Temple Emanu-El (New York, 1868)

Temple Emanu-El of New York is a synagogue in New York City, built for Congregation Emanu-El of New York in 1928–1930. It is one of the largest synagogues in the world.

Fifth Church of Christ, Scientist is an historic Classical Revival-style Christian Science church building located at 9 East 43rd Street near Madison Avenue and Grand Central Terminal in Manhattan, New York City. Built in 1921 on the former site of St. Bartholomew's Episcopal Church. Fifth Church of Christ, Scientist, is unusual in that it occupies part of the first two stories of a 21-story office building that was originally named the Canadian Pacific Building. The church auditorium seats 1800 people.

520 Fifth Avenue is a mixed-use supertall building under construction in New York City. The building occupies the former site of three structures. Rabina is developing the building, and architectural firm Kohn Pedersen Fox designed the structure and serves as architect of record.

The Cornell Club of New York, usually referred to as The Cornell Club, is a private club in Midtown Manhattan, New York City. Its membership is restricted to alumni and faculty of Cornell University, family of Cornellians, business associates of Members, and graduates of The Club's affiliate schools. The Cornell Club's clubhouse is a fourteen-story building located at 6 East 44th Street between Madison Avenue and Fifth Avenue.

510 Fifth Avenue, originally the Manufacturers Trust Company Building, is a commercial building at the southwest corner of West 43rd Street and Fifth Avenue in Midtown Manhattan, New York City. Opened in 1954, it is the first bank building in the United States to be built in the International Style. Charles Evans Hughes III and Gordon Bunshaft of Skidmore, Owings & Merrill (SOM) designed the building, along with Roy O. Allen and project manager Patricia W. Swan. The interior was designed by Eleanor H. Le Maire, while Harry Bertoia was hired as an artist for some of the building's artwork. 510 Fifth Avenue was built as a bank for the Manufacturers Trust Company, whose president Horace C. Flanigan wanted the design to be inviting to customers. 510 Fifth Avenue contains four full stories, a penthouse, and a basement. Its facade is made largely of glass walls between mullions made of aluminum. Inside is a circular stainless steel door protecting the original bank vault, which was designed by Henry Dreyfuss. The second story is recessed from the facade, and the floor slabs of the upper stories are carried on four columns, giving the impression that they are floating. The building's height and design was influenced by a lease restriction that prohibited the construction of a taller building on a portion of the site. A smaller penthouse rises above the fourth story. 510 Fifth Avenue was commissioned by Manufacturers Trust in 1944; the original plan was designed by Walker & Gillette and canceled in 1948. Walker & Poor was hired in 1950 to modify the original proposal but were replaced with consulting architect SOM after Bunshaft convinced bank executives that a complete redesign would be cheaper. The building was instantly popular upon its opening, becoming Manufacturers Trust's busiest branch and a tourist attraction in itself. Manufacturers Trust's successor, Chase Bank, sold the building to Tahl-Propp Equities in 2000, and it was purchased by Vornado Realty Trust in 2010. After the Chase branch closed in late 2010, SOM renovated 510 Fifth Avenue and converted it into a commercial structure in 2012. 510 Fifth Avenue's design received critical acclaim upon its completion. Praise was focused particularly on its lightweight facade, ceiling lighting, and visible vault. The design inspired that of other bank buildings erected in the 1950s and 1960s. The building's facade was designated as an official landmark by the New York City Landmarks Preservation Commission (LPC) in 1997, and its interior was similarly designated in 2011, following controversy over the removal of one of Bertoia's artworks.

Hotel Manhattan (also known as Manhattan Hotel) was a "railroad hotel" on the northwest corner of Madison Avenue and 42nd Street in Manhattan, New York City, New York.

The Economic Cycle Research Institute (ECRI) based in New York City, is an independent institute formed in 1996 by Geoffrey H. Moore, Anirvan Banerji, and Lakshman Achuthan. It provides economic modeling, financial databases, economic forecasting, and market cycles services to investment managers, business executives, and government policymakers.

The Hale Building is an office structure which opened in 1927 at 11 East 44th Street in Midtown Manhattan, New York City. Fred T. Ley & Company built the edifice and Shreve & Lamb were its architects. It was owned by the Eleven East 44th Street Corporation. Hale Building is significant as an important residence for offices on the Lower East Side during the late 1920s and the Great Depression era. The Hale Desk Company leased the 2nd, 3rd, and 4th floors of the Hale Building for use as its primary showrooms and executive offices. The lease, consummated in February 1927, was for a period of fifteen years. It covered approximately 16,000 square feet (1,500 m2) of space.The Hale Building was auctioned and its leasehold acquired on a winning bid of $1,750,000 in April 1936. In a judgment in which Eleven East 44th Street Corporation was the defendant, Continental Bank and Trust Company, trustee and plaintiff, was awarded the Hale Building. A judgment of $909,072 was involved. In 2008, a Brooks Brothers store opened in the Hale Building, and in 2019, it was sold to the company for $106 million.

