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The Solow Building, also known as 9 West 57th Street, is a skyscraper in the Midtown Manhattan neighborhood of New York City. Completed in 1974 and designed by Gordon Bunshaft of Skidmore, Owings & Merrill, it is west of Fifth Avenue between 57th and 58th Streets, overlooking the Plaza Hotel and Central Park. The building measures 689 feet (210 m) tall with 50 stories. 9 West 57th Street was developed by Sheldon Solow, who named the building after himself and continued to manage and own the building until his death in 2020. Since then, it has been owned by his son Stefan Soloviev.

Key Information

The Solow Building's north and south facades curve inward from ground level to the 18th floor, where the tower rises upward to the 50th story. The north and south walls are made of gray-tinted glass, while the west and east facades are clad in travertine. The design was largely criticized upon the building's completion, with many architectural critics regarding the building as a disruptive presence on the skyline. There is a travertine plaza at ground level, with a red sculpture of the digit "9" on the 57th Street side. The first floor contains a private art collection and the basement includes the Brasserie 8 1/2 restaurant. The building contains about 1.5 million square feet (140,000 m2) of rentable space.

Solow acquired the building's site in the 1960s from numerous owners, including the Church of Jesus Christ of Latter-day Saints, which had originally planned its own skyscraper at the site. Construction of the Solow Building commenced in 1969, and Avon Products took up a third of the space, becoming the major tenant. Since opening, the Solow Building's office stories have been occupied for some of the highest rates in the city, being rented largely to law and financial firms. The lower stories were less successful; the basement was unused until 2000, when Brasserie 8 1/2 opened there. During his lifetime, Solow was obstinate about several aspects of the building's operation, and he was involved in several lawsuits against tenants.

Site

[edit]

The Solow Building is at 9 West 57th Street in the Midtown Manhattan neighborhood of New York City, just south of Central Park, between Fifth Avenue to the east and Sixth Avenue to the west. It contains frontage on 57th Street to the south and 58th Street to the north.[2][3] The Solow Building's site covers 62,058 square feet (5,765.4 m2). It measures 268 feet (82 m) along 57th Street, with a depth of 200.83 feet (61.21 m) between 57th and 58th Streets.[2] The Solow Building is near the Park Lane Hotel and the Plaza Hotel to the north, Grand Army Plaza and the General Motors Building to the northeast, the Bergdorf Goodman Building and the Paris Theater to the east, and the Crown Building and 17 West 56th Street to the south.[2]

The surrounding stretch of 57th Street was part of an artistic hub during the late 19th and early 20th centuries.[4][5][6] The southern part of the site was occupied by the Pace Gallery, which operated there from 1963 to 1968.[7] On the northern part of the site was a 14-story building at 4 West 58th Street, containing the Paris Theater.[8][9] The Solow Building also replaced a six-story loft building on 26 West 58th Street that had housed the office of modernist architect Paul Rudolph.[9] The rest of the site was largely composed of low-rise commercial and apartment buildings.[10] The Solow Building, as well as the Squibb Building at 40 West 57th Street, were among the first high-rise office developments to be built on West 57th Street following the 1961 Zoning Resolution.[9][11]

Architecture

[edit]

9 West 57th Street was designed by Gordon Bunshaft of Skidmore, Owings and Merrill (SOM) and developed by Sheldon Solow.[3][12] It was built by the Diesel Construction Company.[13] When constructed, the building was also referred to as "9 West"[14][15] and "Tower 9".[16] The building is 689 ft (210 m) tall, with 50 stories.[12][17] Weidlinger Associates was the structural engineer and Code Consultants Inc. was the code consultant.[17]

According to Solow, the building was designed to have "magnificent views" and areas for workers to relax because "such surroundings attract and keep good workers to such a degree that corporate tenants are willing to pay premium rents to get them".[16] The building is distinguished by curved facades on its northern and southern elevations, which taper at higher stories. 9 West 57th Street was the first major structure in New York City to be developed with a sloped facade.[18]

Form and facade

[edit]

The north and south facades curve inward from ground level to the 18th floor, where it rises upward to the 50th story. The building is 64 feet (20 m) narrower at the 18th floor than at ground level.[19] The massing is similar to the W.R. Grace Building, completed around the same time;[20] the initial, rejected design of the Solow Building was used for the Grace Building.[21][22] The sloped design came from an early concept in which the elevators were placed outside the main structural core, though this idea was not feasible.[18] Bunshaft instead decided to use curved facades on the north and south elevations, avoiding the need for rectangular setbacks.[18][23][24] One author compared the curves to the face of a ski slope.[25][26]

The north and south walls are made of gray-tinted glass.[9][23] Immediately above the ground level, the north and south elevations end in a large gutter, which collects rainwater.[18][25] Custom rails were installed on the facade for the window-washing scaffolds.[18] The glass panels consist of windows as well as spandrels in between stories. The panels are attached to the superstructure by black gaskets made of neoprene.[27]

The western and eastern facades are clad in tan bands of travertine limestone. On either side is a narrow window opening spanning several stories. The building's structural steel bracing crosses diagonally in front of these windows.[9][24][27] The sections of the steel bracing in front of the windows are coated with black aluminum.[24]

Plaza

[edit]
Moving of the orange "9" designed by Ivan Chermayeff to 9 West 57th Street

The building has a setback of 36 feet (11 m) from 57th Street and 49 feet (15 m) from 58th Street. A plaza extends in front of the building on both 57th and 58th Streets.[9] The plaza is clad in travertine[28] and extends the width of the block from 57th to 58th Streets.[22]

A red sculpture of the digit "9" on the 57th Street side of the building was designed by Ivan Chermayeff.[29][30][31] The sculpture weighs 6 short tons (5.4 long tons; 5.4 t) and measures about 10 feet (3.0 m) high by 5 feet (1.5 m) wide.[31] It faces east toward Fifth Avenue and is supported by a three-story column in the basement.[32] The sculpture was installed because Solow thought the plaza as designed was excessively large,[30] and also because Solow wanted to draw attention away from the bare walls of other nearby buildings.[33] The idea for the sculpture had come after Chermayeff had joked that the facade could be a "launching pad" for the "9".[32] After the sculpture was first installed in 1972, Solow had removed the sculpture for a year due to a dispute over where it should be placed.[34] He ultimately agreed to install the sculpture on the sidewalk, initially paying the city $1,000 annually in rent.[31] By the 1990s, the sculpture was described in The New York Times as "a cultural artifact as well as the building's signature".[35]

The 58th Street side of the plaza contains Moonbird, a sculpture by Joan Miró.[36] The sculpture, originally commissioned in 1966, is 14 feet (4.3 m) tall and made of bronze. Solow installed Moonbird in 1994, saying that "it is one of my very favorite sculptures"; he already had a print of the same work. Before Moonbird was installed, the 58th Street side of the plaza had a 12-foot (3.7 m) "mobile" by Alexander Calder. Solow removed the mobile after realizing the work could fall onto pedestrians in the wind.[37]

