Williamsburgh Savings Bank Building (175 Broadway)

Williamsburgh Savings Bank

Industry	Banking
Founded	1851
Fate	Merged into HSBC Bank USA
Headquarters	Brooklyn, New York City , United States
Area served	Brooklyn, New York City
Products	Banking services

The Williamsburgh Savings Bank Building, also referred to as the Weylin or 175 Broadway, is a notable former banking facility situated at 175 Broadway in Brooklyn's Williamsburg area of New York City. Constructed in 1875 to serve as the headquarters for the Williamsburgh Savings Bank, it occupies the northwest intersection of Broadway and Driggs Avenue, just south of the Williamsburg Bridge. The edifice was designed by architect George B. Post in the Classical Revival style, with interior work by Peter B. Wight, featuring facades crafted from marble, limestone, and sandstone.

The original building showcases a grand entrance accessible via steps leading up to an arched doorway on Broadway, topped by an impressive steel dome. Inside lies an ornate vestibule that opens into the initial banking hall, noted for its pilasters, arches, and a painted dome ceiling. To the west is a secondary banking room crowned with a smaller dome, while office spaces were arranged to the north within the structure.

Following an architectural competition held in 1869, Post was selected to design the building, which opened in June 1875 as the bank’s third main office. As the institution expanded, Helmle, Huberty & Hudswell were commissioned to create extensions between 1903 and 1906, with further enlargements completed during 1923–1925 and again in 1941–1942. Although the bank transferred its headquarters to One Hanson Place in Downtown Brooklyn in 1929, 175 Broadway remained operational as a branch location. Both the building’s exterior and its original banking hall have been recognized as New York City landmarks, and it was added to the National Register of Historic Places in 1980. After Williamsburgh Savings Bank merged into HSBC Bank USA, HSBC sold this property in 2010. Following renovations, the banking hall was reopened in 2014 as an event venue called the Weylin.

Site

Situated at 175 Broadway, this building stands at the northwest corner with Driggs Avenue within Brooklyn’s Williamsburg neighborhood. The site encompasses a rectangular land lot measuring , with frontage extending along Driggs Avenue and Broadway. The block itself is enclosed by Broadway, Driggs Avenue, South 5th Street, and Bedford Avenue. The northern portion of this city block is occupied by the approach ramp to the Williamsburg Bridge, providing clear visibility of the building. Nearby points of interest include the renowned Peter Luger Steak House located across Broadway and the Kings County Savings Bank, positioned one block west.

Originally part of farmland owned by Frederick Devoe, this parcel was subdivided for development in 1834 and had become home to churches and residential buildings by the mid-19th century. The northern segment was cleared to accommodate construction of the Williamsburg Bridge, which opened in 1903.

Architecture

Commissioned by the Williamsburgh Savings Bank and completed in 1875 under architect George B. Post, this four-story Classical Revival edifice features a distinctive domed roof. Its design incorporates elements from both Roman and Renaissance classical traditions—a stylistic approach that would gain wider popularity approximately twenty years later. The current appearance reflects a significant expansion carried out in 1906, supplemented by further alterations made during 1923 and between 1941 and 1942. These early twentieth-century additions were designed by the architectural firm Helmle, Huberty & Hudswell.

Facade

The facade of the structure is composed of marble, limestone, and sandstone, with the predominant material being white Westerly stone. The basement level is sheathed in polished Quincy granite, which was initially purple, while various other stones are incorporated for ornamental architectural elements. A cast-iron railing encircles the ground floor. Vertical quoins emphasize each building corner. A sculptural ensemble on the facade illustrates the biblical Parable of the Talents.

The original Post building spans approximately . The principal entrance on Broadway is reached via a broad staircase bordered by candelabra. This entryway contains two bronze doors set back within an elaborately adorned archway supported by double-height piers and paired Ionic pilasters. The piers are crafted from Jonesborough stone, while the pilasters and spandrels consist of amber-spotted granite. Above these architectural features rests an entablature crowned by a triangular pediment. A similar arch on Driggs Avenue reflects this design but does not include a pediment. Historically, a clock was also part of the facade.

The 1906 annex, situated to the west of the original building, covers about . It features a second arch on Broadway flanked by piers and Ionic pilasters, but without a pediment. Its exterior surface is smooth and made from polished granite.

