Manufacturers Trust Company Building

Manufacturers Trust Company Building

Company type	Commercial property
Industry	Banking architecture / Commercial real estate
Predecessor	Ziegler Building, rowhouse at 508 Fifth Avenue
Founded	1954
Founder	Manufacturers Trust Company
Fate	Converted from bank branch to commercial use
Successor	Chase Bank (successor institution)
Headquarters	New York City , United States
Area served	Midtown Manhattan, New York City
Key people	Horace C. Flanigan (President of Manufacturers Trust Company), Charles Evans Hughes III, Gordon Bunshaft (architects)
Products	Bank building, commercial property
Owner	The Reuben Brothers (as of 2023)

The Manufacturers Trust Company Building, also referred to as 510 Fifth Avenue, is a commercial property located at the southwest intersection of West 43rd Street and Fifth Avenue in Midtown Manhattan, New York City. Completed in 1954, it stands as the first bank structure in the United States designed in the International Style. The architectural design was led by Charles Evans Hughes III and Gordon Bunshaft from Skidmore, Owings & Merrill (SOM), with contributions from Roy O. Allen and project manager Patricia W. Swan. The interior design was crafted by Eleanor H. Le Maire, while artist Harry Bertoia provided artistic elements. Constructed to serve as a bank for the Manufacturers Trust Company, its president Horace C. Flanigan aimed to create a welcoming environment for customers.

The building comprises four complete stories, a penthouse level, and a basement. Its exterior is characterized by expansive glass walls framed by aluminum mullions. Inside, the original vault, designed by Henry Dreyfuss, is secured by a circular stainless steel door. The second floor is set back from the facade, with upper floor slabs supported by four columns, producing a floating visual effect. A lease restriction that limited building height on part of the site influenced both its dimensions and architectural approach, resulting in a smaller penthouse above the fourth floor.

Initially commissioned in 1944, the first design by Walker & Gillette was abandoned in 1948. A revised plan by Walker & Poor emerged in 1950 but was ultimately replaced when SOM took over after Gordon Bunshaft convinced bank officials that a complete redesign would be more economical. Upon its opening, it became the busiest branch for Manufacturers Trust and attracted tourists. The successor institution, Chase Bank, sold the property to Tahl-Propp Equities in 2000; later, Vornado Realty Trust acquired it in 2010. Following the closure of the Chase branch that year, SOM undertook renovations converting it for commercial use in 2012. The Reuben Brothers purchased the building in 2023.

The architectural design was highly praised, particularly for its lightweight facade, innovative ceiling illumination, and prominently displayed vault. It had a significant impact on bank architecture throughout the 1950s and 1960s. The facade received landmark designation from the New York City Landmarks Preservation Commission (LPC) in 1997; its interior was landmarked in 2011 amid disputes regarding the removal of Bertoia’s artwork.

Site

510 Fifth Avenue is situated at the southwest corner where Fifth Avenue meets 43rd Street within Midtown Manhattan, New York City. The rectangular lot extends along Fifth Avenue and stretches along West 43rd Street. Prominent nearby buildings include 500 Fifth Avenue to the south, the Salmon Tower Building to the west, and one block south on 42nd Street lies the New York Public Library Main Branch alongside Bryant Park.

Before this building was constructed, the location contained the Ziegler Building alongside a rowhouse at 508 Fifth Avenue. The Ziegler Building was an eight-story office edifice erected in 1900 that housed accountants, brokers, attorneys, and tobacconist Alfred Dunhill among its tenants. Early in the twentieth century, the rowhouse at 508 Fifth Avenue was converted for commercial use and hosted occupants such as Gotham Silk Hosiery Company and Huyler's candy store.

Architecture

510 Fifth Avenue was conceived in the International Style specifically as a bank for the Manufacturers Trust Company. The architectural team was led by Charles Evans Hughes III and Gordon Bunshaft from Skidmore, Owings & Merrill (SOM). Although Hughes secured victory in an internal SOM design contest, senior architect Bunshaft along with project coordinator William S. Brown managed the project's progression. Patricia W. Swan collaborated closely with Bunshaft and Roy O. Allen to direct the design team, while Eleanor H. Le Maire was responsible for the interior aesthetics. The interior also featured artistic contributions from Harry Bertoia. Construction was carried out by the George A. Fuller Company under job captain Alan Labie, with structural engineering by Weiskopf and Pickworth, mechanical and electrical systems designed by Syska and Hennessy, and landscaping executed by Clarke and Rapuano.

