Apple Bank Building

Apple Bank for Savings

Industry	Banking
Predecessor	Central Savings Bank
Founded	1859 (1859)
Headquarters	New York City , United States
Products	Banking services
Website	www.applebank.com

The Apple Bank Building, which is also referred to as the Central Savings Bank Building or simply 2100 Broadway, serves as both a banking facility and residential complex situated at 2100–2114 Broadway in Manhattan's Upper West Side, New York City. Constructed between 1926 and 1928 as a branch for the Central Savings Bank (now operating as Apple Bank), this structure occupies a uniquely shaped trapezoidal lot bordered by 73rd Street, Amsterdam Avenue, 74th Street, and Broadway. The design, created by York and Sawyer, reflects the Renaissance Revival and palazzo architectural styles, drawing heavily from the aesthetics of Italian Renaissance palaces.

The building’s base is clad in rusticated stone blocks, with the first-floor level featuring double-height arches decorated with intricate ironwork crafted by Samuel Yellin. The fifth and sixth stories resemble a loggia, characterized by pilastered windows and crowned with a Spanish tile roof. Entrances located on 73rd Street, Broadway, and 74th Street lead into elaborately designed vestibules. Along Amsterdam Avenue, the banking hall is distinguished by sandstone walls, marble floors, expansive niches, and a coffered barrel-vaulted ceiling. A mezzanine level overlooks this main banking space toward the west side. The basement, which formerly housed a vault, has been repurposed into a fitness center. The upper floors accommodate 29 condominium residences.

The building opened its doors on December 8, 1928, serving as an uptown branch while the bank’s headquarters remained in Union Square, Manhattan. Initially, the upper stories were leased as office spaces while banking operations were confined to the ground floor. The facade was designated a New York City designated landmark in 1975 and later added to the National Register of Historic Places in 1983. Following the 1981 merger of Central Savings Bank with Harlem Savings Bank—which became Apple Bank for Savings—the building continued functioning as a local bank branch. The banking hall itself was granted landmark status in 1993. Between 2004 and 2007, the upper office floors were transformed into condominiums. Unlike many historic bank edifices in New York City, the Apple Bank Building still operates an active banking branch.

Site

Situated at 2100–2114 Broadway within Manhattan’s Upper West Side, the Apple Bank Building occupies a trapezoidal city block enclosed by Broadway, 74th Street, Amsterdam Avenue, and 73rd Street. The property spans , with approximately of frontage along Broadway and a depth of . Nearby notable structures include the apartment buildings The Ansonia and The Dorilton, as well as the Hotel Beacon and Beacon Theatre. Directly to the south lies Verdi Square along with access to the New York City Subway via the 72nd Street station.

Historically, this parcel was part of the Harsenville development dating back to the nineteenth century. The southern segment of the lot—formerly identified as lot 26—was once occupied by the Sherman Apartments before being acquired by James Butler and Peter McDonnell in 1905. The northern portion, known as lot 32, was owned by Thomas J. Powers from 1861 until its sale to the 4 & 6 West 93rd Street Corporation in 1921.

Architecture

Commissioned by the Central Savings Bank and designed by architects York and Sawyer, the Apple Bank Building is a prime example of Renaissance Revival architecture combined with palazzo influences inspired by Italian Renaissance palaces. York and Sawyer had previously created several notable bank buildings including the Bowery Savings Bank at East 42nd Street, Greenwich Savings Bank Building, and Federal Reserve Bank of New York. Built under general contractor Hegeman-Harris Company’s supervision, this structure was intended as a neighborhood branch yet exhibits grandeur comparable to major financial institutions’ headquarters.

Today, it functions as a branch for the Apple Bank for Savings (the successor to Central Savings Bank) alongside housing 29 condominium units on its upper floors. Originally comprising six full stories plus mezzanines, its lofty ceilings give an interior volume equivalent to eight or nine stories—emphasizing its significant scale and prominence within the Upper West Side’s banking landscape.

