When we die, what do we leave behind? For most of us, within a few decades after our deaths, the memory of our face, our voice, and our life is gone from the earth. The people who knew us are gone, too. The stuff we owned either becomes rubbish, or no one remembers that it was once our stuff. We disappear like a song on the wind, with nothing remaining to mark we ever existed except small plots of ground to hold our bodies and stones with our names carved onto them. Perhaps if we were important in life, or well-loved, it’s a really nice stone. Maybe someone someday will walk through the old cemetery where we lie, see a really nice tombstone, and stop to read the epitaph.
For groups of people, and civilizations, the thing left behind is not a stone, but rather the stackings of stones into buildings. We lose the remembrance of individual people, the things they said, did, and wrote, but we remember what they built. The Ancient Greeks and Romans tell us about themselves through their Classical Architecture. We remember the Medieval period in Europe from its castles and Gothic Cathedrals. We remember the early 20th century from the Art Deco buildings it left behind. The style tells us something about their priorities, what they believed, and what their hopes were. When the buildings are really nice, later generations visit them, keep them, and preserve them.
Does it matter? I think so. The buildings preserve a form of truth. Every time you hear someone tell you about “the Dark Ages,” you have to square that characterization with the fact that the people of the Dark Ages built hundreds (thousands?) of the most beautiful and complex structures ever dreamed of by man. The buildings remain and continue telling a story. They suggest that perhaps those Ages weren’t as Dark as we were told by our contemporaries. The architecture continues to stir hearts and inspire wonder.
Alternatively, the epoch of humanity that became global and started the Space Age also built thousands of the ugliest and worst buildings in human history. Will future generations protect and keep the 20th and 21st century glass box high rises and brutalist concrete atrocities? Probably not. The effort to demolish and replace those structures is already underway around the world. Does it matter – and does it say something about us – that we have spent 80 years building things others would later *want* to tear down? These are questions worth thinking about.
As an American, when I think of my country, what structures have we built that I hope stand forever? Honestly, this is not as long a list as I would like it to be. The U.S. has spent its century as a global power doing a lot of things other than building beauty and pursuing legacy. Most of what I prize was constructed prior to the U.S. ascension after the Second World War. There’s a lesson in that.
The first place I think of, when I think of the U.S., is The Empire State Building. It was the tallest building in the world for 41 years (1931-1972.) It is brash, beautiful, a show of incredible force – completed in less than two years during The Great Depression, and hopefully it will prove to be enduring. It not only tells a true story about the people who built it, but it even tells fictional ones about giant kaiju gorillas who may or may not have climbed it.
The site of the Empire State Building, on the west side of Fifth Avenue between West 33rd and 34th Streets, was developed in 1893 as the Waldorf–Astoria Hotel. In 1929, Empire State Inc. acquired the site and devised plans for a skyscraper there. The design for the Empire State Building was changed fifteen times until it was ensured to be the world’s tallest building. Construction started on March 17, 1930, and the building opened thirteen and a half months afterward on May 1, 1931. Despite favorable publicity related to the building’s construction, because of the Great Depression and World War II, its owners did not make a profit until the early 1950s.
The Empire State Building was designed by Shreve, Lamb and Harmon in the Art Deco style. The Empire State Building is 1,250 ft (381 m) tall to its 102nd floor, or 1,453 feet 8+9⁄16 inches (443.092 m) including its 203-foot (61.9 m) pinnacle. It was the first building in the world to be more than 100 stories tall, though only the lowest 86 stories are usable. The first through 85th floors contain 2.158 million square feet (200,500 m2) of commercial and office space, while the 86th floor contains an observatory. The remaining 16 stories are part of the spire, which is capped by an observatory on the 102nd floor; the spire does not contain any intermediate levels and is used mostly for mechanical purposes. Atop the 102nd story is the 203 ft (61.9 m) pinnacle, much of which is covered by broadcast antennas, and surmounted with a lightning rod.
Form
The five-story base as seen from Fifth Avenue, with the main entrance at center. The Empire State Building sets back significantly above the base.
The Empire State Building has a symmetrical massing because of its large lot and relatively short base. Its articulation consists of three horizontal sections—a base, shaft, and capital—similar to the components of a column. The five-story base occupies the entire lot, while the 81-story shaft above it is set back sharply from the base. The setback above the 5th story is 60 feet (18 m) deep on all sides. There are smaller setbacks on the upper stories, allowing sunlight to illuminate the interiors of the top floors while also positioning these floors away from the noisy streets below. The setbacks are located at the 21st, 25th, 30th, 72nd, 81st, and 85th stories. The setbacks correspond to the tops of elevator shafts, allowing interior spaces to be at most 28 feet (8.5 m) deep (see § Interior).