This structure holds the distinction of being the United States’ inaugural International Style bank. Prior modern bank branches often maintained traditional appearances despite incorporating some contemporary elements. During construction, Manufacturers Trust CEO Horace C. Flanigan intended for the building’s design to symbolize "stability and security" through its use of modern materials. When it opened in 1954, promotional materials emphasized its self-promoting architectural concept; Bunshaft likened its spacious layout to that of retail establishments. Marking a transition in banking architecture from a focus on security to marketing appeal, Architectural Forum described 510 Fifth Avenue as "a dynamic new kind of prestige design for large financial institutions," notable for its architectural "lavishness."

Form

The building rises five stories tall, with four full floors covering the entire footprint, topped by a penthouse that is recessed on every side except the west. This penthouse has a T-shaped configuration, incorporating a mechanical area on its western side and a narrower office section extending eastward. Positioned amidst towering skyscrapers, the building experiences limited natural sunlight each day.

According to Skidmore, Owings & Merrill (SOM), the total height reaches 74 feet including the penthouse roof. This dimension resulted from an agreement whereby Manufacturers Trust leased 508 Fifth Avenue from developer Walter J. Salmon Sr., who was also responsible for neighboring 500 Fifth Avenue. By leasing 508 Fifth Avenue and acquiring its air rights, Salmon enabled the construction of a taller skyscraper than typical zoning regulations would permit. The sublease imposed a height cap of 63 feet on buildings at 508 Fifth Avenue and barred any obstruction of the adjacent tower. Consequently, the penthouse is set back from the 508 Fifth Avenue property line to adhere to this height restriction.

Facade

The facade of 510 Fifth Avenue is characterized by a curtain wall predominantly made of glass, featuring a notable bank vault door at street level. The elevations facing Fifth Avenue and 43rd Street are largely glazed, utilizing approximately at the time of opening. The second-floor glass panels were unprecedented in size when installed, measuring and weighing each . Windows on the first, third, and fourth floors measure . All glass components were manufactured by Pennsylvania’s Franklin Glass Company. Architectural critic Lewis Mumford observed that the surrounding tall buildings justified using clear glass without heat-absorbing tinting. A subtle gold tint was applied to minimize glare.

Glass panes are mounted using horizontal rails combined with vertical aluminum mullions, dividing the facade into bays approximately wide. Dark wire-glass spandrels are positioned above windows on floors two through four. The lightweight metal mullions were intentionally designed to create an impression of delicacy. Both mullions and rails extend beyond the thickness of the glass panes. Joints remain visible and were crafted with exacting precision without employing moldings.

The pedestal and selected sections along 43rd Street and Fifth Avenue are adorned with polished black granite, which includes inscriptions acknowledging SOM and the Fuller Company’s involvement. The penthouse’s western portion is clad in gray brick while its eastern section features glass; both are concealed behind a recessed parapet made of aluminum and glass.

Originally, there were two separate entrances catering to different functions: a primary banking entrance located on eastern 43rd Street and an office entrance on the western side. The banking entrance has since been converted into storefront access spanning three bays. Renovations during the 2010s introduced two additional entrances along Fifth Avenue.

Interior

The Manufacturers Trust Company Building encompasses roughly of floor space. Positioned on the western side are two elevators along with two fire staircases. The elevator lobby on the first floor, accessible from 43rd Street, is distinguished by glass ceiling tiles. Initially, the first and second floors functioned as the main banking halls, connected by escalators. Renovations carried out in the 2010s transformed these levels to accommodate retail purposes. Previously, gold-tinted curtains embellished the lower facade but had been removed by 1989. The upper three stories were designated for office use; during its banking operations, the third floor contained departments for clerical work and personal loans. An employee lounge was situated in the basement.