Facade

Each elevation displays a unique window configuration. The facade is segmented horizontally into four distinct layers: a single-story base, two middle sections, and an attic on the seventh floor. The corner at the northwest is chamfered.

Ground floor

The facade’s foundation is composed of rusticated limestone blocks, each measuring up to . Above this lies a frieze adorned with a torus molding inscribed with the phrases "Central Savings Bank," "Chartered MDCCCLIX" (indicating its 1859 origin), and "Erected MCMXXVIII" (marking its 1928 completion), arranged differently on each side.

Entrances are positioned along 73rd Street, 74th Street, and Broadway, framed by substantial stone surrounds and capped with prominent cornices that feature denticulation. The main Broadway entrance is flanked by square windows fitted with metal grilles. At the northern end, a secondary apartment entry at 2112 Broadway provides access. The entrance at the northwest corner of 74th Street and Broadway is equipped with a wheelchair ramp. On the southern side along 73rd Street, there is a recessed doorway accompanied by a grille. Above this entrance sits a clock, flanked by limestone lions sculpted by Ricci and Zari.

The north facade along 74th Street includes an entrance near its northeastern corner, whereas the east facade on Amsterdam Avenue contains square windows with grilles but no doorways.

Upper stories

From the second through fourth floors, rusticated limestone blocks continue as on the base. The second and third levels feature double-height arched windows that overlook the banking hall; these are protected by wrought-iron grilles decorated with gargoyle heads crafted by Samuel Yellin of Philadelphia. The main west-facing elevation on Broadway contains three arched windows, while the east elevation on Amsterdam Avenue has five. Centered above these arches on both elevations is an inscribed panel reading "Central Savings Bank 1859–1928," embellished with shields and garlands. On Amsterdam Avenue’s outermost bays, rectangular windows appear on the second and third floors.

The north side along 74th Street presents one arched window in its eastern segment and four rectangular window bays on the second and third floors, three of which are grouped together. Along the south facade on 73rd Street, there is a large arched window alongside a display showing time and temperature. The keystones crowning these arches include shield-shaped cartouches featuring a caduceus flanked by diagonal flagpoles.

Above the arches, the fourth floor consists of fourteen rectangular windows on Broadway, eighteen on Amsterdam Avenue, eight along 74th Street, and five on 73rd Street, all surmounted by a continuous horizontal band course. The fifth and sixth stories create a loggia divided into bays corresponding to those below; each bay contains double-height tripartite windows separated by iron spandrels and fifth-floor balustrades. Vertical pilasters rest upon rusticated piers, supporting an extended cornice adorned with modillions. The seventh floor features paired windows aligned with the bays beneath them, crowned by a sloping Spanish tile roof.

Bank interior

The majority of the bank's structure aligns along Amsterdam Avenue, 74th Street, and 73rd Street, whereas the Broadway entrance vestibule is oriented at a right angle due to Broadway’s diagonal layout. An entrance foyer bends approximately 40 degrees, connecting the Broadway vestibule to the principal banking space.

Vestibules

On the west side of the ground floor facing Broadway lies an irregular quadrilateral vestibule adorned with multicolored marble flooring framed by black slate borders. The walls are finished with sandstone paneling resting above black-slate baseboards and feature wrought-iron radiator grilles. An inscription on the north wall honors the building’s construction, presented by the Broadway Association. Flanking metal double doors are sidelights supported by iron mullions. The coffered plaster ceiling is painted to imitate iron and includes a central iron lantern.

From this vestibule, a doorway opens eastward into an irregular octagonal foyer that contains a metal-and-glass revolving door occupying about two-thirds of the entrance as well as a single plate-glass door. Six-pane transom windows with wrought-iron floral patterns held by iron mullions are positioned above. This foyer also showcases polychrome marble flooring, sandstone paneling, wrought-iron grilles, and a plaster coffered ceiling painted to resemble iron with an openwork iron lantern suspended centrally. The eastern wall is distinguished by a Mondragone marble architrave leading into the banking hall.