Above the arches on both parts lies a low attic clad in stone with an ornate cornice. Near the summit is a drum punctuated by 20 oval windows, supporting a substantial cast-iron dome sheathed in steel plates arranged like shingles, imparting a silvery appearance. Atop this dome sits a cupola equipped with a weather vane. The Williamsburgh Savings Bank likened this dome to those crowning the Washington Capitol, London's St. Paul's, and Rome's St. Peter's. This dome became emblematic for the bank and influenced the design of its second headquarters at One Hanson Place (1929), where bank executives insisted on incorporating a dome despite architects’ reservations.

Interior

According to the New York City Department of City Planning, the building contains roughly of interior space, reduced from prior to renovations completed in the 2010s. Post designed the interior as interconnected areas, including a ground-level vestibule entrance from Broadway and the original central banking hall. In 1906, a second banking room was added extending westward. Traditionally, women conducted transactions in the original space, while men used the newer hall. To the north of the original banking area stood a rear wing dedicated to bank offices. The bank’s "WSB" monogram is prominently featured throughout the building’s hardware and finishes.

Vestibule

Situated within the main staircase, the Broadway entrance vestibule was acclaimed by the Brooklyn Daily Times as "among the most exquisite rooms in the structure". Positioned beneath a balcony on the banking room’s southern side, its flooring consisted of English encaustic tiles, while the ceiling, crafted by Peter B. Wight, featured a central wrought-bronze chandelier adorned with multicolored glass.

Initially, a full-height partition composed of five French glass panels embellished with sand-blown detailing and supported by wood-and-marble columns separated this vestibule from the banking hall. By 1910, this partition had been replaced with a half-height barrier, as evidenced in period photographs. Doorways located on both sides provided access to corners of the banking area. The Daily Times also emphasized the presence of grand oak doors with bronze accents and glazed panels within this space.

Original banking room

Spanning , the banking hall is vertically segmented into three parts: a trabeated lower wall, an attic portion, and a dome above. Originally outfitted with ornate Siena marble flooring, these surfaces were later concealed beneath carpets. During renovations in the early 2010s, Lebanese marble slabs replaced much of the floor, preserving only about one-quarter of the original Siena marble, which was repurposed for restroom areas. At the center stood a U-shaped teller counter featuring granite surfaces and marble paneling; by 1906, a plate-glass screen had been installed atop this counter.

Clusters of pilasters are positioned at each corner and beneath arch springers, resting upon Italian marble bases adorned with stone carvings painted cream, bronze ventilation grilles, and polished granite panels. Encircling the walls above these pedestals is a continuous dado. The pilasters themselves boast Corinthian capitals supporting an entablature decorated with gold, coral, and black lotuses alongside anthemia motifs. Stone round arches punctuate the east and south walls, each containing tripartite windows reminiscent of Roman bath architecture and framed by archivolts featuring rinceaux and bosses. Pendentives fill the spaces between these arches at the corners.

Beyond the southern arch lies a recessed vestibule crowned by a balcony. On the eastern side, a mahogany double door is set within an elaborately carved stone frame topped by a granite panel inscribed with "staircase." The balcony is enclosed by a neo-Grec iron railing connecting to adjacent small chambers and illuminated by a tripartite lunette window. Narrow windows appear along the southern sections of both east and west walls; facing Driggs Avenue on the east wall is a large tripartite window with lunette. A similar window on the west wall was removed in 1906 to accommodate a second banking hall; its passageway, flanked by pilasters and featuring a coffered ceiling, was sealed off during renovations in the 1980s. The north wall contains both single and double wooden doors set within decorative stone surrounds and centers on a metal vault door.

Oval openings in the dome’s drum provide illumination to the banking room below. These alternate with black Neo-Grec pilasters highlighted in red and gold situated above bands of painted ornamentation and carved brackets. Originally, a bronze balustrade finished in verd antique encircled this area and supported 40 gas jets—later removed and substituted with a pipe rail—while a cornice beneath the dome is painted black accented with red and gold detailing. The dome itself consists of a double cast-iron shell featuring a mural by P. B. Wight that portrays golden rays emanating from its blue center, bordered by geometric patterns alongside Neo-Grec and floral motifs. The dome’s height is recorded as being between and .

Additional Areas

Situated to the north of the original banking hall, the vault is enclosed by a lattice-iron door adorned with intricate painting and stenciling, framed by an elaborate stone surround crowned by a broken pediment. This pediment features a barometer, clock, bronze eagle, and a plaque engraved with the names of trustees, cashier, building committee members, and the architect. Behind two vault doors secured with combination locks are latticed iron gates equipped with patented locks safeguarding the trustees' private safes. Beyond another locked latticed gate lies the bank's principal safe designated for deposits.