The structural support consists of eight internal columns set back from Fifth Avenue and from 43rd Street, clad in white Vermont marble. Concrete slabs for the floors extend cantilevered from these columns, with steel beams reinforcing the facade along 43rd Street and concrete beams supporting the Fifth Avenue side. The slabs on the third and fourth floors are hidden behind spandrels, while the recessed slab on the second floor appears to float visually. Floor surfaces are finished with asphalt tile and cement layers atop the concrete slabs.

Each level incorporates vinyl dropped ceilings suspended beneath the floor slabs, segmented into grids by metal strips. Lighting is provided by cathode-ray tubes positioned above ceiling panels that diffuse light evenly, masking the tubes themselves and producing a consistent illumination throughout. These ceilings also conceal mechanical and electrical installations, including air conditioning ducts located beneath the southern wall and above the ceiling panels. Furthermore, they help reduce glare by limiting light reflection from large windows.

First floor

The first-floor ceilings feature a distinctive design. Originally serving as a banking hall, this level contained teller booths, a vault, and facilities for quick transactions. The interior design was relatively simple, with individual desks complemented by an ebony-wood banking counter topped with marble. This counter formed an "L" shape along the southern and western walls. A black granite partition separated the vault at the southern end from the banking counter area. The western wall was painted in a "sky blue" hue and flower boxes lined the eastern side facing Fifth Avenue. The elevator lobby on the western side, accessed via 43rd Street, includes steel elevator doors framed in dark marble.

Facing Fifth Avenue is a massive steel bank vault door designed by Henry Dreyfuss of the Mosler Safe Company. Despite its substantial weight of , it was engineered to swing effortlessly due to a finely balanced bolt wheel and hinge mechanism. A steel grille behind this vault opening remained closed during daytime hours. This door served dual purposes: security and marketing; it was illuminated at night and maintained weekly to ensure its pristine condition. Although its visibility acted as a theft deterrent, architects have noted that its placement was primarily for aesthetic impact. CEO Horace C. Flanigan emphasized convenience in situating the vault on this level. The vault itself measured , housed approximately 6,000 safe deposit boxes, and featured a secondary door further inside. It was securely anchored directly into Manhattan bedrock. By the late 1970s, while the front section of this area had been cleared out, the rear portion remained operational. During renovations in the 2010s, vault walls were removed; however, this iconic door has been preserved.

Originally, two escalators ascended to the second floor; these were arranged parallel to Fifth Avenue as freestanding diagonal structures that seemingly lacked support. Aluminum panels with straw-gold finishes designed by Le Maire flanked these escalators; cathode lighting shone through tiny openings within these panels to create illumination effects. By the early 1990s, these panels had been replaced with silver-colored ones. Above the escalators hung an untitled "wire cloud" artwork created by Bertoia. In renovations during the 2010s, these original escalators were replaced with new ones oriented perpendicular to modernized entrances along Fifth Avenue.

Second floor

The mezzanine level, also known as the second floor, spans and is recessed from the building's front. Initially separated by an open gap, a partition made of glass and aluminum was installed by 1993. During the building’s tenure as a banking facility, this floor accommodated areas for both retail and commercial banking, as well as offices designated for senior management. The accounts section featured an open workspace with individual desks for officers, highlighting a focus on personalized client service. Its configuration resembled that of the first floor but centralized the desks of senior executives. A counter crafted from ebony and marble incorporated a hidden air-return duct. The western wall was clad in black granite, with a large metal clock displaying numerals on its southern portion and white-painted surfaces elsewhere; rectangular planters lined its perimeter.

Positioned before the western wall, artist Harry Bertoia designed Golden Arbor, an airy sculptural screen composed of 800 intersecting panels made from brass, copper, and nickel. This piece measured in length and in height, weighing , becoming a distinctive element within the retail environment. Although removed in 2010 following JPMorgan Chase’s branch closure—despite opposition from preservation advocates—it was restored and reinstated in 2012 under an agreement that allowed Chase to retain ownership while loaning it indefinitely for public exhibition, contingent on the building’s landmark status remaining intact.