Two other vestibules face 73rd and 74th Streets respectively, each providing direct access to the banking room. These entrances feature travertine floors edged with black slate, revolving doors with interior detailing, plate-glass doors framed in metal, and decorative iron transoms.

Banking room

The floor of the banking room is composed of multihued marble tiles arranged in alternating circle and square patterns across eight different colors. The central teller counter and an adjoining partial wall on its southern side are constructed from Mondragone marble. Bronze counter screens adorned with wrought-iron finials bear friezes inscribed with "Industry," "Thrift," and "Prosperity." Beneath the counter runs a wrought-iron cresting. Designer Yellin was responsible for crafting wrought-iron furnishings such as desks, chairs, and lamps, while York & Sawyer installed eight marble benches within the space.

The north and south walls are built from smooth sandstone blocks set above black-slate baseboards. On both the west and east walls stand six large piers made of sandstone and black slate, flanking five arches on each side. Central piers support flagpoles with ventilation grilles located beneath them. The three middle arches on the west wall create a loggia that leads to a mezzanine level; the outer arches are blind openings commemorating trustees through inscriptions and topped by Mondragone marble architraves above staircases ascending to the mezzanine. Correspondingly, arches on the east wall align with windows facing Amsterdam Avenue and include heating grilles below. A Greek key frieze runs beneath these arches, while dentil cornices crown both piers and walls.

Above the vestibules on 73rd and 74th Streets are barrel-vaulted alcoves featuring sandstone walls embedded with radiator grilles on their sides, ashlar sandstone soffits, marble screens on rear walls surmounted by round-arched windows with glazed railings supported by iron standards, coffered ceilings, and bronze chandeliers. The primary barrel-vaulted ceiling rises to 65 feet and is constructed with a steel frame despite appearances suggesting support from piers. It is decorated with gilded octagonal and square coffers separated by foliate ribs; three large bronze chandeliers hang from medallions embellished with acanthus leaf wreaths, friezes, rosettes, Greek key patterns, and Latin inscriptions relating to banking themes.

Mezzanine

Access to the mezzanine level is provided by staircases originating from the western wall’s northernmost and southernmost arches within the banking hall. These stairs consist of six travertine steps that lead westward to a midway landing adorned with polychrome marble and travertine finishes. From this landing, the northern staircase curves southward while the southern staircase turns northward, ascending further alongside rusticated sandstone ashlar walls and angled ceilings featuring small coffered details. Each staircase terminates at a segmental arch that opens onto the mezzanine.

Along the mezzanine's eastern side, travertine balustrades run beneath three arches that overlook the main banking floor, enhanced by metal handrails and balusters crafted by Yellin. The remaining walls are composed of sandstone ashlar, segmented by a denticulated cornice; their lower portions are rusticated while the upper sections are smooth. The southern wall includes a single stairwell opening, whereas the northern wall presents a symmetrical arrangement with three arches containing a doorway and a window framed by an architrave. The ceiling is decorated with hexagonal and triangular coffers accented by painted rope-motif ribs and illuminated by three bronze chandeliers with painted finishes.

The executive suites adjacent to the mezzanine were outfitted by Barnet Phillips Company, featuring soaring double-height beamed ceilings, richly paneled wood walls, elaborate faux artwork, and expansive fireplaces flanked by torchères. The ceiling design was inspired by motifs found in Florence’s Palazzo Davanzati.

Other interior spaces

Originally, the top four stories accommodated leased office spaces arranged around a trapezoidal corridor. Most office doors were solid metal with brass knobs and frosted-glass transoms above; walls were finished with marble wainscoting and brass signage plates. Despite numerous repaintings over more than 75 years, the original decorative elements on doors have remained intact and functional. The highest floor included restrooms and a dining area designated for Central Savings Bank executives.

The basement housed vault doors each weighing 60 short tons. Spanning 15,000 square feet, this space was transformed in 2000 into Manhattan’s first year-round full-service baseball and softball training center.

Residences

In 2006, the building’s upper seven floors were converted into Apple Bank Condo, a residential condominium complex. This residential portion has its own entrance at 2112 Broadway, featuring a concierge area designed by Beyer Blinder Belle. There are 29 apartments with distinctive floor plans ranging from one to four bedrooms in size. The top two floors contain six duplex units. Shared amenities include a fitness room, laundry service, and a pet shower facility. Since the bank continues operations on the ground floor, mail is delivered directly to residents without requiring a mailroom or basement storage. Both the lobby and exercise room each occupy approximately .

Apartment interiors showcase dark hardwood flooring and kitchens with speckled granite countertops. A notable two-bedroom unit includes a spacious living room fireplace, French doors leading to bedrooms, and a walk-in closet with an en-suite bathroom. Apartments below the duplexes feature ceilings measuring in height along with windows . Each duplex unit contains an interior courtyard aligned with ceiling trusses.

History

Established in 1859, the German Savings Bank initially operated from the Cooper Union Building located in Manhattan's East Village. Its original name reflected its predominantly German customer base. In 1864, the bank relocated its headquarters to the Napier House near Union Square, which was subsequently replaced by a dedicated four-story banking facility in 1872. During World War I, in 1918, the institution adopted the name Central Savings Bank, likely a response to growing anti-German sentiment. Prior to 1923, New York savings banks were restricted to a single location; however, following legislative changes permitting branch expansion, Central Savings Bank formed a committee to investigate potential branch sites.

Development

By mid-1923, the bank identified an ideal location for an uptown branch bordered by Broadway, Amsterdam Avenue, and 73rd and 74th Streets. In November of the same year, it purchased the Sherman Apartments on 73rd Street for $1 million but temporarily halted further property acquisitions due to existing tenant leases. Meanwhile, a provisional branch commenced operations at 77th Street and Broadway in March 1924.

Property acquisition efforts resumed in January 1926 with the purchase of the northern half of the block for $1.65 million. Under new leadership—President Adolph Koppel and Vice President August Zinsser—the bank approved architectural plans from York and Sawyer for a new building featuring a banking hall approximately 70 to 80 feet high. Following Koppel’s passing in August 1926, Zinsser assumed the presidency and continued supervising the project. The forthcoming branch was designed to accommodate executive and investment departments.

In December 1926, construction plans were submitted to the New York City Department of Buildings. Site preparation and foundation work began in January 1927 by Spencer, White & Prentis, with Hegeman-Harris Company appointed as general contractor starting construction in May. By June, National Park Bank had leased space within the building for a smaller branch.

Central Savings Bank recognized construction workers for their craftsmanship in March 1928. By July of that year, National Park Bank inaugurated its branch while upper floors were leased as office space. The Broadway Association honored the building upon its completion. The total construction cost was approximately $6.5 million. Despite opening this Upper West Side location, Central Savings Bank retained its Union Square branch.

1920s to 1970s

The new bank branch officially opened on December 8, 1928. Just prior to this event, $170 million in deposits were transferred from the Union Square location using sixteen armored vehicles escorted by sixty police officers. Early office occupants included real estate developer Ralph Ciluzzi, J.S. Ansorge & Co., Rosalind Realty Company, as well as numerous medical practitioners and dentists. By its seventy-fifth anniversary in 1934, Central Savings Bank held assets exceeding $212 million, ranking third among New York state banks by number of depositors and fifth by deposit volume. The building also hosted events such as a 1938 exhibition showcasing antique toy banks.

By 1943, Chase National Bank operated a branch on the side facing 74th Street. In 1947, plans were filed for minor modifications to the building structure. During the 1950s and 1960s, tenants included the Atlantic District of the Lutheran Church in America, real estate developer Arturo A. Campagna, and Mark Rafalsky & Co. In celebration of its centennial in 1959, New York City recognized the bank for its contributions to local economic development and thrift education. That year also saw a basement flood caused by a water main break. A time and temperature display was added to the southern facade in 1961. Over time, Yellin's ironwork on the structure suffered neglect due to limited maintenance efforts by Central Savings Bank.