Features

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Basement and lobby

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Lobby

9 West 57th Street is structurally supported by columns above the public plaza, creating the appearance of an arcade. Storefronts on either side were originally planned.[9] Two basement shopping levels were originally connected to the plaza by two pair of escalators, one each on 57th and 58th Streets.[9][38] The retail space, covering 45,000 square feet (4,200 m2),[38] remained empty for thirty years after the building's completion.[30][39] Hardy Holzman Pfeiffer Associates then designed the Brasserie 8 1/2 restaurant in the space, which opened in 2000.[3][38] The 230-seat restaurant covers 13,000 square feet (1,200 m2) and is accessed by a stair inside a 275-square-foot (25.5 m2) cylindrical entrance from the lobby.[40] The basement also has a parking garage.[41]

The lobby was designed to extend the entire block between 57th and 58th Streets, with glass walls on either side.[13] The lobby is clad with marble.[14] During the Solow Building's construction, Bunshaft had said that marble "is beautiful, it weathers beautifully and it expresses structure in design".[42] Because Solow wanted to maintain an "exclusive aura", he banned tenants from using phones in the lobby.[14] The 58th Street side of the lobby has a newsstand and a retail area.[41]

The first floor also houses Solow's private art gallery, including works by Franz Kline, Henri Matisse, and Alberto Giacometti. The gallery is managed under the non-profit Solow Art and Architecture Foundation, which receives tax exemptions from being nominally open to the public. However, the gallery is perpetually closed,[43] even to tenants.[14] Some of the artwork was visible from the street despite being inaccessible.[15] This prompted criticism and the creation of a parody website describing the gallery's operating hours as "Monday, inaccessible; Tuesday, closed; Wednesday, no public hours; Thursday, not open; Friday, same as the rest of the week; Saturday, none; Sunday, absolutely not".[43] After Solow's death in late 2020, his widow Mia Fonssagrives-Solow announced she would open his art collection to the public.[44][45]

Upper stories

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View of Central Park

The second floor was designed with a 26-foot (7.9 m) ceiling, although a 18,000-square-foot (1,700 m2) mezzanine above the second floor was erected during the Solow Building's construction. Designed by Bernard M. Deschler for the Morgan Guaranty Trust Company, the mezzanine was installed because Morgan Guaranty wanted to keep its investment managers and research specialists near each other.[46] The mezzanine hangs from the ceiling using metal alloy bars.[47] The second floor and mezzanine is still marketed as a trading floor as of 2021.[41] The fourth floor contains a two-story mechanical space, which is hidden on the exterior.[48]

The typical upper story has a rectangular layout around a service core in the center, which contains the building's elevators and stairs.[24][41] The upper stories are served by 24 elevators, which are divided into elevator banks serving different groups of floors. Above the 23rd story, the north facade has a direct view of Central Park.[41] Overall, the tower has a gross floor area of about 1,400,000 square feet (130,064 m2), with 33 elevators in total.[17] There is about 20,000 square feet (1,900 m2) of amenity space on the 27th floor, including a 40-seat coffee lounge and a meeting room for over 100 people.[49] In addition, there is a health club with a salt room, fitness equipment, plunge pools, and a golf simulator.[49][50] The upper stories also include a tenant-only restaurant, Vista.[49][51][52]

History

[edit]

The Church of Jesus Christ of Latter-day Saints (LDS Church) had acquired the lots at 10–20 West 58th Street in 1962, with plans to build a skyscraper of between 30 and 40 stories. The LDS Church planned to rent some of the building's space as offices.[53][54] The church had also acquired a site at 11 West 57th Street.[8] Sheldon Solow started acquiring parcels on 57th and 58th Streets in 1965,[55] hiring several brokers to avoid raising suspicion that he was assembling a large lot.[56] Solow ended up acquiring 17 parcels,[56][57][a] including the LDS site, ultimately assembling a 54,000-square-foot (5,000 m2) site between 57th and 58th Streets.[10] While Solow could not outright buy 4 West 58th Street, he acquired a leasehold on the building, as well as air rights that allowed an increase in the size of his proposed skyscraper.[55] Bergdorf Goodman's president Andrew Goodman refused to sell the store building or its air rights to Solow.[56][55]

Construction

[edit]
Facade of 9 West 57th Street during construction, January 1970

In August 1968, Solow announced that he had hired Gordon Bunshaft to design a 800,000-square-foot (74,000 m2), 45-story building on the site. The LDS Church planned to take up four stories in the building.[10] Solow's tower was planned to contain a wide base and curving facades, which tapered at higher stories. The lots at 36–40 West 58th Street were separated from the rest of the site by a parking lot, so Solow planned a 13-story, 225-space garage on these lots. The original design would have contained balconies on the east and west.[58] By the end of that year, the building was increased to 47 stories and 1.1 million square feet (100,000 m2). The LDS Church withdrew from the project due to a dispute over mortgage.[55] Cosmetics company Avon Products decided to lease 20 stories in June 1969 and finalized the decision that November.[59] In doing so, Avon abruptly canceled plans to relocate to Rockefeller Center, even though rent at the Solow Building was higher than that at Rockefeller Center, and even though Solow did not plan to allow Avon to formally name the building after itself.[56]

Demolition on the site had begun in early 1969 when Solow acquired the lots at 30–34 West 58th Street, creating a continuous site for his development. As a result, the proposed building was redesigned yet again.[55] In early 1970, Solow announced that his 50-story office building would contain 1.5 million square feet (140,000 m2), a third of which was leased by Avon.[60][61] By that April, Avon had increased its space to 700,000 square feet (65,000 m2) across 25 floors.[62] A corrugated 280-by-10-foot (85.3 by 3.0 m) sign was erected in front of the construction site. It was designed so it read "Solow Building Company" from one angle and "9 W 57" from another.[19] By that October, the steelwork had reached the eighth floor.[13] During construction, a dislodged crane hurt five workers,[63] and two electricians died after falling down an elevator shaft.[64][65] The building topped out in June 1971. Anne Healy designed a pair of seven-story-tall arrowheads for the topping-out event.[66]

20th century

[edit]

Though 9 West 57th Street was completed when large numbers of companies were leaving New York City, Solow was not worried about the trend.[67] Avon's offices had opened in August 1972 on the 9th to 34th floors.[59] Another major lessee in the building was Morgan Guaranty (later J.P. Morgan & Co.), which rented 250,000 square feet (23,000 m2) of office space in August 1973, occupying the 2nd floor and the 6th to 11th stories. The building was more than 80 percent occupied at that point.[68] Other original tenants included the U.S. Shoe Corporation on the 40th floor;[69] the National Shipping and Trading Corporation[70] and the Lionel Corporation on the 41st floor;[71] Sony Corporation of America on the 42nd and 43rd floors;[72] and Chanel on the 44th floor.[73] In its early years, the building attracted tenants such as Elf Aquitaine,[74] the Commercial Bank of Australia,[75] and Deutsche Bank.[76]

