to the Brooklyn Heights Historic District. The LPC's earliest landmarks were mainly selected based on their architecture, and were largely either government buildings, institutions, or structures whose preservation
4554-739: The Fonthill Castle in the North Bronx , built in 1852 for the actor Edwin Forrest , to the 1670s Conference House in Staten Island , where Benjamin Franklin and John Adams attended a conference aimed at ending the Revolutionary War. The LPC helps preserve the city's landmark properties by regulating changes to their significant features. The role of the LPC has evolved over time, especially with
4692-690: The New York City Landmarks Preservation Commission (LPC), is sometimes described as the world's first postmodern –style skyscraper. Alan Ritchie of Johnson/Burgee was named as design manager, while Simmons Architects was the associate architect. Engineers and contractors involved in the building's construction included structural engineer Leslie E. Robertson of Robertson & Fowler Associates; associate engineer Leroy Callender; foundation engineer Mueser, Rutledge, Johnston & DeSimone; mechanical engineer Cosentini Associates ; and interior designer ISD Inc. Frank Briscoe
4830-465: The New York City Landmarks Preservation Commission designated the building's exterior as a landmark in 2018. Olayan redeveloped the building in the late 2010s and early 2020s. 550 Madison Avenue is in the Midtown Manhattan neighborhood of New York City . The rectangular land lot is bounded by Madison Avenue to the east, 56th Street to the north, and 55th Street to the south. The lot covers approximately 36,800 square feet (3,420 m ), with
4968-569: The Palace in mid-1987. Ultimately, 28 additional theaters were designated as landmarks, of which 27 were Broadway theaters. The New York City Board of Estimate ratified these designations in March 1988. Of these, both the interior and exterior of 19 theaters were protected, while only the interiors of seven theaters (including the Lyceum, whose exterior was already protected) and the exteriors of two theaters were approved. Several theater owners argued that
5106-612: The United States Supreme Court upheld the law in Penn Central Transportation Co., et al. v. New York City, et al. , stopping the Penn Central Railroad from altering the structure and placing a large office tower above it. This success is often cited as significant due to the LPC's origins following the destruction of Pennsylvania Station, referred to by some as architectural vandalism. In 1989,
5244-502: The "New Amsterdam Market", a regular gathering with vendors selling regional and "sustainable" foodstuffs outside the old Fish Market buildings. The group's chartered organization planned eventually to attempt to reconstitute the "New Market Building", a 1939 structure with an Art Deco façade and that was owned by the city, into a permanent food market. However, a real estate company, the Howard Hughes Corporation , possessed
5382-580: The "Save Our Seaport" community group, the New Amsterdam Market, and the Metropolitan Waterfront Alliance. The "Save Our Seaport" group specifically argued that New Market Building was culturally important for its maintenance of the historic fish market for 66 years, and that it offers a "fine example of WPA Moderne municipal architecture (an increasingly rare form throughout the nation)." They had encouraged others to write letters to
5520-404: The "Save Washington Street" group led by St. Francis College student Carl "Antoun" Houck — have continued, especially, to advocate for a hearing on the Downtown Community House , arguing that its history demonstrates the multi-ethnic heritage of the neighborhood, and that its Colonial Revival architecture intentionally links the immigrants to the foundations of the country, and that preserving
5658-441: The 1950s, there was growing support for preservation of architecturally significant structures. For example, a 1954 study found approximately two hundred structures that could potentially be preserved. At the same time, older structures, especially those constructed before World War I , were being perceived as an impediment to development. The demolition of Pennsylvania Station between 1963 and 1966, in spite of widespread outcry,
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5796-515: The AT&;T Building's facade. Construction started in December 1978 when workers started excavating foundations; the same month, AT&T received a $ 20 million tax abatement on the construction cost. The foundation excavation cost $ 3.1 million and largely consisted of blasting into the underlying bedrock. The detonations used about 50,000 pounds (23,000 kg) of Tovex gel. The underlying rock layer
5934-470: The IBM Building at 590 Madison Avenue, and the presence of 550 Madison Avenue's atrium allowed additional floor area in the building. According to Burgee, he wanted the atrium to have a distinct identity from the office tower. The atrium, designed as an open-air pedestrian pathway, was enclosed in the 1990s when Sony moved to the building. A large television screen was installed with this renovation. In
6072-454: The Jordanian city of Petra . 550 Madison Avenue has a gross floor area of 685,125 square feet (63,650.2 m ). The superstructure is composed of steel tubes, except at the base, where shear walls connect the sky lobby and foundation . The steel beams were constructed by Bethlehem Steel . The colonnade at the base was insufficient to protect against wind shearing . As a result,
6210-476: The LPC began designating buildings as landmarks. That July, Wagner issued an executive order that compelled municipal agencies to notify the LPC of any "proposed public improvements". The early version of the LPC initially held little power over enforcement, and failed to avert Pennsylvania Station's demolition. As a result, in April 1964, LPC member Geoffrey Platt drafted a New York City Landmarks Law. Outcry over