In 1974, the New York City Landmarks Preservation Commission (LPC) proposed designating both the building’s facade and banking hall interior as landmarks—the first interior bank space considered since LPC obtained authority over interior landmarks. Bank representatives expressed doubts about the architectural or historical importance of such recognition. Nevertheless, on January 28, 1975, the facade received landmark status alongside adjacent Verdi Square; this designation was subsequently confirmed by the New York City Board of Estimate in March.

1980s to present

By the early 1980s, Central Savings Bank encountered financial challenges that prompted a proposed acquisition by Manhattan Savings Bank. At that time, Central Savings Bank operated from its main office at 2100 Broadway, alongside seven additional branches located throughout Manhattan and Long Island. In 1981, Central Savings merged with Harlem Savings Bank, which maintained eight branches in the same areas. Harlem Savings continued to use its headquarters at 205 East 42nd Street, while the 2100 Broadway location was reclassified as a local branch. To better represent its broader geographic reach, the institution rebranded as Apple Bank in May 1983. During this transition, the building’s distinctive time-and-temperature sign was temporarily removed to accommodate the new signage. Later that year, the Apple Bank Building earned a place on the National Register of Historic Places, distinguished as "Manhattan's only free-standing bank building." The upper floors housed tenants such as Siris/Coombs Architects.

Throughout the late 1980s, the Apple Bank Building served as a venue for various events, including a 1988 exhibition showcasing proposed skyscrapers for the Upper West Side and a 1989 art auction supporting opposition to Donald Trump’s nearby development plans. During this era of branch reductions and downsizing, the Landmarks Preservation Commission (LPC) proposed landmark designation for several prominent bank interiors in 1990, including Apple Bank’s main banking hall. Apple Bank resisted interior landmark status, citing concerns about operational limitations and uneven protections compared to other landmarked businesses. Despite these objections, the LPC officially designated the banking room as an interior landmark on December 21, 1993.

Stanley Stahl, Apple Bank’s sole proprietor, passed away in 1999; however, ownership interests remained with the Stahl Organization. By 2000, the building’s basement contained a gym operated by Frozen Ropes LLC. Prominent real estate firms such as Brown Harris Stevens (occupying most of the mezzanine), Douglas Elliman, and Corcoran Group leased office space within the building. In 2004, Apple Bank allowed these leases to expire; tenants gradually vacated over the following year while office floors were converted into residential condominiums. Brown Harris Stevens was appointed to oversee leasing for these new residential units.

The condominium sales campaign launched in July 2006 with prices ranging from $1.8 million to $6.7 million; by year-end, approximately forty percent of units had been sold under contract. Sales of duplex units commenced in June 2007. Among notable residents were singer Harry Belafonte, who purchased two adjacent condos in 2007, and basketball player Emeka Okafor, who acquired a unit in 2013. The conversion into condominiums was finalized in 2007, with some apartments selling for up to $4 million. Throughout this transformation, the street-level bank branch remained operational—unlike many other large banking halls in New York City that were repurposed into event spaces or residential lobbies.

Reception

Upon its completion, The New York Times praised the Central Savings Bank Building as one of Broadway's "finest commercial structures." Charles J. Quintan, who managed leasing for the building, remarked that its completion signified that conservative bankers had endorsed this part of the city by undertaking such a substantial project. Architecture and Building described it as "an ornament to its location." In contrast, George S. Chappell writing for The New Yorker found the southern facade "rather distressing," criticizing its apparent misalignment.

In later decades of the twentieth century, David W. Dunlap of The New York Times underscored the building’s importance by suggesting that referring to Apple Bank for Savings merely as a neighborhood branch was akin to calling Grand Central Terminal just a commuter station. Paul Goldberger lauded its banking hall as "one of New York's great banking rooms," designed by York and Sawyer alongside their work on Bowery Savings Bank. The architectural style of this building subsequently influenced the design of nearby Laureate condominiums developed during the 2000s.

See also

• List of buildings and structures on Broadway in Manhattan
• List of New York City Designated Landmarks in Manhattan from 59th to 110th Streets
• National Register of Historic Places listings in Manhattan from 59th to 110th Streets