Contact sheet of 9 West 57th Street, 1970s

After its completion, 9 West 57th Street became one of New York City's most prestigious office buildings.[77] By the late 1980s, the Solow Building, along with the General Motors Building and the Seagram Building, charged some of the city's highest rents.[78][79] In spite of the fact that architects considered neither the General Motors Building nor the Solow Building to be architecturally distinguished, their proximity to Central Park allowed their respective owners to charge high rents.[79] During the mid-1990s, when tenants at other office buildings in New York City were subleasing their space at a discount, space at 9 West 57th Street was being subleased at a premium.[80][81]

By contrast, aside from banking tenants, the commercial space at the ground level and basements sat largely empty through to the end of the 20th century.[82][83] The below-ground space had been meant for antique and art dealers and a restaurant. One factor in the commercial space's lack of tenants was that the ground-level storefronts were placed too far behind the street.[83] Solow was also reluctant to actually rent the space, as he claimed he needed the right tenant.[82] The first "right" tenant was Deutsche Bank,[84] which opened a ground-floor banking space in 1979, about five years after the building was finished.[76] The building's 60,000 square feet (5,600 m2) of underground retail space had not seen a single tenant a decade later.[85]

The late 1990s saw several high-profile departures, including those of Sony[86] and J.P. Morgan & Co.[87] Avon reportedly tried to buy 9 West 57th Street, but after Solow was unwilling to sell, Avon moved out at the end of its lease in 1997.[38] Prior to formally moving out, Avon subleased some of its space.[88] Most of Avon's old space was occupied by Nationsbanc Montgomery Securities, which had been acquired by NationsBank and then merged with BankAmerica Corporation, parent company of Bank of America. Nationsbanc Montgomery had 350,000 square feet (33,000 m2) in 9 West 57th Street by December 1998, more than any other tenant in the building.[38] Despite the departures, new tenants at the Solow Building continued to sign leases at premium rates.[89] Concurrently, Solow had hired Hardy Holzman Pfeiffer to redesign the unused retail space in the basement. Two of the escalators were removed to make way for the entrance to the Brasserie 8 1/2 restaurant.[38] The restaurant opened in 2000.[90][91]

21st century

[edit]

2000s and 2010s

[edit]
Profile of 9 West 57th Street from the west

Solow sought a $400 million loan for the building in February 2002,[92] and Dresdner Bank gave him the loan that July.[93] The Solow Building was still considered a desirable location into the 21st century, in part because of its Central Park views.[15][94] When Solow refinanced the building in 2002, the building was 80 percent occupied and was estimated to earn $90 million a year in net operating income.[93] In an unofficial listing of New York City skyscrapers in 2007, the New York Observer listed the Solow Building as one of the city's most expensive buildings.[95] The top floors of the building were being marketed at $175 per square foot ($1,880/m2) per year, while the average annual rent for "premium" Midtown office space was $85 per square foot ($910/m2) per year.[96] Nearby buildings such as 712 Fifth Avenue, the Carnegie Hall Tower, the General Motors Building, and 888 Seventh Avenue also had high asking rates.[97]

Bank of America had taken space on the Solow Building's second floor and mezzanine, which had originally been designed as Morgan Guaranty's trading floor. Though the trading floor was able to fit 300 people, Solow had refused to make alterations to allow the bank to add 200 traders.[98] After Bank of America moved to the Bank of America Tower in 2008,[99] about half the building was empty for two years.[82] By 2010, the top three floors were among the building's vacant spaces.[14][100] This was a much higher vacancy rate than the citywide average, despite the building's luxury reputation and the ongoing Great Recession. The vacancies were in part because Solow asked much higher rates per square foot compared to nearby buildings, and he was obstinate in not charging lower rents.[14][82] According to The New York Times, he asked one potential tenant $200 per square foot ($2,200/m2), but he became "furious" when the tenant leased space at the General Motors Building at $130 per square foot ($1,400/m2).[82] In another case, financial services firm Natixis already occupied space on upper floors and wanted to rent the trading floor, but the firm reneged on its offer because Solow would not allow Natixis to expand the trading floor.[98]

Though Solow was able to attract additional tenants over the next year, the building continued to face problems, including in 2011, when all but one of the elevators between the lobby and 27th floor simultaneously failed.[101] The same year, two tenants signed large leases,[102] and Solow refinanced the building with a $625 million commercial mortgage-backed security (CMBS) loan from Deutsche Bank.[99][103] Within two years, rental rates at the Solow Building were among the highest in Manhattan.[104] By 2016, the building was 64 percent occupied by 26 companies.[15] The Solow Building, along with 520 Madison Avenue and 65 East 55th Street, were among the Midtown buildings charging high rents. This was part of a trend in which buildings typically occupied by hedge funds and investment firms charged higher rents.[105] The same year, Solow refinanced the building with a $1.2 billion mortgage from JPMorgan Chase. The loan was used to pay back the older CMBS loan from Deutsche Bank.[106][107] A July 2016 appraisal valued the building at over $3.4 billion, making the property one of the most valuable office buildings in Manhattan.[108] Solow finally decided on lowering rental rates for some vacant space in late 2017 after several large tenants such as Kohlberg Kravis Roberts, Providence Equity, and Silver Lake left the building.[109] By 2018, the building had a 70 percent occupancy rate; Solow's son, Stefan Soloviev, attributed the increased occupancy rate to his own actions.[110]

2020s to present

[edit]

Following Sheldon Solow's death in 2020, Soloviev reorganized his late father's firm, and the newly constituted Soloviev Group took over operation of 9 West 57th Street.[111][112] Soloviev added two swimming pools, several conference rooms, and a fitness center.[50] Another restaurant, Cucina 8 1⁄2, replaced the old Brasserie restaurant in the basement in late 2021.[113] By mid-2023, the building was 90 percent occupied, amid a general decline in office-building occupancy rates across New York City.[114][115] The Real Deal attributed the building's high occupancy rate to its central location, as well as the fact that Soloviev was more involved with his tenants than his father had been.[50] An amenity area on the 27th floor, and a health club, were completed in 2025 as part of a $40 million renovation.[49] Kent Hospitality Group was hired that January to operate the tenant-only Vista restaurant.[51][52] Billy Durney was also selected to operate a restaurant on the first floor, within the Brasserie space, which was to open later in 2025.[116][117] Arch Amenities Group operated the health club and meeting spaces.[118]

Tenants

[edit]

After 9 West 57th Street opened, many financial firms took space there, and the building became associated with finance.[14][15] Companies with offices there included hedge funds and private equity organizations.[119][120] One early tenant, shoe company Nine West, named itself after the building, which was the company's first location.[121] As of 2024, law firms and hedge funds continue to occupy much of the space, including:[122]