6348-601: The LPC designated the Ladies' Mile Historic District . The next year marked the first time in the LPC's history that a proposed landmark, the Guggenheim Museum (one of the youngest declared landmarks), received a unanimous vote by the LPC members. The vast majority of the LPC's actions are not unanimously supported by the LPC members or the community; a number of cases including St. Bartholomew's Episcopal Church , Bryant Park , and Broadway theatres have been challenged. One of
6486-432: The LPC to designate landmarks for eighteen months after the law became effective, followed by alternating cycles of three-year hiatuses and six-month "designating periods". In 1973, mayor John Lindsay signed legislation that allowed the LPC to consider landmarks on a rolling basis. The bill also introduced new scenic and interior landmark designations. The first scenic landmark was Central Park in April 1974, while
6624-467: The LPC to support formal designation or district protection. However, in 2013, the LPC declined to hold a hearing to consider this landmark designation or to expand the district. Community Board 1 supports protecting and repurposing the New Market Building, and the Municipal Art Society argued in a report that "[it] has both architectural and cultural significance as the last functioning site of
6762-658: The LPC's designations of these theaters the next year. The three theatrical operators challenged the ruling with the U.S. Supreme Court, which refused to hear the lawsuit in 1992, thus upholding the designations. An LPC-designated historic district for the South Street Seaport has been active since 1977 and was extended on July 11, 1989. After the Fulton Fish Market relocated to the Bronx in 2005, community members, with leadership from organizer Robert Lavalva, developed
6900-643: The Landmarks Law were sworn in during June 1965. Platt was the first chairman, serving until 1968. The LPC's first public hearing occurred in September 1965, and the first twenty landmarks were designated the next month. The Wyckoff House in Brooklyn was the first landmark numerically, and was designated simultaneously with structures such as the Astor Library , the Brooklyn Navy Yard's Commandant's House ,
7038-568: The Landmarks Law, which includes alterations to a landmark. In 2016, the preservation commission consolidated its archaeological collection of artifacts and launched a reconstructed archaeology department, known as the NYC Archaeological Repository: The Nan A. Rothschild Research Center. Archaeologists work for the center reviewing the impact of proposed subsurface projects, as well as overseeing any archaeological discoveries. The environmental review department uses data from
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#17328696864667176-633: The NRHP. As of 2007 , the vast majority of interior landmarks are also exterior landmarks or are part of a historic district. The preservation movement in New York City dates to at least 1831, when the New York Evening Post expressed its opposition to the demolition of a 17th-century house on Pearl Street in Lower Manhattan . Before the LPC's creation, buildings and structures were preserved mainly through advocacy, either from individuals or from groups. Numerous residences were saved this way, including
7314-524: The annex was demolished and replaced with a single-story annex. 550 Madison's articulation is inspired by that of classical buildings, with three horizontal sections similar to the components of a column : a base, shaft, and capital . The facade is clad with 60,000 pieces of roughly textured pink Stony Creek granite, weighing up to 7,000 pounds (3,200 kg) each, supplied by Castellucci & Sons from its Connecticut quarry. More than 13,000 short tons (12,000 long tons; 12,000 t) of granite
7452-434: The arcade could be converted into stores at a rate of $ 200 per square foot ($ 2,200/m ). According to Sony, the arcades were "dark, windy and noisy", and a conversion to commercial space would provide "retail continuity" with the remainder of Madison Avenue. Johnson was not overly concerned about the closure of the arcade, saying, "It isn't that my ideas have changed. The period has changed." The plan did face some opposition:
7590-466: The arcades on either side appear deeper than they actually were. The granite wall of the original annex on 55th Street was windowless and had three garage doors. The granite wall on 56th Street had a tall window bay, a garage door, and a cornice. On all elevations of the facade, the intermediate stories are divided vertically into several bays , each of which has one single-pane window on each floor. The Madison Avenue (eastern) and western elevations of
7728-489: The arch may have been influenced by the Basilica of Sant'Andrea, Mantua . AT&T said the arch was supposed to make the building appear dominant and give it "a sense of dignity". To the left and right of the main entrance arch are three flat-arched openings, measuring 60 feet (18 m) tall by 20 feet (6.1 m) wide, with voussoirs at their tops. Originally, 550 Madison Avenue had an open-air arcade north and south of
7866-466: The archway is a 70-foot (21 m) arched window, topped by a circular oculus with a 20-foot (6.1 m) radius. Both windows have glazed glass panels and vertical and horizontal bronze mullions . These windows are surrounded by stonework with rhombus tiles. The side walls of the arch have smaller round arches and rectangular stonework, while the top of the arch contains recessed rectangular lights. According to architectural writer Paul Goldberger ,
8004-541: The area became well known as Little Syria , hosting immigrants from today's Lebanon , Syria , and Palestine , as well those of many other ethnic groups including Greeks, Armenians, Irish, Slovaks, and Czechs. Due to eminent domain actions associated with the construction of the Brooklyn–Battery Tunnel and the World Trade Center , in addition to significant highrise construction in the 1920s and 30s, only