At the rear, the office section housed the cashier’s and president’s workspaces, a restroom, and an iron-and-bronze staircase accented with a carved mahogany handrail. The second floor accommodated meetings for committees and directors, along with a pantry and dining area for officers on the upper level. Offices were embellished with classical plaster moldings; the president’s office included a fireplace and ornate wood carvings. The directors’ chamber featured a gold-and-bronze chandelier, a carved mantel fireplace, and a 20-foot-long table surrounded by 18 leather chairs. Speaking tubes linked the cashier’s desk to multiple rooms. Clerks had access to their own lockers, restrooms, dining facilities, and kitchen located in the basement. A circa 1911 birdcage elevator connects the office floors and is one of only three remaining examples in New York City.

The second banking hall measures 3,250 square feet and is finished with Ohio sandstone and polished granite. Its dome, modeled after Rome’s Pantheon, soars to a height of 68 feet and includes a 22-foot skylight. Entry is gained through a 20-foot-wide archway from the main banking room, with the tellers’ counter extending through this opening. The space also features tiled flooring and two sculpted drinking fountains.

History

Chartered in 1851, the Williamsburgh Savings Bank initially operated from a church basement at Bedford Avenue and South 3rd Street. Starting with 158 depositors and assets totaling $15,000, it relocated in 1854 to its own building across the street. Serving the City of Williamsburgh—which was later incorporated into Brooklyn—the bank retained its original spelling. Within seven years, earnings had covered both the land acquisition and construction costs of its second building. Following the Civil War, deposits grew substantially; by 1867, it served approximately 16,000 clients holding $5 million in deposits.

Expansion

In March 1867, trustees purchased property at Broadway and Driggs Avenue for $110,000—a 112-by-100-foot site—amid increasing real estate values. The location was advantageous due to its proximity to East River ferry service to Manhattan and surrounding commercial establishments.

An architectural competition was held inviting James H. Giles, Gamaliel King, George B. Post, and Peter B. Wight to submit designs. George B. Post's Classical Revival proposal was awarded the commission; Peter B. Wight’s French Second Empire design took second place. Although some trustees preferred Wight’s plan, Post was ultimately chosen in August 1869 and agreed to compensate Wight $5,000 for interior design contributions.

The steelwork contract was awarded to Cornell Iron Works, which received acclaim for demonstrating exceptional craftsmanship. Other contractors included J.G. Batterson for masonry materials and Captain J.W. Van De Water for woodwork; the New York Stone Contracting Company also contributed. Construction encountered delays caused by design revisions, the financial turmoil of the Panic of 1873, and contractor difficulties. Interior finishing occurred primarily between 1873 and 1874 under Thomas Stent’s oversight on behalf of Wight, with execution by Guille, Sarre & Lepelly’s firm. Sculptor Karl Muller created an allegorical group adorning the exterior. The total expenditure for this project amounted to $700,000.

Initial period and early growth

The Williamsburgh Savings Bank inaugurated its new headquarters on June 1, 1875. Within twelve months, deposits surged to $14 million across 25,000 accounts. In 1876, the bank disposed of its former premises, which were subsequently repurposed into office spaces and an auction venue. The institution experienced swift expansion: by 1880, deposits had climbed to $19 million from 38,000 accounts, and by 1885, these figures reached $25 million from 51,000 accounts. In 1893, a significant wave of new depositors led to speculation about a potential bank run, highlighting the institution’s robust customer trust. The commercial vitality of Williamsburg was further enhanced following the 1903 opening of the Williamsburg Bridge.

Entering the early twentieth century, the bank’s workforce had increased considerably, resulting in overcrowded workspaces. Unlike contemporary banks that maintained separate banking rooms for male and female clients, Williamsburgh operated within a unified banking hall. In 1902, a substantial expansion was announced, initiating construction of a $300,000 annex designed by Helmle, Huberty & Hudswell. Despite labor strikes in 1903 and 1906 concerning union labor issues, construction proceeded uninterrupted.

The annex was completed in 1906, succeeded by a $300,000 renovation of the original banking hall. When it reopened in December 1906, the bank accommodated 95,000 depositors—men utilized the new annex while women continued to be served in the original area. This expansion paralleled asset growth from $23 million in 1900 to $51 million by 1908. Ongoing development culminated in a second annex finished in 1925, featuring a glass structure for employees as deposits reached $109 million from 118,000 depositors by 1922.