The corporate offices of Avis Budget Group (37th floor) are also located in the building.[14][134]

[edit]
Seen from across Fifth Avenue

Sheldon Solow filed over 200 lawsuits during his lifetime, including several involving the Solow Building.[77] The first such lawsuit involving the building was prompted when Solow refused to pay both Avon's broker and 9 West 57th Street's rental agent. Avon's broker Williams Real Estate sought its promised commission, as did Cushman & Wakefield, which held a contract with Solow as the building's exclusive rental agent. After a jury trial in State Supreme Court, in 1973, Solow was ordered to pay commissions of $150,000 to Cushman & Wakefield and $1.7 million to Williams.[59] Solow aggressively protected the building's trademark, suing Avon in 1975 for publishing promotional materials that referred to 9 West 57th Street as the "Avon Building".[135][119] The case remained dormant for two decades but was revived in the late 1990s, finally being dismissed in 2006.[77]

During the late 1990s and early 2000s, several tenants were sued.[77] Solow sued Avon in 1997, claiming it had failed to restore its offices in the building to their original condition. The case was settled out of court with a $6.2 million settlement.[135][119] Solow, represented by David Boies, also sued JPMorgan Chase for not restoring its offices after moving out.[136] In that case, the judge ruled against Solow, finding that JPMorgan had indeed tried to restore its space but that Solow had "substantially interfered" with JPMorgan's ability to do so.[137] Solow sued W. R. Grace Company in 1999 for spraying asbestos on the building in the early 1970s, despite marketing the asbestos as a safe product.[138] In addition, Solow and Bank of America had multiple legal disputes during the 2000s.[139] In one such dispute, Solow had planned to evict the bank if one of the bank's former brokers was convicted of securities fraud, under a law that was normally used for evicting drug dealers and prostitutes.[139][140]

Critical reception

[edit]

When the building's plans were announced, Progressive Architecture derided the proposal as a literal "block-buster", saying that it "guarantees to obliterate the scale and the street activity" of the art and retail district on 57th Street.[23] Upon its completion, 9 West 57th Street received a large amount of criticism for its design. A New York Times critic wrote in 1972, "a complaint voiced more frequently that the curved design of 9 West 57th Street has little relationship to the erect walls of its neighbors".[141] Ada Louise Huxtable wrote for the same newspaper: "One can only pity one half of the Hotel Plaza's guests facing that 58th Street black glass wall".[142] Arthur Drexler, in a foreword to a book about SOM's work, wrote that the controversy over the Solow Building was largely "because it does not rise straight up from the street (as architects have taught everyone to expect)".[9][26] The Fifth Avenue Association, which issued architectural awards to new buildings around Fifth Avenue in 1974, criticized the Solow Building as having "urban bad manners", even as it gave Chermayeff an award for his "9" sculpture and praised the building's design details.[143]

Some of the criticism was directed toward the curved form in general. Paul Goldberger said that the Solow and Grace buildings both failed to "make certain gestures toward what exists around them".[20] Jaquelin T. Robertson, the head of New York City's Office of Midtown Planning, likewise expressed his opposition to sloped structures, particularly those that were located in the middle of the block, as the Solow and Grace buildings both were. Architect Henry N. Cobb also described such buildings as having "a very strong, hostile, and aggressive visual impact".[18][25] Upon Bunshaft's 1990 death, The New York Times wrote that the building was "cited by a civic group as a negative example of New York City architecture".[144] Herbert Muschamp believed the traditional philosophy of form following function did not work for buildings like 9 West 57th Street, writing: "If this was honest architecture, as the modern movement had defined it, then perhaps it was time buildings learned how to tell pretty lies."[145]

Not everyone disliked the design of the Solow Building; it was regarded largely positively by the public, which expressed interest in 9 West 57th Street's unusual shape.[25] According to Drexler, "the immense curved glass wall is an exhilarating spectacle, not as architecture but as urban theater, as fascinating as a fountain".[25][26] During the 1970s, the Solow Building was nicknamed the "bell bottom building" because of its shape.[146] Architect Wallace Harrison also expressed his support for sloped buildings like the Solow Building, saying that the slope "gives a smooth line that appears to give added height by disappearing perspective".[18][25]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Solow Building

View on Grokipedia
from Grokipedia
The Solow Building is a 49-story modernist office located at 9 West 57th Street in , , between 57th and 58th Streets just west of . Designed by of Skidmore, Owings & Merrill (SOM), it was constructed from 1968 to 1974 for the Solow Development Corporation, now owned by the Soloviev Group, and stands 210 meters (689 feet) tall. The building is renowned for its innovative design that slopes inward on the north and south elevations to comply with zoning setback requirements, creating a distinctive curved profile with a non-load-bearing curtain wall of gray-tinted glass framed by bands. Commissioned during a period of economic challenge in the early , the Solow Building defied traditional conventions by emphasizing open space and visual lightness, including a travertine-clad public plaza at ground level that enhances pedestrian flow and views toward . Its trussed-frame steel structure supports 1.4 million square feet of Class A across 49 above-ground floors and one , served by 34 elevators, with above-average ceiling heights and unobstructed northern views. The project, led by developer , achieved full pre-leasing to major tenants like Monsanto Chemical and before completion, marking a commercial success amid the . Over the decades, the building has undergone significant renovations, including a completed in 2025 that added amenities such as a , meeting rooms, , and expanded public plaza areas, solidifying its status as an iconic landmark in the Plaza District. It has housed prestigious tenants including and , with past occupants such as , contributing to its reputation as a premier address for elite financial and luxury firms. Despite initial criticism for altering the streetscape's cohesiveness, its bold Postmodern-influenced aesthetics—comparable to Bunshaft's —have made it one of New York City's most recognizable towers.

Site and Location

Address and Physical Dimensions

The Solow Building is situated at 9 West 57th Street, between Fifth and Sixth Avenues in , . The site's boundaries encompass the north side of West 57th Street, with the lot measuring 268 feet along the street by 200.84 feet in depth, totaling 62,058 square feet. Its geographic coordinates are approximately 40.7638° N, 73.9755° W. The structure rises to a height of 689 feet (210 ) and consists of 49 stories above ground, including a mechanical penthouse often counted in references to reach 50 stories overall. The building provides approximately 1,400,000 square feet of gross , of which approximately 1.4 million square feet is dedicated to office space. Under New York City zoning regulations, the property falls within the C5-3 commercial district, supplemented by special provisions in the Midtown District to accommodate high-density office development.