8142-556: The atrium, which became Sony stores, and the annex was converted into the Sony Wonder technology museum. The annex was completely gutted because, under guidelines set by the Americans with Disabilities Act of 1990 , the existing ramps and passageways were too steep. Inside, Dorothea Rockburne was commissioned to paint two fresco murals for the formerly bare sky lobby, and additional staircases, conference centers, and offices were installed on
8280-587: The base. Since the steelwork began above the sky lobby on top of the base, workers climbed through the shear tubes to complete the sky lobby before installed the steel crane. At the same time, the IBM Building was under construction on 56th Street, limiting access there. Shortly after work started, Local 282—the union whose workers were constructing the building—threatened to strike because of claims that black workers were "invading" job sites. This prompted IBM to hire two additional foremen. In December 1980, Paul Goldberger wrote for The New York Times that "the arch
8418-574: The block immediately to the south, Stanley Stahl had paid $ 12 million since 1970 for a lot of 23,000 square feet (2,100 m ). On Stahl's block, AT&T acquired seven buildings in late 1974, followed by two adjacent buildings to the west in 1975, the latter of which were acquired in anticipation of AT&T being allowed to construct extra space. Stanley W. Smith, president of the 195 Broadway Corporation, paid Stahl $ 18 million for his assemblage in October 1975. The land value appreciated significantly in
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#17328696864668556-454: The broken pediment, received widespread media attention, prompting AT&T to reexamine the plan in detail before deciding to proceed without modifications. In late 1978, the project received several floors' worth of zoning "bonuses" and exemption from setback regulations, in exchange for public space, a three-story communications museum, and a covered arcade on Madison Avenue. The next month, Johnson decided to use Stony Creek pink granite on
8694-573: The building and helped to refine the design details. The New York City Department of Buildings received blueprints for the new headquarters in January 1978. A Times editorial that month praised the AT&T project, as well as the neighboring IBM development at 590 Madison Avenue, as a "declaration of corporate commitment" to New York City, which had then recently rebounded from its fiscal crisis . AT&T announced its official plans on March 30, 1978, in front of New York City Hall . A rendering of
8832-487: The building from the cash-strapped AT&T for $ 236 million, or $ 315 per square foot ($ 3,390/m )—a relatively low rate given the building's location in Midtown Manhattan. Two years later, Sony contemplated selling the building once its merger with Bertelsmann was completed. Part of the Sony Wonder museum was renovated in 2008 and reopened the following year. An accumulation of ice dislodged from an upper floor after
8970-426: The building included a two-story auditorium at the fifth and sixth stories, as well as a CCTV studio at the eighth story. The office stories were generally less ornately decorated than the lobbies, but the executive offices on the thirty-third and thirty-fourth floors had elaborate wood paneling. AT&T had requested that the highest-quality materials be used, although escalating costs during construction led to
9108-556: The building is a 647-foot-tall (197-meter), 37-story office tower with a facade made of pink granite . It was completed in 1984 as the headquarters of AT&T Corp. and later became the American headquarters of Sony . A four-story granite annex to the west was demolished and replaced with a shorter annex in the early 2020s. A large entrance arch at the base of the building faces east toward Madison Avenue, flanked by arcades with smaller flat arches. A pedestrian atrium , running through
9246-538: The building's completion, AT&T spun off its subsidiary companies. As a result, AT&T never occupied the entire building as it had originally intended. Sony leased the building in 1991, substantially renovated the base and interior, and acquired the structure from AT&T in 2002. Sony sold the building to the Chetrit Group in 2013 and leased back its offices there for three years. The Olayan Group purchased 550 Madison Avenue in 2016 with plans to renovate it, and
9384-417: The building's space. AT&T wanted to rent out the space for as much as $ 60 per square foot ($ 650/m ), but few companies were willing to sign a lease. The company had expected to move as many as 1,500 employees into 550 Madison Avenue, but the impending divestiture reduced that figure to 600. In early 1983, AT&T reneged on its rental proposal after city government officials warned company officials that
9522-465: The building's steel frame, are designed to resemble load-bearing columns; they use thicker stone to represent solidity, and they have notches to represent depth. There was no retail space on the Madison Avenue front because, according to critic Nory Miller, "AT&T didn't want a front door sandwiched between a drug store and a lingerie shop." After the AT&T Building's opening, the arcade gained
9660-610: The building's tax exemption could be canceled if AT&T were to receive rental income. The first occupants moved to their offices on July 29, 1983, and the Spirit of Communication statue was dedicated two months later, with full occupancy expected by the time of the Bell System divestiture at the end of the year. Only three of the office stories were occupied by late 1983. By January 1984, about 1,200 employees had moved from 195 Broadway to 550 Madison Avenue. That month, AT&T's longtime advertising agency, N. W. Ayer & Son , displayed
9798-543: The building, it became known as the Sony Tower. In early 1992, Gwathmey Siegel designed a renovation of the base, with Philip Johnson as consultant. The arcade space was to be converted into retail space; in exchange, the atrium was to be expanded with new planters and public seating. Edwin Schlossberg was hired to design the new storefronts and redesign the annex. Sony expected that 8,727 sq ft (810.8 m ) of