The Century Association is a private social, arts, and dining club in New York City, founded in 1847. Its clubhouse is located at 7 West 43rd Street near Fifth Avenue in Midtown Manhattan. It is primarily a club for men and women with distinction in literature or the arts. The Century Association was founded by members of New York's Sketch Club; preceding clubs also included the National Academy of Design, the Bread and Cheese Club, and the Column. Traditionally a men's club, women first became active in club life in the early 1900s; the organization began admitting women as members in 1988. Named after the first 100 people proposed as members, the first meeting on January 13, 1847, created the club known as the Century; it was incorporated in 1857. It was first housed at 495 Broadway in Lower Manhattan; the club gradually moved uptown, leading to the club's construction of its current location in 1899. During the Civil War, it became headquarters to the U.S. Sanitary Commission. 134 Centurions served in World War I; 110 served in World War II. The clubhouse, a five-story Palazzo style building, was designed by McKim, Mead & White and built from 1889 to 1891. It became a New York City Landmark in 1967 and was added to the National Register of Historic Places in 1982. It was extensively renovated in the early 1990s, with a fifth floor and terrace constructed in 2009. Members of the club have included artists and writers William Cullen Bryant, Frederic Church, Asher B. Durand, John La Farge, Winslow Homer, Paul Manship, Augustus Saint-Gaudens, Louis Comfort Tiffany, John Quincy Adams Ward, and J. Alden Weir. Architect members have included Calvert Vaux, Carrère and Hastings, Frederick Law Olmsted, James Renwick Jr., McKim, Mead & White, and York and Sawyer. Members are known for other endeavors, including eight Presidents of the United States, ten US Supreme Court justices, 43 Members of the Cabinet, 29 Nobel Prize laureates, members of the Rockefeller, Vanderbilt, Roosevelt, Jay, Schieffelin and Astor families, and noted individuals like Dan Beard, J. P. Morgan, Samuel Morse, and Anson Phelps Stokes.

Meinhard v. Salmon, 164 N.E. 545 (N.Y. 1928), is a widely cited case in which the New York Court of Appeals held that partners in a business owe fiduciary duties to one another where a business opportunity arises during the course of the partnership. The court holds that the fiduciary duty of communication was breached where a partner in a joint venture failed to inform his co-partner of a profitable opportunity that was offered by a third-party who was ignorant of the partnership. Furthermore, the duty of loyalty was breached where the partner appropriated to himself a benefit arising from his status as a partner without allowing his co-partner an opportunity to compete. This holding relates to the doctrine of corporate opportunity.

500 Fifth Avenue is a 60-story, 697-foot-tall (212 m) office building on the northwest corner of Fifth Avenue and 42nd Street in Midtown Manhattan, New York City. The building was designed by Shreve, Lamb & Harmon in the Art Deco style and constructed from 1929 to 1931. 500 Fifth Avenue was designed with a facade of bronze, limestone, and terracotta at the base; it is clad with of brick above the fourth floor. While the lowest four floors contain a decorative exterior, little ornamentation is used above the base. The primary entrance is on Fifth Avenue, and storefronts are located at ground level. Upon its opening, the building contained design features including fast elevators, well-lit office units, and a floor plan that maximized the well-lit office space. The 1916 Zoning Resolution resulted in a structure that incorporated setbacks, resulting in the lower floors being larger than the upper floors. 500 Fifth Avenue was built for businessman Walter J. Salmon Sr. In the 1920s, prior to the building's development, the underlying land had become extremely valuable. Similarly to the much larger Empire State Building nine blocks south, which was constructed simultaneously, 500 Fifth Avenue's construction was highly coordinated. 500 Fifth Avenue opened in March 1931, but the structure garnered relatively little attention after the Empire State Building opened shortly afterward. The building was designated an official city landmark by the New York City Landmarks Preservation Commission in 2010.

Phoenix Art Institute, originally located at 350 Madison Avenue in New York, New York, was an educational institution co-founded in 1925 by Franklin Booth with Lauros M. Phoenix. In 1944, it merged with the New York School of Applied Design for Women, becoming the New York Phoenix School of Design. In 1974, the New York Phoenix School of Design merged with the Pratt Institute to form the Pratt-Phoenix School of Design