Surrounding Urban Context

The Solow Building occupies a prominent position in Midtown Manhattan's 57th Street corridor, a prestigious area celebrated for its concentration of luxury retail boutiques and upscale office towers that cater to global financial and fashion industries. This corridor, stretching along 57th Street from Fifth Avenue westward, forms part of the broader Plaza District, where flagship stores such as Bergdorf Goodman and those of Dior and Tiffany & Co. draw international visitors, enhancing the neighborhood's status as a hub for high-end commerce. Adjacent to the Solow Building, directly across Fifth Avenue, stands 745 Fifth Avenue, a 35-story Art Deco landmark completed in 1930 that houses premium retail and offices, while the General Motors Building rises one block north at the corner of 59th Street and Fifth Avenue, creating a cluster of iconic structures that define the eastern edge of the corridor. To the west along 57th Street lie the supertall developments of Billionaires' Row, including 111 West 57th Street, which extend the area's reputation for ultra-luxury residential towers amid the commercial landscape. The building plays a key role in the Midtown skyline through its distinctive curved facade of gray-tinted glass framed by travertine bands, which serves as a visual anchor on 57th Street and contributes to the eclectic mix of modernist and supertall profiles that characterize the district's silhouette. At street level, it enhances the pedestrian experience by integrating into a vibrant thoroughfare lined with luxury storefronts and galleries, fostering a seamless blend of and architecture. Accessibility is facilitated by its proximity to major subway lines, including the N, Q, R, and W trains at the , just a three-minute walk north, and the N, Q, and R at 57th Street–Seventh Avenue, one block west, supporting efficient commuter and tourist flows in this high-density area. Pedestrian traffic along 57th Street remains intense, particularly near , where shoppers and professionals navigate the corridor's sidewalks amid seasonal events and daily footfall exceeding typical Midtown volumes. Positioned south of , the Solow Building offers unobstructed northern views toward the park from its upper floors, while its innovative sloped design—receding from the base—ensures adequate light and air penetration to street-level pedestrians and neighboring properties, mitigating the effect common in dense blocks. At 689 feet tall, it holds a mid-tier height relative to taller neighbors like the 757-foot General Motors Building, allowing it to integrate without dominating the visual corridor.

Architectural Design

Structural Form and Profile

The Solow Building, located at 9 West 57th Street in , exemplifies modernist through its innovative tower form, designed to emphasize verticality and structural expression. Completed in 1974, the 49-story rises 689 feet (210 m) and features gently sloping walls on its north and south elevations, creating a tapered profile that widens at the base and narrows toward the summit. This configuration results in a distinctive, near-cylindrical that sets it apart from the rectilinear forms typical of contemporaneous New York skyscrapers. The building's architectural style aligns with the , prioritizing minimalism, clean lines, and functional efficiency in a high-rise context. Lead designer of Skidmore, Owings & Merrill (SOM) conceived the form in the early 1970s, drawing on the firm's expertise in corporate to integrate bold geometric abstraction with urban presence. Bunshaft's approach highlighted the building's vertical thrust while addressing site-specific challenges, such as the irregular lot dimensions west of . Structurally, the tower employs a system anchored by a central service core, which provides essential stability for the slender profile. This core houses vertical circulation and utilities, allowing open floor plans while distributing loads efficiently. To counter wind forces prevalent in Midtown's dense skyline, the design incorporates X-shaped steel bracing on the eastern and western end walls, enhancing lateral resistance without compromising the facade's sleek aesthetic. These engineering choices underscore the building's role as a technical advancement in high-rise , balancing elegance with performance.

Facade and Materials

The north and south facades of the Solow Building are clad in a curtain wall system composed of panels, creating a sleek, reflective surface that integrates with the building's sloping profile. The gray tint of the was selected for its durability against environmental exposure and its ability to reflect solar heat, thereby reducing interior heat gain and supporting energy efficiency in the pre-green building era. The glass-to-metal ratio in this curtain wall balances transparency for with opaque elements to optimize thermal performance, though specific proportions reflect design standards rather than contemporary metrics. Complementing the curtain wall, the east and west end walls feature travertine cladding, with black anodized aluminum panels covering the exposed portions of the structural wind bracing to provide both aesthetic unity and protection. The window design incorporates vertical mullions and horizontal panels within the curtain wall, producing a seamless verticality that enhances the facade's modern aesthetic from a distance. Maintenance of the facade has involved periodic cleaning of the and refreshes to the anodized aluminum finishes to maintain the original and prevent , as part of broader building restorations in 2000 and 2024. The original passive solar design elements, such as the heat-reflective , represent early considerations for , predating modern or similar green standards.

Plaza and Exterior Features

The plaza at the base of the Solow Building is an elevated public open space, designed to wrap around the tower's footprint and comply with New York City's 1961 zoning resolution, which allowed developers a bonus in exchange for providing accessible public amenities. This area, paved in to harmonize with the building's cladding, features a minimalist layout with integrated seating elements along its perimeter, fostering pedestrian circulation amid the dense context. A defining exterior feature is the prominent red-painted sculpture of the digit "9" on the 57th Street side, commissioned from Ivan Chermayeff and installed in 1974 as both an artistic installation and a functional marker for the building; fabricated from half-inch plate and weighing two tons, it stands as a bold, abstract counterpoint to the tower's sleek curvature. On the 58th Street side, Joan Miró's bronze sculpture Moonbird (Oiseau lunaire), a 14-foot-high organic form cast in 1966, anchors the plaza's artistic presence, its whimsical, lunar-inspired contours offering a playful contrast to the modernist and emphasizing themes of amid urbanity. Access to the plaza occurs via a series of steps and ramps from the surrounding sidewalks, reflecting the era's standards for public integration while accommodating the site's slight elevation above street grade; these elements ensure broad pedestrian without fully anticipating later mandates. The original 1974 design emphasized unadorned spatial clarity, but by 1975, initiated upgrades to the 58th Street portion, including enhanced paving and minor landscaping adjustments to improve amid growing critiques of underutilized plazas. Over time, seasonal plantings have been introduced to soften the minimalist aesthetic, evolving the space into a more inviting urban respite while preserving its core artistic focus.

Interior Spaces and Amenities

The lobby of the Solow Building features a travertine-clad interior with high ceilings, enhanced by recent renovations that include new artwork, updated lighting, and a skylight in the glass-enclosed rotunda overlooking the fitness center below. A secure reception area provides 24/7 services and staffed attendance for visitors. The basement level houses additional support spaces, including access to the wellness facilities. Upper floors offer open-plan office layouts designed for flexibility, with floor-to-ceiling heights of 12 feet 6 inches and slab-to-slab heights reaching 15 feet 2 inches in select spaces. These floors feature column-free floor plates enabled by a central service core, allowing for expansive, uninterrupted areas suitable for modern workstations and collaborative environments. The core also centralizes electrical distribution and mechanical systems, including HVAC, to optimize usable space on the perimeter with views of . Amenities cater to tenant well-being, including an 11,000-square-foot fitness center on the lower level equipped with state-of-the-art exercise machines, plunge pools, studios, a salt room, showers, and a dedicated bike storage room. facilities are available in the 27th-floor Park Lounge, a 20,000-square-foot space with meeting rooms, lounge seating, greenery, and blue marble coffee bars offering vistas. In the 2020s, upgrades have introduced 34 elevators total, including 24 high-speed units grouped by floor zones, along with smart building technologies such as smartphone access to amenities and gigabit throughout common areas. The ground floor includes retail spaces with 18.5-foot ceilings and floor-to-ceiling windows, supporting flexible uses such as showrooms or galleries. Echoing the building's facade elements, the lobby finishes incorporate similar stone materials for a cohesive aesthetic.