9936-438: The central archway, extending west to the public atrium behind the building. The arcade, conceived as a 100-foot-high space, was downsized to 60 feet "for reasons of scale". The presence of the arcade allowed for what Johnson described as "a more monumental building" with more floor area. There are 45 granite columns within the arcade, weighing 50 short tons (45 long tons; 45 t) apiece. The granite columns, which encase
10074-443: The changing real estate market in New York City. Potential landmarks are first nominated to the LPC from citizens, property owners, city government staff, or commissioners or other staff of the LPC. Subsequently, the LPC conducts a survey of properties, visiting sites to determine which structures or properties should be researched further. The selected properties will then be discussed at public hearings where support or opposition to
10212-416: The company installed fiber-optic cables under Madison Avenue to connect its two buildings, and it installed microwave communications equipment atop 555 Madison Avenue. Sony had consolidated most of the operations for its Sony Music Entertainment division at the Sony Tower on 550 Madison Avenue, for which The New York Times noted that "such high-profile and elaborate space is appropriate and necessary". This
10350-437: The converted Sony retail space at ground level generated less profit than expected, prompting Sony Plaza Inc. to hire a new general manager in 1995. The atrium was criticized for being inhospitable to the homeless, as private security guards patrolled the space. Sony leased four stories at 555 Madison Avenue immediately to the east in February 1995. By the following year, Sony was renovating its space within 555 Madison Avenue;
10488-407: The core of the tower contains two concrete and steel "shear tubes", each measuring 25 by 31 feet (7.6 by 9.4 m). In addition to its 37 above-ground stories, the building is designed with three basements. One of these basement levels contained a 45-spot parking garage, originally meant for AT&T board members. There were also vehicular elevators for delivery trucks. The building's main lobby
10626-465: The cost as high as $ 220 million. Despite the high cost of construction, AT&T never fully occupied 550 Madison Avenue. In early 1984, AT&T officials said that rather than constructing a museum in the annex for bonus zoning, they planned to use the annex for a showroom. The change of plan came after the Bell divestiture shrank AT&T's planned presence at the building. After the city firmly opposed
10764-716: The designation. Before 1990, the New York City Board of Estimate held veto power, rather than the City Council. After the City Council's final approval, a landmark designation may be overturned if an appeal is filed within 90 days. The New York Landmarks Preservation Foundation is a not-for-profit organization, established in 1980 to support the Commission. They sponsor plaques, historic district signs, and street signs. The Landmarks Preservation Commission consists of 11 commissioners, who are unpaid and serve three-year terms on
10902-513: The destruction of the Helen Hayes and Morosco theaters. An advisory panel under mayor Koch voted to allow the LPC consider theaters not only on their historical significance but also on their architectural merits. In response to objections from some of the major theatrical operators, several dozen scenic and lighting designers offered to work on the LPC for creating guidelines for potential landmarks. Theaters were landmarked in alphabetical order;
11040-439: The early 2020s, a new garden called 550 Madison Garden was constructed within the atrium. The garden contains shrubs, trees, bulbs , and perennial plants and is split into several sections. The space is open every day between 7 a.m. and 11 p.m. It is covered by a 70-foot-tall (21 m) metal-and-glass canopy, which collects 93,000 US gallons (350,000 L) of rainwater every year. The garden's greenery extends onto
11178-476: The entire development process, AT&T faced an antitrust lawsuit from the United States Department of Justice . The parties reached an agreement in January 1982, with AT&T consenting to divest its Bell System effective January 1, 1984. Shortly after this agreement, AT&T decided to lease out 300,000 sq ft (28,000 m ) on the 7th through 25th floors, comprising nearly half of
11316-601: The executives deemed "highly qualified". Thirteen of the recipients responded. Johnson and Burgee recalled that they set aside the questionnaire until AT&T called them two weeks afterward. Smith visited eight candidates and picked three finalists: Johnson/Burgee, Roche-Dinkeloo , and Hellmuth, Obata & Kassabaum . The three finalists were to give presentations to the committee and high-ranking officials. Johnson recalled that he did not have an elaborate presentation but instead brought photographs of his past work and came with Burgee. According to AT&T officials, "there
11454-402: The facade are identical to each other, as are the 55th and 56th Street elevations. The west and east facades are divided into nine bays each. The center bay is eight windows wide, with three sets of four windows on either side, as well as a wide single window at the extreme north and south ends. Granite spandrel panels separate the windows on different stories, except at the executive offices in
11592-405: The facade cladding required the involvement of members of four construction unions. The building topped out on November 18, 1981. Contractors made some mistakes because of the accelerated construction schedule; for instance, electrical ducts had to be carved into the concrete floors after they were built. By late 1982, the work was one year late and $ 40 million over budget. Throughout nearly
11730-419: The facade is clad in glass. When the plans were announced in 1978, Johnson claimed that the glass on the facade would make 550 Madison Avenue the city's "most energy-efficient structure". The windows are recessed into granite surrounds that are up to 10 inches (250 mm) deep. The architects had wanted deeper windows, but the high cost of the granite made this infeasible. Additionally, the round mullions of