Penthouse and roof

The penthouse was divided into two parts: the western section contained mechanical systems, stairwells, and elevators; the eastern portion housed a reception lounge, kitchen facilities, offices for managers and presidents, along with a directors' room. The directors’ room was adaptable to function as a dining space featuring an ebony table with a removable segment. Above the fourth floor was a rooftop garden.

History

By the 1940s, Manufacturers Trust Company had expanded to operate 67 branches and was experiencing rapid growth. Its branch located at 513 Fifth Avenue—directly opposite the current site—ranked as the second busiest after its main Financial District office and had been operating beyond capacity for nearly ten years. In 1941, Manufacturers Trust entered negotiations with Mutual Life Insurance Company of New York, which owned both the Ziegler Building and 508 Fifth Avenue. By 1944, Manufacturers Trust had leased the Ziegler Building from Mutual Life and subleased the property at 508 Fifth Avenue from Walter Salmon.

Walker & Gillette plans

Following lease agreements, architectural firm Walker & Gillette was commissioned to design a four-story bank branch in the Federal Classic style to replace the existing location at 513 Fifth Avenue. The proposed design featured a curved granite frontage with projected costs ranging between $850,000 and $1.2 million. By late 1944, Mutual Life consented to clear the site, and approval for relocation was granted by the New York State Banking Department. Nonetheless, restrictions on steel and other materials imposed by World War II delayed progress. Additionally, tenants occupying the Ziegler Building successfully obtained legal injunctions preventing eviction, further hindering advancement. Consequently, Walker & Gillette’s project was abandoned in 1948 due to difficulties in tenant removal and site clearance.

In July 1950, Walker & Poor—the successor firm to Walker & Gillette—was engaged to update the plans. By January 1951, tenants had been evicted from both buildings by Mutual Life, which then transferred ownership to Manufacturers Trust. However, construction was again postponed due to material shortages related to the Korean War. To avoid leaving the Ziegler Building empty during this period, Manufacturers Trust leased it to federal agencies including the Department of Commerce, Bureau of Internal Revenue, and Small Defense Plants Administration at $2.93 per square foot for three years; collectively these agencies occupied approximately 62,000 square feet. Once wartime restrictions were lifted in July 1952, Manufacturers Trust informed tenants of impending demolition plans for the building. At this point, Walker & Poor were no longer involved as architects for the new bank construction.

SOM involvement

SOM was contracted to redesign the Manufacturers Trust branch, with two potential explanations for their engagement. According to Gordon Bunshaft, Manufacturers Trust reached out to SOM following a recommendation from Lou Crandall, a board member and leader of the firm responsible for constructing SOM's Lever House. Another possibility is that SOM secured the project through principal Louis Skidmore, who served on a different Manufacturers Trust branch board and maintained a friendship with CEO Flanigan. Initially, SOM was asked to evaluate Walker & Pool's designs and propose enhancements; however, Bunshaft soon advocated for a full redesign, deeming it more efficient and economical.

In 1953, the contract terms changed so that Manufacturers Trust would assume all construction expenses. The building’s height could extend up to , with the entire ground floor covering the site; however, height limits along 508 Fifth Avenue persisted. Although taller buildings were permissible, zoning laws mandated off-street loading docks for structures exceeding in height. A skyscraper layout would also require dedicating much of the first floor to elevator shafts, relegating banking operations to upper levels—something the bank sought to avoid. Manufacturers Trust desired an "inviting appearance" capable of handling substantial customer traffic while allowing flexible use by other tenants.

Skidmore arranged an informal contest among SOM’s junior architects; Charles Evan Hughes III’s design won, featuring transparent glass walls and a prominently displayed bank vault. The plans were submitted in April 1953, and by July 1954, the glass facade had been installed.

1950s to 1990s

Manufacturers Trust unveiled 510 Fifth Avenue on September 22, 1954, transferring $76 million in deposits from their former location at 513 Fifth Avenue to the new branch on October 2. The official opening occurred on October 5, attracting approximately 15,000 visitors on its inaugural day.