Construction and Development

Planning and Design Process

, a prominent New York developer, began assembling the site for what would become the Solow Building in the mid-1960s, acquiring multiple parcels at 9 West 57th Street over a period of approximately three to five years from various owners, including the Church of Jesus Christ of Latter-day Saints. In a notable transaction, Solow traded space in the building for property owned by the church. Solow's vision was to create a landmark office tower that would stand out in , defying conventional designs and serving as a gateway to while maximizing rentable space and views. This ambitious project reflected his strategy of developing high-profile commercial properties without relying on syndicates or external partners, positioning the building as a signature achievement for his company. In August 1968, Solow commissioned Skidmore, Owings & Merrill (SOM), with as the partner-in-charge, to design the tower, with design work continuing into 1971; it was initially planned as a 45-story structure encompassing 800,000 square feet at an estimated construction cost of $30 million. The design process involved several iterations to optimize the building's form and capacity; by late 1968, it expanded to 47 stories and 1.1 million square feet, and by spring 1969, it reached 49 stories and 1.4 million square feet following the acquisition of an adjacent parking lot. These changes were driven by tenant commitments, such as from , and structural considerations to ensure compliance with New York City's zoning requirements for light and air access. The project navigated regulatory hurdles through the New York City Planning Commission's review process, particularly as design modifications were proposed in the late 1960s and early 1970s. To achieve a (FAR) of 18.0—exceeding the base zoning limits for the C5-3 district—Solow incorporated a public plaza, qualifying for incentives under the 1961 Zoning Resolution that allowed bonus in exchange for open space provisions. This plaza, covering a significant portion of the approximately 1.4-acre site (62,000 square feet), not only facilitated approvals but also enhanced the building's urban integration. Bunshaft drew from his earlier modernist works, such as the glass curtain-wall (1952), to inform the Solow Building's innovative sloping profile, rejecting more traditional rectangular forms in favor of a dynamic, curved massing that improved aerodynamics and visual impact. Financing the development relied heavily on Solow's personal resources, with the total project cost estimated at $40 million, including $12 million for land acquisition; this self-financed approach underscored his high-risk commitment to the venture, betting his fortune on the tower's success amid a competitive Midtown market.

Construction Timeline and Challenges

Construction of the Solow Building began with of the site in spring 1969, marking the start of physical development on the 61,800-square-foot plot at 9 West 57th Street. By early 1970, foundation work was underway, with concrete being poured for the 49-story structure designed to provide 1.4 million square feet of rentable . The project, managed by the Solow Construction Company as general contractor, faced delays amid the early 1970s economic recession, which contributed to rising material and labor costs, necessitating renegotiation of financing arrangements originally set with Chase Manhattan Bank and Company. The building's foundation required excavation into Manhattan's to support the tower's height and curved profile, a standard yet labor-intensive process for Midtown that added to the timeline. Despite industry-wide challenges, including union labor standards and periodic work stoppages common in construction during this period, the project adhered to prevailing safety protocols with no major accidents documented. The total construction cost reached approximately $40 million, reflecting adjustments for economic pressures and design refinements. Innovations in assembly helped mitigate delays, particularly the use of prefabricated and glass curtain wall panels for the non-load-bearing facade, which were manufactured off-site and installed progressively to form the building's distinctive sloping elevations up to the 18th floor. This approach streamlined erection of the trussed-frame structure, comprising columns and concrete-filled slabs for enhanced stability against loads. The tower was completed in 1974, with initial occupancy following shortly thereafter, solidifying its status as a modernist .

Historical Timeline

Early Operations (1970s–1990s)

Upon its completion in 1974, the Solow Building welcomed initial tenants including Chemical, the financial firm Morgan Guaranty Trust Company, which signed a major lease for space in the tower the previous year, and , which served as an . These early occupants, drawn to the building's prestigious Midtown location and modern design, helped drive leasing momentum, with the 1.5 million-square-foot property already more than 80 percent rented by late 1973 ahead of full occupancy. The building's early operations unfolded against the backdrop of New York City's severe fiscal crisis in 1975, which strained municipal finances and slowed overall commercial leasing in the city through the late . Nevertheless, the Solow Building maintained steady performance, attracting additional financial tenants such as , which opened a branch on the ground floor in 1979 to expand its U.S. presence. Ownership remained firmly in the hands of developer throughout the and 1990s, with no major sales or transfers of the property during this foundational period. In response to the energy challenges posed by the and oil crises, the building underwent minor HVAC upgrades in the aimed at improving efficiency and reducing operational costs. The decade closed with the first major lobby renovation in , focused on enhancing security features amid growing concerns over urban safety.

Expansion and Changes (2000s–2010s)

The Solow Building underwent a major restoration in 2000. During the 2000s, the Solow Building navigated economic turbulence, particularly the , which contributed to elevated vacancy rates across Midtown Manhattan's premium office market. By late 2009, multiple floors in the 49-story tower stood vacant, reflecting broader market pressures as the borough's overall office vacancy climbed to 7.6 percent amid corporate downsizing and relocations. This period marked a slowdown in leasing activity, with large blocks of space becoming available as tenants like major financial firms consolidated or shifted locations. The 2010s brought a strong recovery, driven by a surge in demand from high-profile financial entities, including hedge funds, seeking trophy with views and top-tier amenities. This influx helped restore occupancy and solidified the building's status as a premier address, with average asking rents in the Plaza District exceeding $100 per and peak rates hitting $210 per by 2014. Ownership under Sheldon H. Solow remained unchanged, providing continuity in management and strategic leasing decisions that capitalized on the post-recession boom. By mid-decade, the building's value had risen substantially to $3.4 billion in , underscoring its economic resilience and desirability in a recovering market. Infrastructure updates, including a comprehensive modernization completed in 2015, enhanced operational efficiency and tenant appeal without altering the structure's iconic profile. These changes positioned the Solow Building as a stable anchor in the evolving Midtown landscape, bridging early operational precedents with sustained commercial vitality.