11868-480: The final design. Johnson and Burgee examined various structures, such as the entries to the Tribune Tower design competition , for inspiration. Judith Grinberg created a 7-foot-tall (2.1 m) sketch of the AT&T Building's facade "to interpret [Johnson's] design intent"; the sketch was sold to London's Victoria and Albert Museum in 2010. In addition, Howard W. Swenson created numerous styrofoam models for
12006-491: The first interior landmark was part of the neighboring New York Public Library Main Branch in November 1974. In its first twenty-five years, the LPC designated 856 individual landmarks, 79 interior landmarks, and 9 scenic landmarks, while declaring 52 neighborhoods with more than 15,000 buildings as historic districts . In 1989, when the LPC and its process was under review following a panel created by mayor Edward Koch in 1985,
12144-561: The first theaters to be designated under the 1982 plan were the Neil Simon , Ambassador , and Virginia (now August Wilson) in August 1985. The landmark plan was then deferred temporarily until some landmark guidelines were enacted; the guidelines, implemented in December 1985, allowed operators to modify theaters for productions without having to consult the LPC. Landmark designations of theaters increased significantly in 1987, starting with
12282-426: The following year, created the LPC. The LPC's power was greatly strengthened after the Landmarks Law was passed in April 1965, one and a half years after the destruction of Pennsylvania Station . The LPC has been involved in several prominent preservation decisions, including that of Grand Central Terminal . By 1990, the LPC was cited by David Dinkins as having preserved New York City's municipal identity and enhanced
12420-414: The following years; by 1982, Stahl's plot alone was worth $ 70 million. To save time and limit inflation-related costs, AT&T awarded some construction contracts before certain design details were finalized. Demolition permits for the site had been approved by 1976, but, because of subsequent delays, a park or a temporary taxpayer building were considered for the site. The Alpine Wrecking Corporation
12558-402: The headquarters was shown on the front page of the next day's Times . Mayor Ed Koch described the project as "a strong vote of confidence" in the city's future, and the news media characterized it as part of a trend of midtown revitalization. AT&T initially expected construction to begin in late 1978 and be complete by 1982 at an estimated cost of $ 60 million. The design, particularly
12696-520: The important commercial and shipping hub at South Street Seaport." After the September 11 attacks in 2001, New York City tour guide Joseph Svehlak and other local historians became concerned that government-encouraged development in Downtown Manhattan would lead to the disappearance of the last physical heritage of the once "low-rise" Lower West Side of Manhattan. Also known as "Little Syria" in
12834-525: The landmark designations impacted them negatively, despite Koch's outreach to theater owners. The Shubert Organization , the Nederlander Organization , and Jujamcyn Theaters collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters on the merit that the designations severely limited the extent to which the theaters could be modified. The New York Supreme Court upheld
12972-416: The last 8-10 years". Several changes to the Landmarks Law were made by the City Council committee that was reviewing the legislation; for example, the committee removed a clause mandating a 400 ft (120 m) protective zone around proposed landmarks. The bill passed the City Council on April 7, 1965, and was signed into law by Wagner on April 20. The first eleven commissioners to take office under
13110-702: The late 1950s was slated for replacement with an office tower. However, early preservation movements often focused on preserving Colonial-style houses, while paying relatively little attention to other architectural styles or building types. There was generally little support for the preservation movement until World War II . Structures such as the City Hall Post Office and Courthouse , Madison Square Presbyterian Church (1906) , and Madison Square Garden (1890) were demolished if they had fallen out of architectural favor. Others, such as St. John's Chapel , were destroyed in spite of support for preservation. By
13248-409: The late 19th and early 20th centuries, the area between Battery Park and the World Trade Center site , east of West Street and west of Broadway , had been a residential area for the shipping elite of New York in the early 19th century, and turned into a substantial neighborhood of ethnic immigration in the mid-19th century. In the late 19th and early 20th centuries, centered on Washington Street ,
13386-486: The lobby with wooden paneling and black glass. The frescoes, titled "Northern Sky" and "Southern Sky", measure 30 by 30 feet (9.1 by 9.1 m) and consist of red and yellow patterns with spheres. When the building was renovated in the 2020s, the Rockwell Group converted the sky lobby into an amenity space. The amenity spaces include a central lounge flanked by Rockburne's paintings, as well as four conference rooms,
13524-450: The main lobby, elevators led to a sky lobby on the seventh floor, 77 feet (23 m) above ground level. The building's security checkpoints were originally in the sky lobby, which was clad with veined Breccia Strazzema marble but otherwise sparsely decorated. Between 1992 and 1994, after multimedia conglomerate Sony acquired the building, Dorothea Rockburne was hired to paint two abstract frescoes, and Gwathmey Siegel redesigned
13662-447: The market perception of a number of neighborhoods. The LPC is governed by eleven commissioners. The Landmarks Preservation Law stipulates that a building must be at least thirty years old before the LPC can declare it a landmark. The goal of New York City's landmarks law is to preserve the aesthetically and historically important buildings, structures, and objects that make up the New York City vista. The Landmarks Preservation Commission
