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Socony-Mobil Building, 150 East 4211Ct Street, Aka 130-170 East4211ct Street, 375-391 Lexington a Venue, 640- 658 Third Avenue, 131-155 East 41 St Street, Manhattan

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Socony-Mobil Building, 150 East 4211Ct Street, Aka 130-170 East4211ct Street, 375-391 Lexington a Venue, 640- 658 Third Avenue, 131-155 East 41 St Street, Manhattan Landmarks Preservation Commission February 25, 2003; Designation List 341 LP-2117 Socony-Mobil Building, 150 East 4211ct Street, aka 130-170 East4211ct Street, 375-391 Lexington A venue, 640- 658 Third Avenue, 131-155 East 41 st Street, Manhattan. Built 1954-1956; Harrison & Abramowitz and John B. Peterkin, architects. Landmark Site: Borough of Manhattan Tax Map Block 1296, Lot 46. On October 1, 2002, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Socony-Mobil Building and the proposed designation of the related Landmark Site (Item No. 2). The hearing had been advertised in accordance with provisions of law. A representative of the building owner and fee holder spoke in opposition to designation. Five witnesses testified in favor of designation, including representatives of the Landmarks Conservancy, DoCoMoMo New York Tri-State, Modern Architecture Working Group, and the Historic Districts Council. In addition, the Commission received numerous letters in support of designation, from Manhattan Communjty Board Six, the Municipal Art Society, and the Roosevelt Island Historical Society. One letter opposed designation. At the time of designation, a representative of the fee holder spoke in support of designation. Summary A curtain wall of seven thousand embossed stainless steel panels gives the Socony-Mobil Building a unique presence on the midtown skyline. Constructed between 1954 and 1956, this impressive skyscraper fills an entire block, extending from 4211d to 41 st Streets, and from Lexington to Third Avenues. There are two entrances: the primary entrance is located on 4211d Street, and a smaller, secondary entrance faces Lexington A venue. Both are reached by passing beneath dramatic stainless steel arches that enclose generous exterior vestibules. At the center of the block, atop a three-story base, is a forty-two story tower, oriented from east to west, flanked by thirteen story wings. The driving force behind this speculative office project was Peter B. Ruffin, of the Galbreath Corporation, who convinced the owners of the site, the Goelet Estate, to agree to a long-term lease. A distinguished group of architects and engineers was assembled to guide the project, and major tenants were secured, including the Socony-Mobil Oil Company, which relocated from the financial district to occupy half the structure. Fully leased at the time of completion, the project's success bolstered the emergence of midtown and the area surrounding Grand Central Terminal as a major corporate address. The Socony-Mobil Building was designed in two phases: John B. Peterkin, a consultant to the Goelet estate, was responsible for the initial scheme, a set-back tower of brick and granite that conformed to the 1916 zoning ordinance. Harrison & Abramowitz, who were at the height of their prestige, joined the team in 1952 and over the next two years the elevations were completely redesigned using man-made materials. The structure that resulted is a vivid study in contrasts, juxtaposing deep blue structural glass with stainless steel, smooth and embossed surfaces, as well as curved and rectilinear forms. These juxtapositions give the Socony-Mobil Building its singular character; while the zoning-driven massing was typical of speculative office buildings erected during this period, the sparkling elevations gave the project a strong modem identity. Aside from modest alterations to the base and storefronts, this office tower remains one of the postwar era's - and neighborhood's most striking skyscrapers. DESCRIPTION AND ANALYSIS History of the Grand Central District "integrated factory" facing Lexington A venue, from Public transportation played an critical role in the the end of the Civil War to 1918.2 A subway entrance development of midtown Manhattan and the site was created on the block after 1915, located in a one­ occupied by the Socony-Mobil Building. The New story brick structure at 156-158 East 42"ct Street. Other York & Harlem Railroad Company, laid tracks along buildings during this period included several small Fourth (now Park) A venue in 1837, linking 14th and hotels, two theaters, and a garage.3 125th Streets. Grand Central Depot (demolished) Under Robert Goelet (1880-1966), the family opened on 4211 ct Street in 1870. The new terminal increased its holdings on the block, purchasing six lots consisted of a vaulted iron shed, as well as a Second near the comer of Third Avenue and 4l't Street during Empire style headhouse with public entrances facing the 1940s.4 This acquisition was made with the 4211 ct Street and Vanderbilt A venue. This orientation expectation that the end of elevated rail service in made the blocks to the east considerably less desirable, Manhattan was near. With the closing of the Second and in subsequent decades stables, warehouses, and Avenue line in 1942, the Goelets correctly anticipated factories were built here. that the Third A venue el would follow and as the Elevated railway service was introduced on Third Socony-Mobil Building approached completion in Avenue (between 67th Street and South Ferry) in 1956, service ended and the iron structure was August 1878, and along Second Avenue (north of z3rct demolished. As the last pillars were removed at 4211 ct Street) in 1880. 