Recent Developments (2020s–Present)

Following the death of longtime owner on November 17, 2020, the Solow Building passed to his son, , who assumed control through the restructured Soloviev Group, formerly known as Solow Building Company. This transition marked a shift in management, with Soloviev emphasizing modernization to maintain the property's status as a premier office tower amid evolving market dynamics. In the wake of the , the building adapted to hybrid work trends by incorporating flexible leasing options and enhanced amenities to attract tenants seeking adaptable spaces. By 2022, upgrades included a refreshed outdoor plaza on 58th Street, providing shaded outdoor workspaces and public respite areas overlooking , as part of broader post-occupancy renovations led by Skidmore, Owings & Merrill (SOM). These changes built on prior improvements, positioning the property to support remote and in-office hybrid models. From 2023 to 2025, the Soloviev Group invested in luxury enhancements, including a renovated underground fitness center with street-visible skylights, a 24th-floor medical wellness center equipped for minor procedures, and (EV) charging stations in the on-site garage. In early 2025, the 27th floor was transformed into a 20,000-square-foot tenant-exclusive amenity space featuring a private (Vista), lounge, bar, and conference facilities, all overlooking . Concurrently, the building was rebranded as 9W57 to highlight its address and modern appeal in marketing efforts. The property has demonstrated resilience in the hybrid work era, securing multiple high-profile leases at over $200 per square foot in 2024 and 2025, approaching full occupancy despite broader market challenges. As of 2025, its assessed market value exceeds $1 billion, underscoring its enduring economic significance on Billionaires' Row.

Tenants and Commercial Use

Major Historical Tenants

Upon its completion in 1974, the Solow Building's largest initial occupant was , which leased approximately 650,000 square feet across 25 floors, representing about one-third of the structure's office space and serving as the for over two decades. This arrangement underscored the building's early appeal to major corporations seeking prominent Midtown addresses with views. Avon's presence helped establish the tower's reputation for high-profile occupancy, though the company departed in 1998 after 26 years, citing a need for more modern facilities elsewhere in . During the 1970s and 1980s, the building attracted a mix of and firms, including , which opened a ground-floor branch in 1979 as one of the first tenants in the structure. Other early anchors encompassed banks and energy companies, contributing to the tower's status as a hub for elite global businesses amid New York's booming financial sector. By the , tenants such as Nationsbanc Montgomery Securities occupied significant space, with leases supporting the building's transition toward a concentration of law and investment firms that valued its exclusivity and proximity to luxury retail. In the 2000s, hedge funds and firms solidified the Solow Building's prestige, with establishing its headquarters there upon its formation in 2007, initially leasing multiple floors before expanding to over 177,000 square feet by 2018 under a long-term agreement. Similarly, Och-Ziff Capital Management (now ) launched operations in the building in 1994 and grew its footprint, renewing and expanding leases through the decade in a $175 million deal by 2013 that reflected rents exceeding $200 per square foot on upper floors. These occupants, including (which subleased from Montgomery Securities starting in 1996 before exiting amid disputes in 2005), drove the building's aura of selectivity, as owner personally vetted tenants to maintain high standards. The 2010s saw an influx of luxury fashion houses alongside continued financial dominance, with securing office space as part of the building's diversification into high-end commercial uses that complemented its office core. This era's tenants elevated the property's profile, with average asking rents rising from around $50 per square foot in the early to over $150 by 2019, fueled by demand from prestige-driven lessees. Post-2008 departures, such as space consolidations by banking firms, temporarily increased vacancy but ultimately reinforced the building's resilience, as remaining anchors like Apollo emphasized long-term commitments amid market recovery. The interior amenities, including upgraded lobbies and views, supported these tenants' operational needs without major overhauls.

Current and Emerging Tenants

In the , the Solow Building has solidified its status as a premier destination for elite financial institutions, with upper floors predominantly occupied by hedge funds and firms such as , , Davidson Kempner, and . These tenants leverage the building's prestige and views to attract top talent in and strategies. The ground-level retail spaces have evolved to host luxury fashion houses, exemplified by CHANEL's long-standing presence, which underscores the building's appeal to high-end brands seeking visibility in . The property maintains a high occupancy rate, reflecting strong demand amid a recovering market. Leasing trends emphasize premium rates exceeding $200 per square foot, positioning the Solow Building among New York City's most expensive trophy properties and catering to fintech innovators and fashion entities through flexible, high-end configurations. Recent enhancements, including a tenants-only restaurant operated by Kent Hospitality Group and a 20,000-square-foot amenity level with private dining and wellness facilities, further tailor the space to elite clientele. In April 2025, the Soloviev Group announced three new long-term leases at over $200 per square foot to major financial and insurance firms, including Loews Corporation. Emerging tenancies include the Qatar Investment Authority, signaling continued interest despite broader market fluctuations.

Tenant Disputes

During the 2000s, Solow Realty was involved in several high-profile tenant disputes at the Solow Building. In 2005, the company sued tenant Securities LLC, alleging lease violations related to illegal activities by employees and disputes over renovations and electricity charges. The litigation, filed in , sought eviction and damages, but was part of broader tensions in the landlord-tenant relationship. The case highlighted operational conflicts in a premier property. Another significant case was the against former tenant , initiated in 1997 after Avon's lease ended. Solow claimed $80 million in damages for failure to restore the space to its original condition, including removal of alterations. The dispute, rooted in lease terms, was settled in 2004 for $6.2 million without admission of liability. Overall outcomes in tenant disputes at the Solow Building have frequently favored Solow Realty, with judicial decisions reinforcing landlord rights under commercial leases. This pattern reflects developer Sheldon Solow's aggressive negotiation style, characterized by preemptive litigation and prolonged battles to protect property value, as he filed over 200 lawsuits during his lifetime, many involving the building. The high-value tenancy has amplified the stakes of such conflicts.

Regulatory and Zoning Conflicts

Throughout its history, the Solow Building's 30,000-square-foot publicly accessible plaza has been subject to regulatory oversight as a (POPS) under New York City's zoning code, which granted the building a 200,000-square-foot bonus in exchange for maintaining the open area for public use. The plaza, originally designed with features like a fountain, arcade, seating, and a sculpture to meet bonus requirements, has faced compliance challenges related to access and amenities. In the 2010s, the building encountered violations tied to base retail expansions and POPS maintenance, including three documented infractions since 2011 for issues such as inadequate amenities and potential encroachments. These led to fines from the New York City Department of Buildings' Environmental Control Board, with standard penalties of $5,000 per violation, though total citywide POPS fines since 2011 have amounted to only $1.4 million despite billions in developer bonuses. At that time, required elements like chairs, umbrellas, and tables were absent without explanation, further underscoring non-compliance, along with ambiguous signage on public access. Ongoing oversight by the NYC Department of City Planning and Department of Buildings has mandated public access, with no specific 1990s court ruling directly on the plaza but general enforcement through zoning resolutions ensuring compliance. In the , amenity upgrades as part of a comprehensive interior renovation—led by Skidmore, Owings & Merrill and including a new 27th-floor tenant amenity level—underwent required environmental reviews under the City Environmental Quality Review procedure to assess impacts on air quality, noise, and historic resources, with no major conflicts reported as of 2025. These issues exemplify broader challenges in NYC's bonus zoning framework, where developers receive significant floor area incentives for POPS but often face lax , leading to calls for stricter audits and higher penalties to preserve public benefits amid urban density pressures. The Solow Building's case has contributed to discussions on reforming incentive zoning laws to better ensure long-term public access and maintenance.