The building’s groundbreaking glass exterior and visible vault garnered widespread media acclaim and turned it into a popular destination for tourists, resulting in a threefold increase in branch deposits within nine months. Manufacturers Trust distributed over 1,100 photographs to various media outlets, which contributed to a 31% rise in accounts and a 200% growth in profits during the year following the opening. By 1960, the branch was drawing around 400 non-customer visitors each month. In 1961, Manufacturers Trust merged with Central Hanover Bank & Trust to establish Manufacturers Hanover Corporation; the building remained one of its busiest branches.

As banking practices evolved toward the end of the twentieth century, the New York City Landmarks Preservation Commission proposed landmark designation for significant bank interiors in 1990, including this structure. In 1991, Manufacturers Hanover merged with Chemical Bank, which took ownership of the land from Mutual Life early in 1992. Alterations during this period included installing an aluminum and glass divider between floors in 1993 as well as adding partition walls and a parapet around escalators. Chemical Bank merged with Chase Bank in 1996 and adopted the Chase name. Extensive interior renovations were underway at that time. In 1997, the Landmarks Preservation Commission designated the building’s exterior as a landmark.

2000s

By the year 2000, Chase had intentions to divest 510 Fifth Avenue. The fashion designer Elie Tahari maintained a design studio within the building. Chase initiated legal action against Tahari, claiming his office posed a fire risk due to his refusal to install sprinkler systems. Meanwhile, a garment workers' union accused Chase of attempting to terminate the lease to pursue a more lucrative sale. Ultimately, Tahari continued his tenancy, and in 2001, Chase sold the property to Tahl-Propp Equities for $24 million. Chase retained certain air rights, ownership of the Bertoia sculptures, and kept a bank branch operating on the ground floor. As part of the transaction, Tahl Propp granted Tahari a limited partnership stake.

In March 2010, Vornado Realty Trust showed interest and acquired the building in October for $57 million. Shortly thereafter, Chase closed its branch. Following the lease terms, the Bertoia artwork was dismantled upon Chase's departure. This action triggered efforts by preservation advocates to secure landmark status for the interior space. During the Landmarks Preservation Commission (LPC) hearing, both the Historic Districts Council and Vornado supported landmark designation. In February 2011, the LPC officially recognized the mid-century modern interiors on the first and second floors as protected landmarks.

Renovation and controversy

In January 2011, the retail brand Joe Fresh signed a lease for part of the premises. Three months later, after finalization of the interior landmark designation, Vornado obtained LPC approval to alter the building’s interior configuration. The renovation plan involved creating two new retail units facing Fifth Avenue by adding entrances on the facade, repositioning escalators away from windows, and reducing the vault wall size. Vornado engaged SOM to oversee these modifications. Among tenants was Bloomberg L.P., linked to New York City mayor Michael Bloomberg.

Preservation groups filed suit to stop these changes, leading a New York Supreme Court judge to issue a temporary restraining order in July 2011 that was later converted into an injunction against further renovations. Opponents argued that these alterations compromised a significant landmark and reflected preferential treatment by city officials toward developers. Vornado countered by asserting that their plans respected the historic character of the property. Architecture critic Ada Louise Huxtable denounced the work as a "travesty," particularly criticizing removal of the Bertoia screen. As a result, 510 Fifth Avenue was placed on the World Monuments Fund's 2012 "watch list" highlighting endangered sites. Preservation organizations including DOCOMOMO initiated legal action against Vornado for allegedly removing protected historic features.

A settlement was reached in February 2012 between these parties. The Bertoia sculptures were reinstalled and interior spaces restored to their original appearance with glass partitions introduced to reduce visual disruption. Escalators were replaced, the vault wall removed entirely, and steel framing combined with reinforced polymer fabric was added to enhance structural integrity. The second floor was strengthened to accommodate retail load requirements increasing from 50 pounds per square foot to 100 pounds per square foot. Restoration also included refurbishing facade elements and interior columns along with replacing the luminous ceiling with an accurate replica. Renovation work concluded by late 2012.