13800-486: The mid-1970s, most of them in New Jersey. AT&T began looking for a Midtown site in the early 1970s, hiring James D. Landauer Associates to assist with site selection. It wished to build a site near Grand Central Terminal but eschewed Park Avenue as being too prominent. The western blockfront of Madison Avenue between 56th and 57th Streets was being acquired by IBM, which refused to give up its lot to AT&T. On
13938-480: The mid-20th century. This stretch of Madison Avenue in Midtown was a prominent retail corridor during the 20th century, but new office buildings were developed on the avenue in the two decades after World War II ended. The site at 550 Madison Avenue was described by New York magazine as "unusually human" compared to Midtown's other office developments due to the neighborhood's relatively low height. 550 Madison Avenue
14076-405: The middle of the city block between 55th and 56th Streets, was also included in the design; a plaza was built in its place in the 2020s. The presence of the atrium enabled the building to rise higher without the use of setbacks because of a provision in the city's zoning codes. The ground-level lobby is surrounded by retail spaces, originally a public arcade. The office stories are accessed from
14214-474: The most controversial properties was 2 Columbus Circle , which remained at the center of a discussion over its future for a number of years. Cultural landmarks, such as Greenwich Village 's Stonewall Inn , are recognized as well not for their architecture, but rather for their location in a designated historic district. In 2015, Stonewall became the first official New York City landmark to be designated specifically based on its LGBT cultural significance. In
14352-471: The move, AT&T agreed to construct a three-story exhibition space within the annex. In exchange, AT&T was granted a $ 42 million, ten-year tax abatement that August. The museum, which was named Infoquest Center, opened in May 1986. That September, AT&T said it would move up to 1,000 of its 1,300 employees to Basking Ridge, and seek to rent out at least 600,000 square feet of 550 Madison Avenue. The company
14490-462: The narrow tower. During the design process, Johnson/Burgee had considered various ornamental designs before deciding on the circular notch. One of the previous buildings on the site, the Delman Building at 558 Madison Avenue, had a similar broken pediment, although Johnson denied claims it influenced 550 Madison Avenue's rooftop. Instead, Johnson claimed to have been inspired by Al-Khazneh in
14628-439: The necessary architectural and historical significance and that better examples of the settlement house movement and tenements exist in other parts of the city." The activists have said they hope that the LPC under the new mayor will be more receptive to preservation in the neighborhood. Very rarely, a landmark status granted by the LPC has been revoked. Some have been revoked by vote of the New York City Council or before 1990,
14766-452: The northeast, 590 Madison Avenue to the north, and Trump Tower and the Tiffany & Co. flagship store to the northwest. The site was occupied by a stream before being developed in the 1800s. The AT&T Building directly replaced fifteen smaller structures, including several four- and five-story residences dating from the late 19th century, which were converted into commercial stores in
14904-578: The office stories. Barry Wine , founder of the Quilted Giraffe, was hired as the chef for the building's private dining club. The new atrium and retail spaces, known as Sony Plaza, were completed in 1994, and the Sony Wonder museum opened in the annex that May. The company name was prominently displayed in Sony Plaza: its logo was emblazoned on the jackets of the atrium's security guards, and banners with Sony's name were displayed. In its first year,
15042-478: The original associate architect Harry Simmons Jr. said that a "valued and useful space" would be razed, while Joseph B. Rose of the local Manhattan Community Board 5 said it would create "a dangerous precedent" for converting public plazas to commercial space. Conversely, David W. Dunlap of The New York Times said the changes were "unquestionably an improvement" both aesthetically and functionally. The New York City Planning Commission had to review and approve
15180-486: The original design were given a more rectangular shape, and the window arrangement was dictated by the interior use. The building also includes more than 1,000 pieces of brass manufactured by the Chicago Extruded Metals Company. The main entrance is on Madison Avenue and consists of an archway measuring 116 feet (35 m) high by 50 feet (15 m) wide, with a recess 20 feet (6.1 m) deep. Within
15318-428: The pink color was chosen to contrast with 590 Madison Avenue, the gray-green granite structure built simultaneously by IBM to the north. The granite facade helped to reduce energy consumption compared to the glass curtain walls used on many of the city's contemporary skyscrapers. In 2020 , during the building's renovation, it received an "A" grade on a citywide energy-efficiency ranking system. About one-third of
15456-442: The proposal. While the plans resulted in a net loss in public space, they also increased the overall zoning bonus. The commission approved slightly modified plans in September 1992, which retained small portions of the arcade. Sony bought out the Quilted Giraffe's lease, and the restaurant closed at the end of 1992. The Sony Tower was renovated between 1992 and 1994. Windows with bronze gridded frames were installed to close off