1 At 4211 ct Street, a spur line was Street, the New York Times reported: constructed to the west, linking the "els" directly to Final removal of the shadowy el cleared the Grand Central Depot. The IRT subway, which ran way for a seven and one half mile, widened, from City Hall to 4211ct Street, and, for a time, west to tree-lined, flourescent lighted, boulevard of Times Square, made the spur line obsolete and in 1923 glistening office buildings and fine it was demolished. No longer darkened by trains and apartments and shops that will be new in track, the blocks between Park and Third A venues everything but name.5 became substantially more attractive to commercial development. In subsequent years, the Grand Central Over the next three decades, many impressive district became prime real estate and a significant commercial structures would, indeed, be erected along group of office buildings were built along 4znct Street, both sides of Third A venue, especially near 59t11 Street, including the Bowery Savings Bank (1921-23, 1931- 53 rct Street, and 4211 ct Street, where multiple subway 33), Chanin Building (1927-29) and Chrysler Building lines are present. (1928-30, all designated New York City Landmarks). The blocks east of Lexington Avenue, however, John B. Peterkin (1886-1969) remained relatively free of new development. Aside As early as 1942, the Goelet Estate began to from the Daily News Building (1929-30, a designated contemplate redevelopment of the site. John B. New York City Landmark and Interior), the blocks Peterkin, an architect specializing in apartment houses adjoining the Second and Third A venue els were and civic structures, was hired as an consultant. Most occupied by modest, low-rise structures. of his designs were relatively free of ornament and he often worked in a st1ipped Classical or streamlined The Site Modeme style. His Manhattan commissions included: The Socony-Mobil Building was built on land 53 Park Place (1922, in association with Cross & leased from the Goelet Estate. Francis Goelet Cross); 1016 Fifth Avenue (1927, part of the emigrated from Amsterdam to the colony of New Metropolitan Museum Historic District); the Airlines York in 1676. Prominent among his descendants were Building (1939-40, demolished), across from Grand Peter Goelet (1800-79) and Robert Goelet (1809-79) Central Terminal on 4211 ct Street, the East Side Airlines who accumulated large fortunes in banking and real Terminal (1950-51, demolished), located on First estate. Both brothers were founders of Chemical Bank A venue, close to the Midtown Tunnel; and the New and at one time it was reported that the family owned York Coliseum (1953-54, in association with Leon & more than fifty-five acres on Manhattan's east side. In Lionel Levy, demolished). 1848, they began acquiring lots on the block, near the Peterkin developed the first scheme for the site in comer of Lexington A venue and 4znct Street. The land the early 1940s.6 With its proximity to Grand Central was leased to various tenants, most notably Pottier & Terminal he suggested a related use, consisting of an Stymus, the furniture designers, who operated an office tower built above an airlines depot. Oriented 2 from east to west, his plan recalled various buildings Harrison & Abramowitz12 at Rockefeller Center. Above the third floor was a The project gained substantial prestige through the bold set-back, creating a platform from which a thirty­ addition of Harrison & Abramowitz. The firm had story tower, flanked by lower wings, would rise. At many important buildings to its credit and Wallace K. this level, a roof garden was envisioned. Despite a Harrison (1895-1981) had played a leading role in the "closet full of plans," the project did not proceed. creation of Rockefeller Center, first, with Corbett, While major corporations and developers expressed Harrison and MacMurray, and later, as Harrison & reservations about developing such a large site, other Fouilhoux. Max Abramowitz (b. 1908) joined the firm parties could not meet the Estate's demand that they in mid-1930s and following the death of J. Andre produce "blue-ribbon" tenants with long-term leases. 7 Fouilhoux (1879-1945), it was called Harrison & Abramowitz. The Developer During the late 1940s, Harrison developed a The driving force behind the Socony-Mobil reputation as a conciliator, able to appease opposing Building was Peter B. Ruffin, vice-president of the views and design impulses. His commissions for Galbreath Corporation.8 Born in Virginia, he moved to corporate and institutional clients display a rare gift for New York in 1927 and became one of the city' s most merging traditional and modem aesthetics.
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