The setbacks were mandated by the 1916 Zoning Resolution, which was intended to allow sunlight to reach the streets as well. Normally, a building of the Empire State’s dimensions would be permitted to build up to 12 stories on the Fifth Avenue side, and up to 17 stories on the 33rd Street and 34th Street sides, before it would have to utilize setbacks. However, with the largest setback being located above the base, the tower stories could contain a uniform shape. According to architectural writer Robert A. M. Stern, the building’s form contrasted with the nearly contemporary, similarly designed 500 Fifth Avenue eight blocks north, which had an asymmetrical massing on a smaller lot.
Facade
The Empire State Building’s Art Deco design is typical of pre–World War II architecture in New York City. The facade is clad in Indiana limestone panels made by the Indiana Limestone Company and sourced from a quarry in south-central Indiana; the panels give the building its signature blonde color. According to official fact sheets, the facade uses 200,000 cubic feet (5,700 m3) of limestone and granite, ten million bricks, and 730 short tons (650 long tons) of aluminum and stainless steel. The building also contains 6,514 windows. The decorative features on the facade are largely geometric, in contrast with earlier buildings, whose decorations often were intended to represent a specific narrative.
A pair of sculpted concrete eagles above the Fifth Avenue entrance
The main entrance, composed of three sets of metal doors, is at the center of the facade’s Fifth Avenue elevation, flanked by molded piers that are topped with eagles. Above the main entrance is a transom, a triple-height transom window with geometric patterns, and the golden letters “Empire State” above the fifth-floor windows. There are two entrances each on 33rd and 34th streets, with modernistic, stainless steel canopies projecting from the entrances on 33rd and 34th streets there. Above the secondary entrances are triple windows, less elaborate in design than those on Fifth Avenue.
The storefronts on the first floor contain aluminum-framed doors and windows within a black granite cladding. The second through fourth stories consist of windows alternating with wide stone piers and narrower stone mullions. The fifth story contains windows alternating with wide and narrow mullions, and is topped by a horizontal stone sill.
The facade of the tower stories is split into several vertical bays on each side, with windows projecting slightly from the limestone cladding. The bays are arranged into sets of one, two, or three windows on each floor. The bays are separated by alternating narrow and wide piers, the inclusion of which may have been influenced by the design of the contemporary Daily News Building. The windows in each bay are separated by vertical nickel-chrome steel mullions and connected by horizontal aluminum spandrels between each floor. The windows are placed within stainless-steel frames, which saved money by eliminating the need to apply a stone finish around the windows. In addition, the use of aluminum spandrels obviated the need for cross-bonding, which would have been required if stone had been used instead.
Lights
The building was originally equipped with white searchlights at the top. They were first used in November 1932 when they lit up to signal Roosevelt’s victory over Hoover in the presidential election of that year. These were later swapped for four “Freedom Lights” in 1956. In February 1964, flood lights were added on the 72nd floor to illuminate the top of the building at night so that the building could be seen from the World Fair later that year. The lights were shut off from November 1973 to July 1974 because of the energy crisis at the time. In 1976, the businessman Douglas Leigh suggested that Wien and Helmsley install 204 metal-halide lights, which were four times as bright as the 1,000 incandescent lights they were to replace. New red, white, and blue metal-halide lights were installed in time for the country’s bicentennial that July. After the bicentennial, Helmsley retained the new lights due to the reduced maintenance cost, about $116 a year.
Since October 12, 1977, the spire has been lit in colors chosen to match seasonal events and holidays. Organizations are allowed to make requests through the building’s website. The building is also lit in the colors of New York-based sports teams on nights when they host games: for example, orange, blue, and white for the New York Knicks; red, white, and blue for the New York Rangers. The spire can also be lit to commemorate events including disasters, anniversaries, or deaths, as well as for celebrations such as Pride and Halloween. In 1998, the building was lit in blue after the death of singer Frank Sinatra, who was nicknamed “Ol’ Blue Eyes”.
In addition to lightings, the Empire State Building is able to do immersive visual projections on the building’s exterior. It partnered with Netflix in May 2022 to celebrate the return of Stranger Things fourth season by projecting the Upside Down onto the Empire State Building.
In 2012, the building’s four hundred metal halide lamps and floodlights were replaced with 1,200 LED fixtures, increasing the available colors from nine to over 16 million. The computer-controlled system allows the building to be illuminated in ways that were unable to be done previously with plastic gels. For instance, CNN used the top of the Empire State Building as a scoreboard during the 2012 United States presidential election, using red and blue lights to represent Republican and Democratic electoral votes respectively. Also, on November 26, 2012, the building had its first synchronized light show, using music from recording artist Alicia Keys. Artists such as Eminem and OneRepublic have been featured in later shows, including the building’s annual Holiday Music-to-Lights Show. The building’s owners adhere to strict standards in using the lights; for instance, they do not use the lights to play advertisements.
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Thank you!