15594-586: The proposed destruction of the Brokaw Mansion on Manhattan's Upper East Side , identified by the LPC as a possible landmark, inspired Wagner to send the legislation to the New York City Council in mid-1964. The law, introduced in the City Council that October, would significantly increase the LPC's powers. The City Council cited concerns that "the City has been and is undergoing the loss and destruction of its architectural heritage at an alarming rate, especially so in
15732-486: The protection of the historic building. A group of community activists formed the "Save Our Seaport Coalition" to advocate that the New Market Building be incorporated into the historic district set by the Landmarks Preservation Commission, in addition to calling for the protection of public space in the neighborhood and for support for the seaport's museum. This group included the Historic Districts Council ,
15870-687: The rare wood. The decorative materials used in the building included Burmese teak document cabinets, Turkish onyx elevator panels, Chinese silk in the employee dining room, and Italian leather in the executive dining room. Italian marble was used for the executive staircases. After Sony moved into the building in 1992, Gwathmey Siegel renovated the interior with additional staircases, as well as doors topped with glass panels. The offices were refitted with sound systems and Sony videocassette recorder systems. The spaces were generally more flexible than under AT&T's occupancy, as they were meant to accommodate record and movie production. A conference center for Sony
16008-832: The research and archaeology departments to collect reports for governmental agencies that require environmental review for their projects. Finally, the Historic Preservation Grant Program distributes grants to owners of landmark properties designated by the LPC or on the National Register of Historic Places (NRHP). As of May 1, 2024 , there are more than 37,900 landmark properties in New York City, most of which are located in 150 historic districts in all five boroughs. The total number of protected sites includes 1,460 individual landmarks, 121 interior landmarks, and 12 scenic landmarks. Some of these are also National Historic Landmark (NHL) sites, and many are on
16146-479: The roof of the rebuilt annex to the west. The atrium also includes a waterfall, seating areas, and circular floor pavers that demarcate various parts of the space. The design details include poetry inscribed on the pavers, as well as a "steam pit" that is heated during the winter. The parking garage and truck elevators were in the annex, with a ramp to the garage from 56th Street and the elevators from 55th Street. The annex had its own lobby near 56th Street. There
16284-467: The sidewalks on these streets. There are multicolored granite pavement tiles within these passages. The 55th and 56th Street elevations of the facade contain flat arches measuring 16 feet (4.9 m) tall, supported by granite-clad piers at regular intervals. Just above each flat arch is a circular opening with canted profiles, atop which are four vertically aligned rectangular openings. The circular openings were carved in false perspective , making
16422-406: The steel frame as with typical skyscrapers. Leslie Robertson determined that each granite panel had to be anchored individually to the steel frame, and the mounting apparatus had to be strong enough to support the weight of two panels. At the roof is a broken pediment , consisting of a gable that faces west toward Fifth Avenue and east of the Madison Avenue. The center of the pediment features
16560-483: The substitution of cheaper material in some places. The acoustic ceilings were manufactured by the Industrial Acoustics Company , which fabricated 325,000 square feet (30,200 m ) of perforated steel panels clad with vinyl. In addition, AT&T bought $ 5.5 million worth of honey-colored Burmese teak furnishings such as paneling, trim, and doors from L. Vaughn Company, which hired 75 workers to supply
16698-606: The taxes forgiven since 1987. The refunded tax abatements were used to fund programs at the financially distressed City University of New York for the 1991–1992 academic year. AT&T moved its headquarters to 32 Avenue of the Americas , its long-distance telephone building in Lower Manhattan, and removed the Spirit of Communication statue. With the sale of the building, Burgee commented, "The period of making image buildings for companies appears to be over." After Sony leased
16836-593: The terra-cotta St. George's Syrian Catholic Church . After years of advocacy, in January 2009, the LPC held a hearing about the landmark designation of the Melkite church, which did succeed. However, under Chairman Robert Tierney, the LPC had declined to hold hearings on the Downtown Community House or 109 Washington Street. Community and preservation groups — including the "Friends of the Lower West Side" and
16974-473: The three buildings together would tell a coherent story of an overlooked, but important ethnic neighborhood. In addition to national Arab-American organizations, Manhattan Community Board 1 and City Councilperson Margaret Chin have also advocated for the LPC to hold a hearing on the Downtown Community House . According to the Wall Street Journal , however, the LPC argues that "the buildings lack
17112-417: The time, AT&T wanted to move most employees to a cheaper space. AT&T had signed a tentative 20-year lease with Sony by that May, although neither company confirmed the rumor at the time. Sony signed a 20-year lease agreement for the entire building that July, including an option to purchase 550 Madison Avenue. AT&T also forfeited $ 14.5 million of tax abatements to the city government, equivalent to
17250-592: The top three stories, which contained bays with glazed curtain walls. The north and south facades are divided into six bays each, separated by granite piers. There are joints , or gaps, where the panels meet. The panels are further divided by shallower false joints, which resemble the real joints. The granite panels are typically 2 or 5 inches (51 or 127 mm) thick, while the mullions are 6 or 10 inches (150 or 250 mm) square. The granite panels are extremely heavy, with many panels weighing over 1 short ton (0.89 long tons; 0.91 t), so they could not be hung onto
17388-435: Was also a three- and four-story annex at the western end of the site. At the time of 550 Madison Avenue's construction, there was a lease on the adjacent Corning Glass Building that limited the height of any structures near that building to 60 feet (18 m) in height. This restriction included the westernmost lots of the AT&T site, so the roof of the annex was exactly 60 feet tall. Following an early-2020s renovation,
17526-560: Was also installed on the twenty-eighth floor. The AT&T executive offices on the thirty-fifth floor were retained, and an executives' dining club called the Sony Club was opened within the space. AT&T was established in 1885 and had been headquartered at 195 Broadway in Lower Manhattan since 1916. In the subsequent decades, AT&T became the world's largest telephone company, and maintenance costs on its headquarters increased. With its continued growth, AT&T acquired land for
17664-574: Was also retail space within the original annex, facing the western wall of the atrium. Infoquest, an AT&T technology exhibit, was initially housed in the annex; it opened in 1986 and operated until about 1993. The annex became the Sony Wonder Technology Lab museum in 1994; it was open on Tuesdays through Saturdays, and Sony described the free exhibits as a "technology and entertainment museum for all ages". The fifth through thirty-third stories have offices. 550 Madison Avenue's height
17802-422: Was an elevator lobby with bronze elevator doors. After a 2020s renovation, the lobby was redesigned with large windows at its western end, as well as decorative materials like terrazzo, leather, and bronze mesh. The terrazzo floors incorporate some of the original marble flooring. The lowest portions of the lobby wall are decorated with the mesh, while the rest of the walls are covered in white marble. Solid Sky ,
17940-616: Was conducting a "feasibility study" for the headquarters. AT&T mandated that Johnson/Burgee select an associate architect as per the provisions of the Equal Employment Opportunity Act of 1972 . Harry Simmons Jr., head of a small African American firm, was selected out of seven interviewees from a field of 28 candidates. Simmons's firm was tasked with designing twenty percent of the overall architectural detail. According to design manager Alan Ritchie, DeButts explained "what he wanted in broad terms" but gave wide latitude to
18078-465: Was designed by Philip Johnson and John Burgee of Johnson/Burgee Architects . Johnson had been an influential figure in modernist architecture during the late 20th century, having helped design the Seagram Building nearby in the 1950s, but he reverted to more classical motifs for 550 Madison Avenue's design. The building was among Johnson and Burgee's most influential works and, according to
18216-599: Was hired to dismantle the existing structures. The company removed non-load-bearing walls, salvaged recyclable materials, demolished the structures' upper stories by hand, and finally used machinery to destroy the lower stories. The two buildings nearest the Corning Glass Building were temporarily preserved to allow that building's fire code rating to be retained. Around 1977, a committee of three AT&T officials and three officials from Smith's offices mailed questionnaires to twenty-five architects or design firms which
18354-410: Was made of mica schist , the composition of which was unpredictable if detonated, so about 8,000 small blasts were used to excavate the foundation. The resulting hole was 45 to 50 feet (14 to 15 m) deep. Excavations were ongoing in February 1979 when deButts was replaced by Charles L. Brown as AT&T CEO. Brown, who was less enthusiastic about a grand headquarters than deButts had been, sought
18492-467: Was no close second" candidate; Smith subsequently recalled that Johnson/Burgee were open to different design ideas. On June 17, 1977, the day after the presentations, The New York Times reported that AT&T had hired Johnson/Burgee to design a 37-story headquarters on the site. Johnson was quoted as saying that he wanted the new headquarters to be a "landmark" representing the company. The Wall Street Journal reported shortly afterward that Johnson
18630-512: Was part of a move to consolidate Sony's United States operations away from the Sony Corporation of America , which had overseen Sony Pictures and Sony Music, and give more control over the United States operations to executives in Japan. The Wall Street Journal described the equipment upgrades as indicative of "a long-term commitment to the area". In 2002, Sony exercised its option to purchase
18768-421: Was reconsidering leasing out its Madison Avenue headquarters by early 1987. After Koch threatened to rescind the entire tax abatement, AT&T agreed to move only 778 employees. The fine-dining restaurant The Quilted Giraffe moved into the building in June 1987. Having substantially decreased in size, AT&T sought to rent 80 percent of the space at 550 Madison Avenue to other companies in January 1991. At
18906-421: Was the construction manager, while William Crow Construction and HRH Construction were the general contractors . 550 Madison Avenue's developer, telecommunications firm AT&T Corp. , had requested that the building use material obtained exclusively from the United States. The primary portion of the building is the 37-story office tower along Madison Avenue, on the eastern section of the land lot. The tower
19044-811: Was unlikely to be controversial. As a result, several prominent buildings were destroyed in the first several years of the LPC's existence, such as the Singer Building and the New York Tribune Building . Other structures, such as the Villard Houses and Squadron A Armory , were saved only partially. The LPC was headquartered in the Mutual Reserve Building from 1967 to 1980, and in the Old New York Evening Post Building from 1980 to 1987. The original legislation enabled
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