The building was designed by
Fox & Fowle and developed by the
Durst Organization. WSP Cantor Seinuk was the structural engineer, while
Tishman Construction was the main contractor. mechanical engineer
Cosentini Associates, photovoltaic contractor Kiss + Cathcart Architects, lighting contractor Fisher Marantz Renfro Stone, and cladding contractor Heitmann & Associates. The building measures to its architectural tip and to the top of the antenna mast. The main roof is only high. The design incorporates many environmentally efficient features. In particular, Fox & Fowle had been chosen for its experience designing ecologically sustainable buildings. The building's high energy usage limits the extent of the energy savings; Suzanne Stephens wrote for
Architectural Record that the inclusion of such features was "a little like opening up a smoke-enders clinic on a tobacco farm".
Form The building is part of the 42nd Street Development Project and, thus, could bypass many city
zoning rules such as those relating to
floor area ratio (FAR).
Bruce Fowle of Fox & Fowle estimated that the building had a FAR of 35, while
The New York Times stated that the FAR was only 31. The
massing of the building contains several
setbacks, which were not mandated by zoning ordinances but were included to make the building's design fit in with its setting. The 43rd story contains a glass setback with a
cavetto-shaped cornice. Stephens wrote that the building contained a combination of neo-Modernist and traditional design elements. While the building is divided into a base, shaft, and pinnacle similar to older skyscrapers, the design of the
facade was more varied. After the broadcast equipment atop the
World Trade Center's towers was
destroyed during the
September 11 attacks in 2001, the main transmitters for radio stations
WKTU,
WNYC-FM, and
WPAT-FM and the backup transmitter for
WSKQ-FM were transferred to 4 Times Square. This allowed WKTU, WNYC-FM, and WPAT-FM to build main transmitters at the
Empire State Building without disrupting existing FM tenants there. Below that are two antennas for VHF broadcasts: one for low-VHF broadcasts and the other for
FM radio stations. In addition, the mast has been used as a backup site for FM stations such as WKTU, WNYC, WPAT, WSKQ,
WHTZ,
WAXQ,
WWPR,
WLTW, and
WCAA. The arrangement was meant to fit in with the livelier character of Broadway and the more restrained character of 42nd Street and Bryant Park. This led multiple media sources to compare the facade to the two-faced god
Janus. In general, the lower stories have low-reflective glass to increase transparency, while the upper stories have highly reflective glass that deflects heat. In a 1996 press release, Fox & Fowle described the character of the masonry facade as presenting "a more composed personality appropriate to the context of Midtown Manhattan". which is named One Five One after its street address of 151 West 42nd Street. The entrance originally contained glass doors and was flanked by stone blocks. The glass facade, which wraps around the west elevation and part of the south elevation, is designed to blend in with the surrounding signage. There are ten signs, which could be rented to advertisers; when the building was constructed, the signs were projected to earn $7 million per year. The signs were included as part of
Robert A. M. Stern's 42nd Street Now! master plan, The 37th through 43rd stories of the south and east elevations have
photovoltaic (PV) panels. These were installed in place of some of the
spandrels that separate windows on different floors. The PV modules are placed on a thin glass pane that is then laminated on both sides. The PV panels were included because they were inconspicuous and only cost more than conventional spandrels. Originally, the architects had planned for of PV panels.
Nasdaq MarketSite at the bottom of the Condé Nast Building at night The eight-story cylindrical facade of 4 Times Square's northwest corner, on Broadway and 43rd Street, contains
Nasdaq MarketSite. The facade was part of the building's original design and was included before Nasdaq had leased the space. At street level is a three-story glass facade, which contains a view of the studio inside. Above the studio, the facade consists of a giant LED display, variously cited as measuring The display is allowed because 4 Times Square is exempt from the zoning rules regarding signs. It is thick and is interrupted by thirty square windows. The windows are arranged into five rows, which illuminate a portion of Condé Nast's space. creating a gap of about between the sign and the actual facade. the top-story signs are protected because they are in the 42nd Street Development Project. The signs were subsequently replaced by the number "4" during the mid-2000s. Since 2013, the top of the building has contained four illuminated panels with the name of clothing retailer
H&M, a retail tenant at the base.
Mechanical and environmental features Fuel cells The building is partially powered by two
fuel cells that are capable of each. They are installed on the fourth floor. The two cells could provide 50 percent of the exterior signs' nighttime power needs but a minuscule amount of the daytime needs. As part of an agreement with
Consolidated Edison (Con Ed), which operates much of New York City's power-supply system, the cells must be turned off during a power failure, such as the
Northeast blackout of 2003. Fox & Fowle originally planned to include eight fuel cells, which would have been capable of generating of power annually, including all of the exterior signs' power needs. Furthermore, each cell cost $600,000. At the time, many buildings still used
fossil fuels for power generation, and natural gas created much less pollution than other fossil fuels. Tenants could also independently adjust the heating and air-conditioning systems in their offices. and the previous foundations were also reused. Inside, 4 Times Square has of space. There are also security checkpoints with turnstiles. The building was designed with of retail space on the lowest three stories. When the building opened, the retail space was occupied by a three-story
ESPN Zone entertainment restaurant, operated by
The Walt Disney Company. The ground floor had an American grill called the Studio Grill; the second floor had the Screening Room, a sports-viewing area with television screens; and the third floor had the Sports Arena, which included a small practice facility and an
arcade video game area. Since 2013, the old ESPN space has contained a three-story H&M clothing store. The space had a 72-seat auditorium, a public exhibit area, and a pair of broadcast studios below the large LED sign. An exhibit on the second floor was designed as the "MarketSite Experience", displaying items about MarketSite's history.
Condé Nast cafeteria Frank Gehry designed an employee cafeteria on the fourth floor for Condé Nast. The cafeteria was Gehry's first New York City project; prior to designing the space, Gehry had had difficulty gaining any major commissions. Gehry had been friends with Condé Nast CEO
Samuel Irving Newhouse Jr., who offered to hire Gehry for the interior design of Condé Nast's offices, a role that Gehry declined. When the cafeteria opened in 2000, it was directed by
Sean J. Killeen and a staff of 53. The space was given several nicknames, such as "the Commissary" and "the Aquarium". The main cafeteria covered and could fit more than 250 people. Next to the main cafeteria were four smaller dining rooms The private dining rooms could fit 70. The
New York Daily News said that James Truman, Condé Nast's editorial director, "spent months thinking about nothing else" during the design of the cafeteria. The cafeteria reportedly cost $30 to $35 million. Most of the seats were initially in 39 upholstered-leather booths with yellow elliptical wooden tables. Each booth is divided by angled glass partitions that measure tall, wide, and about thick and weighing apiece. The panes are held in place by metal grommets at the top and bottom. The floors were resurfaced in white oak; the leather seats and tables were replaced; and the titanium walls were covered with curving sheetrock and plaster. A set of test kitchens was turned into a reception area for an adjacent conference room. Seating capacity was increased to 300 during the renovation. When designing the building, Fox & Fowle tried to maximize the amount of space illuminated by natural light. The company's flagship magazines
Vogue and
Vanity Fair had their own stories, while
The New Yorker had floors 20 and 21; the rest of the space had corporate offices. Along the outer edges of each story, each publication's offices were connected by an "art corridor" decorated with works of art. Only five percent of offices were directly adjacent to windows,--> == History ==