Function as a branch location

Prior to 1923, New York savings banks were restricted to operating a single site each. After legislative changes permitted branch establishments, the bank planned its main headquarters at One Hanson Place, situated near Downtown Brooklyn’s transit center. The building at 175 Broadway continued functioning as a branch office. A temporary branch opened at Flatbush and Atlantic Avenues in January 1927; the permanent Hanson Place headquarters commenced operations on April 1, 1929. In 1941, departments dedicated to life-insurance sales began operating at both branches. Between 1941 and 1942, the Broadway branch expanded westward by adding facilities including a dining area, kitchen, and additional teller stations. During World War II, the dome windows were covered for protection.

Throughout the war and into the 1950s, the Broadway branch hosted employee plant auctions as fundraisers for WWII efforts and organized local essay contests. In 1966, the New York City Landmarks Preservation Commission designated the exterior of 175 Broadway as a city landmark. During the late 1970s or early 1980s, Williamsburg Family Services leased the newer banking room space. The building was listed on the National Register of Historic Places in 1980 and continued banking operations following Republic National Bank’s acquisition of Williamsburgh Savings Bank and its branches in 1986; Republic subsequently merged with Manhattan Savings Bank in 1989.

In June 1993, public hearings were conducted by LPC regarding landmark designation for interiors of this and other Brooklyn and Manhattan bank buildings. By 1995, plywood that had covered the drum's oval windows was removed; only two original windows remained intact at that time. The interior of the original banking hall received New York City landmark status on June 25, 1996. Republic and its branches were acquired by HSBC Bank USA in 1999. After this acquisition, The New York Times highlighted this HSBC branch as one of few historic structures preserving Broadway’s elegant heritage. The Village Voice characterized banking there as "akin to an act of religious devotion." By the early twenty-first century, HSBC aimed to sell the property; however, its architectural design constrained modern functional adaptations and discouraged potential buyers.

Transformation into an event space

In 2010, Juan Figueroa acquired the property and the neighboring land from HSBC for $4.5 million. The subsequent year, he revealed intentions to repurpose the structure as a banquet facility. Although local community members voiced resistance, borough president Eric Adams endorsed the granting of a liquor license for the establishment. Figueroa also envisioned constructing a high-rise hotel adjacent to the bank, which required demolishing the 1941 annex to facilitate the project. This hotel plan aimed to capitalize on unused air rights above the bank building and to take advantage of tax incentives available for properties listed on the NRHP. Figueroa emphasized that the potential for development on the neighboring parcel was his chief incentive, stating that restoring only the bank would pose significant financial risks.

Upon purchase, just a quarter of the original marble flooring remained, while the principal mural was heavily stained. The skylight had suffered damage after many years in storage, wall surfaces had lost their initial hues, and wooden elements showed discoloration. Meanwhile, the second banking hall had been sealed off for an extended period.

To aid in renovation efforts, Figueroa’s cousin, Carlos Perez San Martin, moved from Argentina. Between 2011 and 2014, they invested $24 million into restoration work, partially supported by NRHP tax credits. Due to the landmark designation covering both interior and exterior features, the restoration posed significant challenges. Jorge Bosch, the architect overseeing preservation, referred to the building as a "white elephant." Restoration activities included cleaning the mural, replicating exterior dome components, installing new marble flooring while conserving existing fragments in restroom areas, and planning to transform the basement into an art gallery. Eventually, Figueroa sold his share of the property to Perez San Martin.

The banquet facility was named the Weylin, inspired by a fictional 19th-century figure whose initials corresponded with those on the bank’s emblem. It officially opened in February 2014. The restoration earned accolades such as the Tony Goldman Preservation Award from the National Trust for Historic Preservation and commendations from the New York Landmarks Conservancy.

The venue became a site for corporate gatherings hosted by companies including Brooklyn Brewery, Google, Gucci, Rag & Bone, TEDx, Uber, and Vogue. It also functioned as a location for weddings and film and television productions. Recurring events like the annual Whiskey Extravaganza were held there regularly. In the late 2010s, Perez San Martin invested an additional $1 million to enhance lighting, sound systems, and theatrical equipment.

By 2019, Cornell Realty Management was advancing plans for a 26-story hotel and residential tower on the adjacent site. In March 2020, due to restrictions imposed by the COVID-19 pandemic in New York City, the Weylin temporarily ceased operations but continued accepting bookings during this interval. It resumed business in March 2021 following relaxation of public health measures.

See also

• List of New York City Designated Landmarks in Brooklyn
• National Register of Historic Places listings in Brooklyn

External links

• Official Weylin website