Reception and Legacy

Architectural Criticism

Upon its completion in 1974, the Solow Building, designed by of Skidmore, Owings & Merrill (SOM), elicited mixed responses from architectural critics, with praise for its innovative structural form tempered by concerns over its aesthetic and urban integration. The building's distinctive curved facade, which sloped inward to comply with New York City's 1916 zoning resolution while maximizing floor area and allowing light and air to adjacent structures, was lauded as a bold solution that defied traditional conventions. SOM described it as a "prominent, distinctive New York icon," highlighting how the gray-tinted glass and elements created a modernist statement on the Midtown skyline. In 1975, the (AIA) New York Chapter awarded Chermayeff for his red steel "9" sculpture at the building's entrance and commended the overall design details, such as the X-braced wind-resistant structure, even while noting the tower's assertive presence. Critics, however, often highlighted the building's Brutalist undertones and perceived coldness, particularly its underutilized plaza and disruptive scale. , in a 1973 New York Times review titled "Anti-Street, Anti-People," described the as "disdainfully antistreet, excruciatingly awkward in its connections to neighbors, and belligerently disruptive of the skyline," critiquing the sloping form—derisively nicknamed the "ski-slope building"—for prioritizing corporate monumentality over pedestrian-friendly . echoed similar sentiments in later assessments, arguing that the Solow Building, like its stylistic sibling the W.R. Grace Building, failed to ensure that its side elevations matched the quality of its primary facade, resulting in an imbalanced visual impact on the streetscape. These views positioned the tower as emblematic of late-20th-century modernism's occasional detachment from contextual harmony, with the expansive plaza seen as functionally underutilized and symbolically aloof. By the 2010s, reevaluations reframed the Solow Building as an enduring SOM icon, with its once-controversial form now viewed more favorably amid evolving aesthetics. Architectural historian Nicholas Adams, in a 2017 Casabella analysis, noted that the tower—initially a symbol of corporate indifference—had become "almost conventional" in comparison to supertall contemporaries, crediting its zoning-responsive curve for pioneering flexible high-rise design akin to SOM's earlier , which similarly balanced setback requirements with elegant minimalism. The building's inclusion in guides like WikiArquitectura underscores its role in architectural discourse, emphasizing the facade's magnetic scale despite exposed "unattractive" sides. Post-2020 critiques remain limited, particularly regarding sustainability adaptations during SOM's interior renovations, which introduced energy-efficient features like a 34-foot glass skylight in the fitness center but have not drawn significant professional analysis on environmental performance. The 2024 Interior Design Magazine Best of Year Award for these updates signals continued appreciation for adaptive modernism, yet broader discourse on the building's ecological legacy lags behind its formal innovations.

Cultural and Economic Significance

The Solow Building serves as a prominent cultural icon in New York City, often featured in films and television that depict the grandeur and exclusivity of Manhattan's skyline. It appears as a backdrop in the 1978 film Superman, showcasing its distinctive sloping facade in exterior shots during scenes set in the city. The building also features in the 1985 comedy Lost in America, where the final scene unfolds in front of its entrance, emphasizing its role as a symbol of urban aspiration. Additional cameos include episodes of the 1980s series Miami Vice, where it represents the high-stakes world of finance. This visibility has intertwined the structure with popular narratives of ambition and luxury, enhancing its status beyond mere architecture. Located on 57th Street, the Solow Building embodies the affluence of "Billionaires' Row," a corridor synonymous with elite wealth management, hedge funds, and private equity firms that seek its prestigious address to signal success. Its development in the 1970s helped catalyze the street's evolution from a historic Millionaires' Row into a modern luxury office hub, attracting high-profile tenants and spurring further upscale commercial growth along the corridor. Economically, the building contributes significantly to Midtown Manhattan's robust office market, which recorded 23.2 million square feet of leasing in the first nine months of 2025 amid a post-pandemic rebound. With premium rents exceeding $200 per square foot in top-tier spaces, it exemplifies the high-value assets that underpin the area's multi-billion-dollar commercial ecosystem. The structure's legacy lies in its pioneering tapered design, which emphasized expansive views and setbacks, influencing subsequent skyscraper trends that prioritize sculptural forms and site maximization in dense urban settings. Developer Sheldon Solow's hands-on approach to creating tenant-centric icons, blending bold architecture with premium functionality, has modeled a blueprint for New York projects that balance commercial viability with landmark status. In 2025, the building symbolizes resilient commercial real estate amid economic recovery, with upgrades to its amenity spaces and strong leasing underscoring its adaptability. In January 2025, owner Soloviev Group acquired an adjacent site at 24 West 57th Street for $67.2 million, planning further development that extends the building's influence on Billionaires' Row. Recent media, including architectural videos, highlights its enduring role in the city's skyline narrative. Though often under-discussed, the Solow Building's amenities have shaped modern standards in elite office towers, featuring an 11,000-square-foot fitness center with a , advanced equipment, and natural light via a glass , alongside a 20,000-square-foot lounge for dining and conferencing. These elements set a for wellness-focused, hospitality-like environments that now define luxury commercial spaces in Midtown.

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  55. https://www.yahoo.com/lifestyle/iconic-nine-west-tower-continues-235809806.html
  56. https://therealdeal.com/magazine/new-york-april-2008/the-solow-way/
  57. https://www.nytimes.com/interactive/2023/07/21/nyregion/nyc-developers-private-owned-public-spaces.html
  58. http://n3wy0rkc1ty.blogspot.com/2008/01/travesty-in-travertine.html
  59. https://www.gbaproducts.com/project-inspiration/glass-skylight-at-the-solow-building
  60. https://www.facebook.com/groups/historicfilmlocations/posts/1757016084761778/
  61. https://www.flickr.com/photos/gml527/3363751883
  62. https://www.imdb.com/search/title/?locations=Solow%2520Building%2520Manhattan%2C%25209%2520W%252057th%2520Street%2C%2520New%2520York%2520City%2C%2520New%2520York%2C%2520USA
  63. https://www.morrelhirsch.com/57th-street-report/from-millionaires-row-to-billionaires-row-the-story-of-57th-streets-evolution/
  64. https://www.wsj.com/real-estate/commercial/nyc-office-real-estate-market-039c4796
  65. https://www.bloomberg.com/news/articles/2025-01-24/nyc-owner-of-9-west-tower-eyes-new-billionaires-row-development
  66. https://www.youtube.com/watch?v=Jg6p9AVc4Xk
  67. https://www.hedgefundspaces.com/inside-midtown-manhattans-most-exclusive-office-buildings-and-their-new-amenities/
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