Jump to content

Williamsburgh Savings Bank Tower

From Alfawiki
Adapted from the English Wikipedia article Williamsburgh Savings Bank Tower, available under CC BY-SA 4.0Updated 8 August 202530 sources
Williamsburgh Savings Bank
IndustryBanking
Founded1851
Headquarters
Brooklyn, New York City
,
United States

The Williamsburgh Savings Bank Tower, commonly referred to as One Hanson Place, is a prominent high-rise situated in the Fort Greene area of Brooklyn, New York City, New York, United States. Positioned at the northeast intersection of Ashland Place and Hanson Place near Downtown Brooklyn, this tower was designed by the architectural firm Halsey, McCormack & Helmer and constructed between 1927 and 1929 to serve as the headquarters for the Williamsburgh Savings Bank. Standing 41 stories tall and reaching a height of , it held the title of Brooklyn’s tallest structure until 2009.

Initially headquartered in Williamsburg, the Williamsburgh Savings Bank opted in the mid-1920s to erect a new skyscraper close to Downtown Brooklyn. Upon its opening on April 1, 1929, the bank occupied the lower floors while leasing out upper levels as office space. By the latter part of the 20th century, many of these offices were primarily used by dental practitioners. The tower’s exterior received landmark status from the New York City Landmarks Preservation Commission in 1977, with select interior areas designated in 1996. Following several bank mergers, the institution became part of HSBC Bank USA, which eventually sold the building in 2004. Between 2005 and 2007, the upper floors were transformed into upscale condominium residences, and the original banking hall was converted into a venue for events.

The building’s principal entrance on Hanson Place is marked by a grand archway. The base level features limestone cladding above a granite dado. From the seventh floor upward, the facade is composed of brick adorned with terracotta detailing, incorporating setbacks that culminate in a clock tower crowned by a domed roof. Inside, visitors encounter an entrance vestibule and lobby embellished with intricate marble and metal finishes. The banking hall itself is designed with elements reminiscent of ecclesiastical architecture, including a nave, aisles, and chancel. A basement-level lobby provides access to both Atlantic Terminal and the Atlantic Avenue–Barclays Center station, while a mezzanine-level ladies' lounge overlooks the main banking area. Upon completion, the building garnered attention for its architectural significance and symbolic status as Brooklyn’s tallest edifice. It has long served as both a local timepiece and navigational landmark and has appeared in various film productions.

Site

Situated at One Hanson Place within Brooklyn’s Fort Greene neighborhood in New York City, New York, the Williamsburgh Savings Bank Tower occupies the southwestern portion of a rectangular city block bordered by Ashland Place, Hanson Place, St. Felix Street, and Lafayette Avenue. The parcel encompasses , featuring frontage measuring along Ashland Place and along Hanson Place.

Adjacent to this tower are Italianate-style row houses that form part of the Brooklyn Academy of Music Historic District. On the same block to the east stands the Hanson Place Central United Methodist Church, while just north lies the Brooklyn Academy of Music. The building itself contains an entrance to the New York City Subway's Atlantic Avenue–Barclays Center station. This location is conveniently close to major commercial centers such as Atlantic Terminal mall, Long Island Rail Road's Atlantic Terminal station, and Barclays Center arena. Directly west across Flatbush Avenue is the Alloy Block development.

The tower overlooks Times Plaza—where Flatbush Avenue (formerly Flatbush Turnpike), Atlantic Avenue (formerly Jamaica Road), and Fourth Avenue converge—in Downtown Brooklyn. By early 20th century standards, Times Plaza was planned as a commercial hub. Prior to construction, about eight structures occupied this site, including parcels once owned by Hanson Place Central United Methodist Church. Although situated near subway and LIRR terminals, Brooklyn’s primary business district remained centered around Brooklyn Borough Hall before this tower was erected.

History

The Williamsburgh Savings Bank received its charter in 1851. It began operations in the basement of a church located in Williamsburg, Brooklyn, with its inaugural annual report documenting 158 depositors and assets totaling $15,000. By 1854, the institution relocated to a dedicated building situated just across the street. Following the American Civil War, the bank experienced substantial growth in its assets, prompting the construction of a new headquarters at 175 Broadway in 1875. By 1928, the bank was serving 139,000 depositors and held $210 million in assets, making it the fourth-largest savings bank in the United States by deposit volume. Although expansions occurred in 1906 and 1923, by the 1920s the facility at 175 Broadway was no longer adequate for the bank’s requirements.

A legislative change in New York State law in 1923 authorized savings banks to operate branch offices. In March 1926, Williamsburgh Savings Bank applied for permission to establish a branch in Crown Heights, Brooklyn. However, it ultimately chose to develop a new headquarters near Downtown Brooklyn’s transit center, maintaining the original 175 Broadway site as a branch location.

Development

In 1926, the bank quietly acquired several parcels of land at Hanson Place and Ashland Place within Downtown Brooklyn to build its new headquarters. The project was publicly announced in October of that year, with plans to open a temporary branch at Flatbush and Atlantic Avenues during construction. The expansion faced opposition from competitors including City Savings Bank and Dime Savings Bank of New York, along with eight other financial institutions; nevertheless, New York’s superintendent of banks approved the Downtown Brooklyn branch under conditions requiring closure of the temporary facility once the permanent building was finished.

After considering various architectural options, the bank decided on a sixteen-story structure. In December 1926, land was purchased from Hanson Place Church, leading to removal of a church chimney to make way for construction. The temporary branch commenced operations in January 1927. The architectural firm Halsey, McCormack & Helmer submitted plans that were initially rejected due to zoning regulations but were successfully appealed with minimal delay.

Excavation work began by August 1927 under William Kennedy Construction Company, which secured the general contract later that year with an estimated budget of $3 million. Specialized contractors were engaged for electrical systems, heating, and plumbing installations. The cornerstone ceremony took place on April 9, 1928; by July, the building’s superstructure had reached its full height. That same year, managing agent R. M. Dinsmore started leasing office spaces within the tower, and its clock became operational in December.

The completion of the Williamsburgh Savings Bank Tower coincided with other developments such as the Brooklyn Paramount Theater and several office and residential buildings along Hanson Place, contributing to Downtown Brooklyn’s rise as a commercial hub.

1920s to 1970s

A reception attended by approximately four hundred guests marked the opening of the new bank building on March 28, 1929. At that time, seventy-five percent of its space had been leased. The banking offices officially opened on April 1, and by May—the month when office floors were formally inaugurated—eighty-five percent of available space had tenants. By June, four major insurance companies had signed leases. Despite the Wall Street Crash occurring later that year, ninety-four percent of the Williamsburgh Savings Bank Tower’s space was occupied before 1929 ended. The bank’s clientele expanded over subsequent years; by its eighty-fifth anniversary in 1936, it boasted 165,000 depositors primarily from Brooklyn, Queens, and suburban Long Island. Tenants during the 1930s included entities such as the Bureau of Internal Revenue, United Personal Loan Corporation, and The Tablet, a Catholic newspaper.

In 1941, a life insurance sales division was established within the bank branch. J. J. Roehrig assumed management of the building in 1943. During World War II blackout orders, only the first four floors remained illuminated. Near war’s conclusion, a rehabilitation center for discharged servicemen operated within the premises. The 1950s saw tenants like architect Henry V. Murphy occupying space in the tower. As Brooklyn’s tallest structure at that time, it featured Good Friday light displays arranged in a cross pattern across rooms. Extensive cleaning of clock faces occurred in 1957. By the 1960s, what had been a ladies' lounge was repurposed into a mailroom. Events such as a Long Island Historical Society exhibition commemorating America’s Bicentennial took place within the banking hall in 1976. The observation deck located on the thirtieth floor was closed during the late 1970s.

The exterior of the building was designated a city landmark by the New York City Landmarks Preservation Commission on November 15, 1977. A vice president from the bank remarked that while they did not pursue landmark status actively, they were proud to receive it. The New York City Board of Estimate delayed approval after Congressman Fred Richmond accused the bank of redlining practices by denying mortgages to less affluent neighborhoods. Landmark designation was granted in March 1978 following assurances from the bank to invest $10 million into loans and mortgages for Brooklyn residents. LPC chair Beverly Moss Spatt highlighted that this status could enable inclusion on the National Register of Historic Places and eligibility for tax incentives. The tower is also part of the Brooklyn Academy of Music Historic District designated by LPC on September 26, 1978.

1980s to early 2000s

By the closing decades of the 20th century, the Williamsburgh Savings Bank Tower was home to numerous dental practices.[1] Additionally, it accommodated executive offices for Green-Wood Cemetery,[2] production departments of The Tablet, and housed data-processing facilities for various organizations.[1] In 1983, the bank undertook window replacements without securing approval from the Landmarks Preservation Commission (LPC), intending to avoid procedural delays.[3]

In 1986, Republic National Bank took over Williamsburgh Savings Bank and its network of branches.[4] Two years later, in anticipation of the building’s 60th anniversary, Republic initiated renovations targeting the lobby, banking hall, mechanical infrastructure, and exterior facade,[1] which were finalized by September 1989.[5] During this era, the building was officially known as One Hanson Place,[6] though locals continued to refer to it as Williamsburgh Tower.[7]

Upon discovering that 906 windows had been replaced without authorization—the largest violation under New York City’s landmarks law at that time—LPC mandated that muntins be added to conform with preservation standards.[3][8] At the close of 1989, Republic Savings Bank merged with Manhattan Savings Bank,[7][9] though the building’s designation remained unchanged.[10][11]

By the early part of the 1990s, approximately seven-tenths of the office space was occupied by more than one hundred dentists; notably, the dental office on the twenty-ninth floor was Brooklyn’s highest accessible location. The New York Times highlighted that the building offered an experience unmatched even by the World Trade Center or Empire State Building: visitors could enjoy panoramic views while receiving dental care.[12]

In June 1993, LPC conducted public hearings regarding landmark designation for the tower’s interior,[13][14] alongside five other bank interiors throughout the city. The interior received official landmark status on June 25, 1996.[15] In 1999, Republic and its branches were purchased by HSBC Bank USA. HSBC occupied floors seven through eleven while almost all remaining space was leased by 2002; however, the building’s relatively modest size and lower ceiling heights limited its attractiveness to larger tenants.[16] By 2004, roughly two dozen dental offices continued to operate within the structure.[17]

Sale and Renovation

Around mid-2004, HSBC Bank USA listed the property for sale, with estimates indicating a potential value reaching up to $95 million. In November 2004, the Dermot Company agreed to acquire the building, completing the transaction by May 2005 alongside partners such as retired basketball star Magic Johnson and Canyon Capital Realty Advisers. The final sale price was reported to be between $71 million and $73 million. Following the sale, HSBC retained a lease for a bank branch within Atlantic Terminal, necessitating the relocation of remaining tenants, mostly dental offices. The new ownership intended to transform the structure into a combination of retail outlets and residential condominiums, while maintaining the building’s exterior and select interior features. Architect H. Thomas O'Hara was commissioned to oversee the renovation design. This initiative aligned with a broader movement during the 2000s in New York City, where former banking facilities were repurposed into residential spaces.

Before beginning the conversion, mercury vapors originating from previous dental practices were safely extracted, and the building’s clock faces—which had been out of sync—were temporarily removed for restoration. Magic Johnson’s redevelopment plan did not include affordable housing units, which led to criticism from community organizations. The Corcoran Group was engaged to handle marketing efforts and sought to lease the banking hall to a Borders bookstore in 2006. Condominium prices ranged from $350,000 to $3.5 million when sales launched in June of that year. The first buyers closed their purchases in 2007, and after investing $1 million in refurbishing the clock tower, it was illuminated again in November.

Post-Conversion

By January 2008, approximately seventy percent of the condominiums had been sold, coinciding with both the arrival of initial residents and the reactivation of the clock’s hands. Early that year, residential sales reached their peak but then experienced a roughly six-month slowdown. In May 2008, film producer CJ Follini and Noyack Medical Partners purchased the commercial portion of the building and entered negotiations with Apple and Microsoft about establishing retail stores there. However, finding a tenant for the landmarked banking hall proved challenging due to preservation constraints, prompting owners to pursue a cultural institution as a potential occupant to sustain the space.

In July 2009, Skylight One Hanson began operating as an event venue within the banking room, officially opening in September and offering rental rates starting at $15,000 per night. The venue hosted prominent events such as VH1 Divas and MTV’s Hip Hop Honors; starting January 2010, Brooklyn Flea utilized it for weekend markets. Despite vigorous marketing efforts, some units remained unsold, leading to price reductions; notably, six penthouses were auctioned off at deep discounts in May 2011. The clock required additional repairs and was relit again in 2013.

In June 2015, Madison Realty Capital acquired the 41,400-square-foot retail area—including the banking hall—for $20.4 million with intentions to convert it into a flagship store location. The Landmarks Preservation Commission approved modifications in 2017 aimed at enhancing circulation by removing certain teller windows. Later that year, Madison Realty engaged Chris DeCrosta to spearhead marketing for the space. Further approvals for furniture changes were granted in 2019.

By 2023, foreclosure threats loomed over the retail space’s mortgage; a state court judge ruled in January 2024 that it could be sold to satisfy Madison Realty’s outstanding debt of $23.8 million. Amherst Capital purchased the property in October 2024 for $1.9 million and subsequently resold it one month later to Joe Tsai’s BSE Global for $10.3 million.

Architecture

The tower was conceived by the architectural firm Halsey, McCormack & Helmer, incorporating design influences from both Byzantine and Romanesque traditions. Robert Helmer, serving as the principal architect, envisioned the structure as "a cathedral dedicated to advancing thrift and prosperity."

There is some discrepancy regarding the building's total number of floors: the New York City Department of City Planning records 41 stories, whereas Emporis and the Council on Tall Buildings and Urban Habitat list 42. Reaching a height of , it was the tallest structure in Brooklyn upon completion and remains the tallest on Long Island in terms of geographic location. In 1938, a transmitter positioned atop nearby Brooklyn Technical High School exceeded its height. The tower held the title of New York City's tallest building outside Manhattan until 1989, when One Court Square in Queens was erected, and remained Brooklyn’s highest until 2009 when surpassed by the Brooklyner.

Form and facade

A 1989 article in The New York Times reported that the building contains 935 windows. The Williamsburgh Savings Bank Tower occupies its entire plot, with upper-level setbacks finished in brick and architectural terracotta to comply with the 1916 Zoning Resolution. For much of the twentieth century, it stood as the district’s sole skyscraper, located at a junction of five converging streets which intensified wind flows around it. The exterior is adorned with carved representations of flora, fauna, and a figure of a thief.

Base

The tower’s lower sections are symmetrically arranged around the main banking hall on the ground floor. At street level, a polished dado clad with veined Minnesota granite is present. The cornerstone bears an inscription dedicating the building. Limestone covers the first six floors. On Ashland Place, three large arched windows approximately 40 feet tall dominate the façade, flanked by smaller arches; meanwhile, Hanson Place features a grand arched opening with three round-arched doorways—this arch measures 24 feet wide by 48.75 feet tall. Adjacent to this prominent archway lies the entrance to the Atlantic Avenue–Barclays Center subway station, identified by a bronze "Subway" sign.

Window frames are richly ornamented with half-round mullions and tinted cast-glass panels crafted by Thomas Jones Decorative Glass Company. Symbolic carvings reflect themes of thrift: beehives, squirrels gathering nuts, Mercury’s head representing commerce, wise owls, and seated lions guarding the bank’s lockbox bearing its monogram. Additionally, carved window grilles depict four continents. Above the large arches on the second floor is a Romanesque arcade featuring smaller round-arched windows separated by polished granite columns. A corbel band crowns this level, marking the transition to upper stories. Buff brick combined with terracotta detailing visually distinguishes the base from the setback upper portion.

Upper stories

From above the second floor upward, vertical piers extend through ten stories along the façade. Floors three through twelve are divided into ten bays facing Ashland Place and five facing Hanson Place; each bay includes two windows per story, with the central six bays on Ashland Place recessed inward. The thirteenth floor presents round-arched windows surmounted by a terracotta band and a setback. Rising beyond this point, the tower adopts an asymmetrical cruciform configuration accented by contrasting limestone trim that emphasizes each setback.

On the twenty-sixth floor, arched windows appear alongside another terracotta band; above this lies a setback containing what was once an observation deck approximately 320 feet above street level. During mid-century decades, visitors accessed this deck using security-issued passes; it remained open without charge into the 1970s before ultimately closing later that decade. Bank representatives have noted there are no documented incidents involving fatal falls from this observatory.

The building’s topmost segment—covering floors thirty through thirty-two—is square-shaped and features large clock faces on all sides originally illuminated with bright red neon tubes. These clock centers stand at 430 feet above street level and have faces measuring 27 feet in diameter, ranking among New York City’s largest clocks. The hour hands extend nine feet long weighing 294 pounds each; minute hands range from 12.5 to 15.75 feet in length and weigh 523 pounds apiece. Instead of numerals, dots mark hours with twelve light bulbs positioned behind each clock face. When first lit in 1928, these clocks could be seen from distances up to 30 miles away and served as an important timekeeping reference for many Brooklyn residents well into mid-century.

Crowning the structure is an octagonal drum supporting a Renaissance-style dome inspired by an earlier bank building at 175 Broadway designed by George B. Post. Despite initial opposition from architects, bank officials insisted on including this dome feature. At night, multicolored lights illuminated the dome following a repeating four-minute sequence enabled by movable louvers encasing it to accommodate lighting effects.

Interior

The Williamsburgh Savings Bank Tower encompasses a total gross floor area divided into 197 ownership units, of which 179 serve as residential apartments.[18] Retail space extends across three levels: the basement, ground floor, and a mezzanine, with the basement and ground floors each covering , and the mezzanine occupying .[19] A substantial portion of the lower floors is dedicated to a banking hall.[20] The main lobby and entrance vestibule on Hanson Place are situated on the building’s southern facade; the lobby stretches along Hanson Place and is segmented into eleven bays by means of segmental arches.[20] Overlooking the banking hall above is a mezzanine that contains a ladies' lounge.[16][20]

The steel framework of the building is obscured on the lower stories by cast stone cladding and organized around columns within the banking hall; above this, a portal frame supports the office floors.[20] Interior ornamental work by Rene Paul Chambellan enhances the extensive use of masonry and metal elements, including brass, bronze, copper, silver, as well as cast and wrought steel.[16][21] Throughout the interior, twenty-two different types of marble—ranging in color from red to green to purple—are incorporated.[22] Wood is limited exclusively to flagpoles within the banking hall.[21] The ceiling features a combination of glass mosaic and plaster finishes.[21] Iron cutouts embedded in mosaics and large tinted windows depict figures such as workers and students.[23] The lighting fixtures were crafted by Cox, Nostrand & Gunnison.[24][25]

Lobby

Connecting Hanson Place to the lobby, the entrance vestibule includes three doorways topped with metal panels adorned with arcade designs; floral metal grilles decorate its side walls.[26][20][25]

The east-west oriented lobby along Hanson Street features a marble floor with Cosmati-style patterns bordered by colored marble.[21] Access to the banking hall is provided through three pairs of double metal doors; carved figures representing six categories of workers flank these entrances, while floral motifs symbolize all twelve months.[27][21] Marble-clad walls enclose this area.[28] Eleven saucer vaults formed by segmental arches cover the lobby ceiling; these vaults are decorated with blue mosaic tiles illustrating the sky, highlighted by gold stars and globe-shaped light fixtures.[22][25][27]

At the western extremity of the lobby is a staircase leading down to basement safe-deposit vaults; on the eastern side are elevators, a basement lobby stairway, and stairs ascending to what was once the ladies' lounge.[29] Originally, five elevator doors displayed motifs representing seasons, artistic themes, elements, and occupations; these have since been replaced with plain aluminum doors.[21][30] Staircases leading to both the ladies' lounge and basement are lined with marble walls.[28]

Banking room

The banking room features a soaring ceiling and is aligned along a north–south axis. Its design echoes that of a church, with a central nave serving clients and staff, flanked on either side by aisles containing teller stations. At the northern end lies an officers’ section, reminiscent of a chancel, separated by a low partition. The southwestern corner accommodates the new-accounts area, which includes a fireplace. Overlooking the southern part of the lobby from the mezzanine level is a ladies' lounge, bordered by a balustrade.

The floor showcases multicolored marble with Cosmati-style rectangular patterns adorning the nave. Teller windows are fitted with ornamental metal grilles featuring motifs of animals and zodiac signs. Initially, the space contained a circular information desk supported by multihued columns, while screens provided privacy for both the new accounts and officers' sections. Glass-topped "check tables" framed in metal were also part of the original furnishings.

Walls combine yellow marble wainscoting with cast stone above. The western wall is distinguished by an ornamental fireplace and small arched windows set beneath large arches. Along the southern side, three rounded arches rest on decorative marble columns that uphold the ladies’ lounge above. A mosaic on the northern wall portrays the Williamsburgh Savings Bank amidst Brooklyn landmarks; this artwork was produced by Ravenna Mosaics and attributed to an artist named "Wagner" from Germany. Both the north and south walls feature balustrades equipped with analog clocks.

Cast-stone piers divide the aisles from the nave, each crowned with intricately carved capitals symbolizing various "reasons to save." These piers rise four stories high and are reinforced by diagonal steel beams approximately one story tall. Round-arched openings and taller arches span above each aisle. The side aisles are covered by barrel-vaulted ceilings, while cast-stone barrel vaults extend over the nave and banking room ends. The nave’s vaulted ceiling incorporates a blue-and-gold glass mosaic depicting zodiac signs and mythological figures, crafted by Angelo Magnanti and suspended from a steel framework. Chandeliers are evenly distributed throughout the space.

Basement

The basement lobby features terrazzo flooring arranged in a grid pattern alongside marble walls. A staircase connects this area to the main elevator lobby above. The plaster saucer-vault ceiling is centered by a chandelier. From this level, access was provided to both the bank’s vaults and the subway lobby.

Spanning three basement levels, the vaults originally housed 10,000 deposit drawers secured behind three enormous steel doors measuring roughly 8 feet wide and 5 feet thick. These doors weighed between 36 and 60 short tons each but were removed during renovations in the 2000s when the banking hall and basement were repurposed for commercial use. The subway lobby contains a plaster ceiling, revolving doors, and an ornamental security fence, along with a direct passageway connecting to both the LIRR’s Atlantic Terminal and subway system.

Upper stories

Above the main banking floor were three mezzanine levels dedicated to executive offices and bank transaction spaces. The remainder of the Williamsburgh Savings Bank Tower was originally rented out as office suites. To optimize usable space, columns were spaced widely apart, allowing individual floors to range from 2,600 to 11,000 square feet in area. The highest office floor was number 29, situated just beneath the clock tower.

Departing from conventional high-rise designs featuring central elevator cores, this building positioned its twelve elevators in the southeast corner due to constraints imposed by the ground-floor banking hall layout; these elevators connected office floors with both the LIRR and subway in the basement. The bank president had exclusive use of a private elevator.

After renovations completed in the 2000s, the tower was transformed into 179 residential condominiums offering amenities such as a communal room with terrace access, playroom, and business center. Residences vary from three-bedroom units featuring beamed ceilings and multiple windows to full-floor penthouses and duplexes adjacent to what was formerly an observation deck. Among these is a notable four-story penthouse measuring 3,263 square feet.

Architectural Analysis

In 1928, the New York Daily News described the tower as a groundbreaking skyscraper distinguished by its striking beauty within the area, while the Brooklyn Times-Union praised it as an "architectural triumph" anticipated to enhance the value of surrounding properties. Upon its completion, the Brooklyn Citizen recognized the structure as a landmark symbolizing the Williamsburgh Savings Bank and a significant commercial addition near Atlantic Terminal. Within a year, the Brooklyn Daily Eagle observed the formation of a burgeoning business district centered around the LIRR terminal.

A 1972 piece in the New York Times referred to the building as "perhaps America's most amusing skyscraper," likening its interior ambiance to that of an elaborately designed movie set. Architectural historian Christopher Gray emphasized that the design of the lobby and banking hall imparted a sense of grandeur, making every customer feel affluent. Historian Francis Morrone ranked it among Brooklyn’s premier skyscrapers, surpassing neighboring architectural efforts. Some critics remarked on its massing bearing resemblance to a phallic form; notably, the 2010 edition of the AIA Guide to New York City labeled its dome "New York’s most exuberant phallic symbol," and author Jonathan Ames even initiated a "Most Phallic Building" contest inspired by this feature.

Originally envisioned as the inaugural tower in a series of skyscrapers for Downtown Brooklyn, it followed four previous buildings that consecutively held Brooklyn’s tallest status prior to its construction. Eric Nash (2005) noted that it sought to rival Manhattan’s skyline both economically and visually; however, the onset of the Great Depression curtailed additional high-rise developments in its vicinity. Despite this setback, Paul Goldberger (1988) contended that the lack of neighboring skyscrapers did not detract from the cityscape’s character, and by 2001, a Times journalist remarked that it remained one of Brooklyn’s few widely recognized skyline icons. It was not until the 2010s that taller skyscrapers appeared in Brooklyn, including The Brooklyn Tower, which soars to 1066 feet—more than double this tower’s height.

During the latter half of the 20th century, residents frequently relied on the building both as a timepiece and as a navigational reference point. A 1982 article in the Daily News depicted it as an emblem of "who truly governs Brooklyn." Due to an abundance of dental offices housed within, it earned the nickname "the mecca of dentistry" during the 2000s. The New York Observer in 2006 identified this tower alongside the Brooklyn Bridge as among Brooklyn’s only genuine skyline landmarks.

In Popular Culture

This tower has been featured in various prominent film and television productions, such as the movie Prizzi's Honor, the television series Gotham, and the film Going in Style. Additionally, it appeared as a fictional backdrop during a romantic scene in Spider-Man: Across the Spider-Verse.

See also

Sources

External links

  1. ↑ 1.0 1.1 1.2 Cite error: Invalid <ref> tag; no text was provided for refs named English 1988
  2. ↑ Freudenheim, Betty (March 3, 1988). "Tapestries Warm Up Modern Buildings". The New York Times. ISSN 0362-4331. Retrieved March 25, 2022.
  3. ↑ 3.0 3.1 Cite error: Invalid <ref> tag; no text was provided for refs named nyt-1989-11-12
  4. ↑ Berg, Eric N. (December 25, 1986). "Republic in Brooklyn Bank Deal". The New York Times. Retrieved March 25, 2022.
  5. ↑ McCallister, Jared (September 15, 1989). "Bank puts on a happy face". New York Daily News. p. 271.
  6. ↑ McKeown, Frank (January 22, 1989). "Building boost". New York Daily News. p. 341.
  7. ↑ 7.0 7.1 Cite error: Invalid <ref> tag; no text was provided for refs named Steinmetz 1989
  8. ↑ Moritz, Owen (November 29, 1989). "Apple Sauce". New York Daily News. p. 110.
  9. ↑ Quint, Michael (December 19, 1989). "Republic In Savings Bank Deal". The New York Times.
  10. ↑ McNatt, Robert (January 22, 1990). "Republic's Latest Deal a Natural and It's Cheap". Vol. 6, no. 4. p. 3. {{cite magazine}}: Cite magazine requires |magazine= (help)
  11. ↑ "Bank's New Name Irks Brooklynites". January 7, 1990.
  12. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named nyt-1991-05-09
  13. ↑ . July 9, 1993. {{cite news}}: Missing or empty |title= (help)
  14. ↑ {{cite news}}: Empty citation (help)
  15. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named NYCL (1996) p. 1
  16. ↑ 16.0 16.1 16.2 Cite error: Invalid <ref> tag; no text was provided for refs named nyt-2002-09-20
  17. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Son 2004
  18. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named ZoLa
  19. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named nyt-2008-06-08
  20. ↑ 20.0 20.1 20.2 20.3 20.4 Cite error: Invalid <ref> tag; no text was provided for refs named NYCL (1996) p. 4
  21. ↑ 21.0 21.1 21.2 21.3 21.4 21.5 Cite error: Invalid <ref> tag; no text was provided for refs named NYCL (1996) p. 5
  22. ↑ 22.0 22.1 Cite error: Invalid <ref> tag; no text was provided for refs named Nash 2005
  23. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named historian) 1992 p.
  24. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named The Brooklyn Daily Eagle 1929 2
  25. ↑ 25.0 25.1 25.2 Cite error: Invalid <ref> tag; no text was provided for refs named NYCL (1996) p. 7
  26. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named NYCL (1996) p. 14
  27. ↑ 27.0 27.1 Cite error: Invalid <ref> tag; no text was provided for refs named Dolkart Postal 2004 p. 240
  28. ↑ 28.0 28.1 Cite error: Invalid <ref> tag; no text was provided for refs named NYCL (1996) pp. 6-7
  29. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named NYCL (1996) pp.4–5
  30. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named NYCL (1996) p. 8

Related profiles

BBrooklyn TowerCCity Point (Brooklyn)FFulton MallMMount Morris Bank Building
Retrieved from "https://www.alfawiki.org/index.php?title=Williamsburgh_Savings_Bank_Tower&oldid=18748"