Later tenancy

From 2012, Joe Fresh utilized of retail area spanning the ground floor and mezzanine for its flagship outlet. In 2013, Tahari launched a pop-up shop on the western side of the ground floor while also retaining penthouse premises. Joe Fresh declared the shutdown of its 510 Fifth Avenue store in 2015, officially closing in March 2016. The apparel brand The North Face secured an eight-year sublease from Joe Fresh in 2016, occupying space across the basement, first, and second floors, and inaugurated its flagship location that October. Vornado proposed enclosing the escalators between the first and second floors with a glass wall in 2018, a plan that faced objections from preservation advocates.

Amid the COVID-19 pandemic in New York City, Tahari terminated its lease at 510 Fifth Avenue in July 2020, prompting Vornado to file a lawsuit seeking $14.8 million in rent payments due through 2025. By July 2023, Vornado revealed intentions to divest 510 Fifth Avenue alongside three additional properties, with the Reuben Brothers completing acquisition of all four buildings for $50 million that August. In 2024, the retail chain GU leased space within the building, planning to establish a store, relocate Bertoia's cloud sculpture above the escalators, and update fitting rooms and lighting fixtures.

Influence

The innovative design of 510 Fifth Avenue prompted Manufacturers Trust to renovate its other branches with comparable modernist elements. By the 1960s, numerous American banks embraced the International Style, including New York City's Emigrant Bank main office at 5 East 42nd Street (1969) and Chase Bank's concourse at 28 Liberty Street (1964). Positioning the vault facing the street improved security measures by deterring potential thefts and inspired subsequent banks to incorporate prominently visible vault doors following the completion of 510 Fifth Avenue.

Critical response

During its construction phase, the building's cantilevered floor structure, abundant natural light, and glass-metal facade garnered significant interest among architects and engineers. Upon completion, Lewis Mumford compared it to a glowing lantern, while the site superintendent described its lightweight construction as resembling "jewelry more than architecture." Interiors magazine commended Le Maire’s interior design for complementing the building’s straightforward and pure architectural language. Conversely, Huxtable criticized the original lighting for its excessive yellow hue, and Harper's Magazine labeled it an "uneconomical piece of architecture," citing considerable unused air rights on the plot.

The World Monuments Fund praised the glass facade as a "symbol of honesty and transparency in banking," representing a confident era that shaped commercial architecture. The 2010 edition of AIA Guide to New York City described it as "a glass-encased supermarket of dollars" that transitioned banking architecture "from underground vaults to street-level visibility." In 2011, Robin Pogrebin from The New York Times regarded 510 Fifth Avenue as an exemplar of modern architecture, equating it with landmarks like Lever House and the Seagram Building, characterizing it as a "radiant box featuring an uninterrupted glass exterior."

Opinions on Harry Bertoia’s sculpture varied—some deemed it "stunning," while others compared it to "a flying bedspring" or "a heap of shattered egg crates." David W. Dunlap considered it a "midcentury masterpiece," viewing it as a three-dimensional equivalent to a Jackson Pollock painting.

Landmark designations

The Landmarks Preservation Commission (LPC) first evaluated the possibility of granting landmark status to 510 Fifth Avenue in 1979 but deferred the decision due to the building’s relatively recent construction. Initial hearings held in 1985 and 1986 encountered resistance from Manufacturers Hanover and Mutual Life, which delayed the designation process. Additional hearings took place in 1989 and 1990. Ultimately, on October 21, 1997, the LPC designated the building’s exterior as a city landmark, together with the Ford Foundation and CBS Buildings. Interior landmark status was separately conferred on February 15, 2011, specifically recognizing only the banking halls on the first and second floors, while excluding the upper-level offices and basement areas. Robert B. Tierney, then chairman of the commission, emphasized the interior’s distinctive features such as its "luminous ceilings, spacious floor plans, white marble piers and other minimalist elements," which effectively merge the boundary between inside and outside.

Awards

The building’s original architectural design was honored with the Architectural League of New York’s Gold Medal for Architecture and received the Municipal Art Society’s Plaque of Commendation in 1955. In 1956, it was further recognized with an Award for Excellence from the Fifth Avenue Association. Following its renovation in 2012, the project garnered a Design Award from the American Institute of Architects New York City Chapter in 2013, alongside an Architectural Record accolade under their "Good Design is Good Business" program that same year.

See also

• List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets