gesso logo.jpg

From our recording studio in Brooklyn, we make audio that celebrates human creativity, history and the spaces we live to learn about.

Come with us as we time travel to the Roaring 20’s and explore the creation of one of New York City’s most iconic places.
- Behind the scenes look at the renovations to the concourse
- Artistic masterpieces hidden in plain site
- 350 million year old fossils

Rockefeller Center.jpg

Rockefeller Center

nyc gesso.fm.jpg

New York

New York- City Selector Cover.jpg

There’s something special about every moment you spend at Rockefeller Center. From the historic art and architecture to the Top of the Rock observation deck, you can experience New York in a way that can only happen here.

RC logo.jpg

RC_RockefellerCenter_Primary_Horz_Blk_rgb.jpg

RC cover 1.jpg

Explore the spirit of innovation and reinvention at the heart of New York City. 

Henna: Since its beginnings Rockefeller center has served as a home for innovators.

Adam Rolston: It was a sort of natural filter for the best talent. The highest reach that you could reach 

Henna: That was Adam Roston the architect heading up the renovation of the rink level. We'll hear more from him later. Today, you'll walk with me. I'm an art historian, new media entrepreneur, a New York transplant. Let's start at the very beginning. It's the 1920s a decade filled with so much growth and prosperity that it was dubbed the roaring twenties driven by the recovery from the first world war. The stock market was hitting new highs and construction was booming. By the end of the decade, three of new York's most iconic structures, the Empire State Building, the Chrysler Building and Rockefeller Center were set to break ground. That's when John D Rockefeller Jr. The wealthy son of oil magnate, John D Rockefeller senior acquired the rights to what would become Rockefeller Center.

Navigation (Mike): Turn around to face Sixth Avenue and then turn left to walk past Rough Trade. 

Henna: Keep walking until the end of the block, but don't go crossing any streets just yet. I just want to show you the building on the corner and then we'll come back this direction and walk the other way. Stop when you get to Magnolia bakery. Do you see it?

Imagine you're surrounded by 200 buildings that look, just like this four story townhouse. When Rock Center first broke ground that's what this whole area looked like. This townhouse is one of two examples that remain. In the early days, the upstairs floors used to be a well known bar called Hurley's. It was a favorite watering hole for Johnny Carson, SNL cast members, and a host of other celebrities. Matt Kleigman, a New York hospitality entrepreneur recently renovated and reopened the bar in the spirit of the old one, only this time he called it Pebble Bar. 

Matt Kleigman: My partner's wife had found a quote in a Jack Kerouac book where he talks about actually coming to the bar and I am going to botch the quote a little bit, but he refers to it as the pebble in the heel of the shoe of the immense tall man who is the RCA building. And when we heard that and we, we said Pebble Bar, we were just like, okay, I guess that's it. 

Henna: If you're in the mood for a cocktail bar with swanky, retro vibes at the end of this walk, Pebble Bar is your place. Now retrace your steps and go back to the awning for the Tonight Show where we just came from. I wanna show you the tile mosaic just under the awning. 

Rock Center was built in the style. We now know as Art Deco, the excitement surrounding the 1922 discovery of King Tut's Tomb meant that Art Deco its visual language from Ancient Egypt. It melded it with geometric patterns inspired by the machine age in avant garde art movements like cubism. You'll start to see Cubist and Egyptian references all over the place once you're looking out for it. As you explore, keep in mind that the great depression began just before they broke ground here on Rockefeller center. When you're back at the awning, take a look at the glittering, mosaic above the doorway. It's titled &quot;Intelligence, Awakening Mankind&quot; by Barry Faulkner. It's made up of more than 1 million tiles of 250 different colors. They all work in concert to tell the story of the power of media. Look closely at the words near the figures. Thought stands at the center flanked by spoken words on the right and written words on the left. The harbingers of knowledge, whether biology, news, or poetry, steadily fly on either side. 

Navigation (Mike): Now let's face Sixth Avenue again, but this time we'll turn right to pass Van Leeuwen Ice Cream instead of Rough Trade. Make your way towards Radio City Music Hall. 

Henna: Since it's opening, the music hall has been a landmark destination for headline acts from BB King to Billy Eilish. What's on the marquee today? 

Navigation (Mike): Don't cross the street just yet. Stand here on the corner next to Warby Parker for just a moment.

Henna: Before we cross, I want to show you those three circular roundels on the building across the street. They symbolize dance, drama and song. The series is the work of artist Hildreth Meière, a prolific artist in murals and mosaics alike in the 1930s. In an industry, largely dominated by men, she stood out both for her talent and for her gender. This series is the only permanent art installation on Rock Center's exterior by a woman.

English

1245 6th Avenue \|||// You’re standing at the edge of Rockefeller Center. You can probably picture the Christmas Tree, the Rockettes, and the Rink, but settle in for a whole lot more. I’m sitting on the edge of the fountain on 6th Avenue, between 49th and 50th. Feel free to join me and take a seat as well. We’ll be here for a moment, and I’ll tell you when to start walking. 

Just across the street are the neon lights of the Tonight Show with Jimmy Fallon. That building is widely known as 30 Rock. Maybe it’s because of Tina Fey’s TV show also named “30 Rock”, a lot of people assume that this is all there is to Rock Center. But there is so much more. Rockefeller Center is a 22 acre campus that spans six blocks in the heart of Midtown. 

Casey Freemont: “[CF8.16] A part of New York that really celebrates what New York is about.”

EB Kelley: "Rockefeller Center is a place that is aspirational"

Sophie  Muschel-Horton: “Rock center is such a, an iconic landmark”

Rock Center embodies the spirit of reinvention at the heart of New York City. Since its beginnings, it’s served as a home for innovators.

Adam Rolston: “It was a sort of natural filter for the best talent, the highest reach that you could reach.” 

Today you’ll walk with me. I’m an art historian, new media entrepreneur, and New York transplant. We’ll see an interplay of contemporary art and Art Deco, follow our noses to find inventive cuisines as dynamic as New York, and partake in the cutting edge of media creation. I’m even going to let you in on a few secrets.

Let’s start at the very beginning. It’s the 1920s, a decade filled with so much growth and prosperity that it was dubbed the “Roaring 20’s”. Driven by the recovery from the first World War, the stock market was hitting new highs, and construction was booming. By the end of the decade, three of New York’s most iconic structures, the Empire State building, the Chrysler Building and Rockefeller Center, were set to break ground. Spirits were high and there was a sense that anything was possible.

That’s when John D. Rockefeller, Jr., the wealthy son of oil magnate John D. Rockefeller Sr., acquired the rights to what would become Rockefeller Center. Look two stop lights away to your left. That’s 51st street. Now look 2 stop lights to your right. That's 48th street. Those two streets bookend Rock Center, with Fifth and Sixth Avenue on either side. Look across the street at the Tonight Show awning and scan the block to the left. Do you see Warby Parker? And on the other side, do you see Magnolia Bakery? Today, those are known as the townhouses. Close your eyes, imagine you’re surrounded by 200 buildings that look just like those….and about 20 ft above you, an aboveground train blocks out the sun, casting a dark shadow on everything nearby. The angry rumbling of the train ricochets off the brick buildings, causing a deafening cacophony. Now open your eyes and look at the skyscrapers around you. Take note of the different architectural styles.

Rock Center was designed by 8 architects working together under one roof- they went by the name Associated Architects. They built in a style we now know as Art Deco, which is all about fusing the old with the new, signalling faith in science and progress. The excitement surrounding the 1922 discovery of King Tut’s tomb meant that Art Deco drew its visual language from ancient Egypt. It melded it with geometric patterns inspired by the machine age and avant-garde art movements like Cubism. 

Art Deco is usually associated with the opulent grandeur of the Roaring 20s, but here, it proudly states brazen hope in the future in spite of hardship. Rock Center, in its early days, was no stranger to hardship. Rockefeller Jr. got ahold of the land in January 1929. Just a few months later the Great Depression had begun. Art Deco design inspired faith in the future, even as the present crumbled.

Now, get back to your feet, and take that crosswalk. We’re headed to take a closer look at that colorful mosaic behind the Tonight Show awning. Notice the four relief sculptures above the neon lights and the mosaic. Get a good look- I’ll give you a little more context as you cross. 

Remember the scene you imagined while your eyes were closed? Those four reliefs are by Gaston Lachaise and were placed to be level with the tracks so commuters could catch a glimpse. As I mentioned, the train cast a dark shadow, rendering Sixth Avenue colorless and gray. Which brings us to that mosaic, tucked behind the Tonight Show awning. Walk over to stand underneath the awning- press pause if you need more time to get there. 

The glittering mosaic above the doorway is titled “Intelligence Awakening Mankind”, by Barry Faulkner. It’s made up of more than 1 million tiles of 250 different colors. They all work in concert to tell the story of the power of media. Look closely at the words near the figures- Thought stands at the center, flanked by Spoken Word, on the right, and Written Word on the left. The harbingers of knowledge- whether biology, news, or poetry- steadily fly on either side. 

Now head back to the sidewalk and make your way toward Radio City Music Hall. So iconic was the music hall that Rockefeller Center almost went by the same name: Radio City. Stand at the corner up ahead, next to the Warby Parker. Since its opening, the Music Hall’s 6000 seats have been filled by artists from BB King to Billie Eilish.

In its early days, the roof was home to a recreation area for the Rockettes and other Music Hall staff- complete with lounge chairs, volleyball courts, and fully grown fruit trees. 

The roof will soon surpass its former glory through an extensive renovation. By its end, the entire roof will be covered in a fully landscaped park. 

Around the music hall’s side, look up toward the three circular roundels. They symbolize dance, drama, and song. The series is the work of artist Hildreth Meiere, a prolific artist in murals and mosaics alike in the 1930s. In an industry largely dominated by men, she stood out both for her talent and for her gender. This series is the only permanent art installation on Rock Center’s exterior by a woman. 

Cross 50th Street to go under the Radio City marquee. Press pause if you need to wait for the light, and we’ll meet you on the other side.

RC21-023_Gesso_1500x1000px_TonightShow_Ret-Look3.jpg

The Tonight Show

Tour Item

1. The Tonight Show.mp3

Henna: Radio city Music Hall is home to the world- famous Rockettes. And who better to tell you about it than a Rockette herself? 

Katie Henein: My name is Katie Henein and I've been a Rockette for 13 years. 

Henna: The Rockettes have been around just as long as the music hall they perform in since 1932. There's countless stories from that long history, but there's also some consistency.

Katie Henein: So it's pretty special as a Rockette to be in this landmark, this theater, and also be a piece of this string that ties us all together. We're all performing the parade of the wooden soldiers. So I can say that I'm performing the same choreography on the same stage as a Rockette from the thirties. That's pretty, pretty special and pretty unique. 

Navigation (Mike): Wait for the light, and then cross towards the marquee.

Henna: After you cross stand under the radio city music hall awning, and look back at 30 rock. It's the tall building above Warby Parker. Behind that limestone are the studios of Rock Center's anchor tenant, once known as the Radio Corporation of America or RCA ,today, it goes by NBC. The associated architects, knew broadcast and recording technologies would play a pivotal role in the coming decades. They wanted their studios to lead the way. There was no standard architectural style in the 1920s for buildings dedicated to radio, let alone television. But for these architects, art deco was the aesthetic that would pave the way into the future, but they still had to pair aesthetics with pragmatism. Soundproofing was key. That's why these walls have no windows. And if you could see through the wall, you'd notice that the studio floors are suspended on felt covered springs to dampen vibrations. They also needed space, room to fit audiences, sets, cameras and microphones. Such open spaces, couldn't support the weight of 50 plus stories towering above them, which is why if your eye continues upward it soon meets air. 

Navigation (Mike): Walk a bit further down the block 

Henna: Pretty soon, you'll see the city's most iconic holiday site emerge from around the corner of 30 Rock: the Tree. Find a good spot on the sidewalk, and hang out for a moment while I tell you about it. Imagine this area as just cleared real estate with bits of building debris and broken concrete strewn about. That was the scenery for the first Christmas tree here. It was a 20 foot tall balsam fur wrapped in handmade garland.

The workers building Rock Center pulled their money to buy the tree, hoping for a little holiday spirit in the midst of the great Depression. From there, it only took two years for the tradition to catch on. Christmas of 1933, saw the first formal tree lighting ceremony at Rockefeller Center. A tradition that's continued ever since. 

Navigation (Mike): Keep walking ahead. We'll turn left just after Anthropology. 

Henna: Though Rockefeller Plaza was open to vehicle traffic for much of its history, it's now fully pedestrianized across the three plazas. In the early two thousands the black asphalt meant for cars was replaced with the New York Bluestone you'll see today. That further cemented the Plaza's purpose as a civic space. You might take this space for granted, but leaving room for views of the sky and room to breathe was a progressive and intentional choice. As you explore, you may notice trees peeking over the tops of the buildings. The green thumb treatment is original to rock center. Rooftop gardens were cutting edge in the 1930s and still are now. The architects went all out. They installed a stream, shrubs and flowering trees at 30 Rock. But the rooftop gardens, aren't the only spots for greenery here. 

Navigation (Mike): After you turn left at Anthropology, keep walking until you see a large sculpture made of shining stainless steel above a doorway. Stop there for a moment.


61 West 50th Street \|||// After you cross, turn right and head down the block.

As you walk, look across the street. Above the second storefront, find the words “RC Capsule” written in gold. RC Capsule is a program that brings the best of the boroughs to Midtown. Rock Center invites brands that don’t already have a location in Manhattan to take up residence. Jill Lindsey is there now. The brand not only spotlights local artisans but also hosts events like Tarot readings. Jill Lindsey herself can speak to RC Capsule’s impact:

Jill Lindsey: “It’s like that pinch me moment where I look at it and I was like, ‘I cannot believe that I have a store across the street from the Radio City Music Hall.’”

Stand here for a moment, and allow your eye to drift up past the storefronts. Behind that limestone are the studios of Rock Center’s anchor tenant. Once known as the Radio Corporation of America, or RCA, today it goes by NBC.

The Associated Architects knew broadcast and recording technologies would play a pivotal role in the coming decades. They wanted their studios to lead the way. There was no standard architectural style in the 1920s for buildings dedicated to radio, let alone television. But for these architects, Art Deco was the aesthetic that would pave the way into the future. But they still had to pair aesthetics with pragmatism.

Soundproofing was key. That’s why these walls have no windows, and if you could see through the wall, you’d notice that the studio floors are suspended on felt-covered springs to dampen vibrations. They also needed space; room to fit audiences, sets, cameras and microphones. Such open spaces couldn’t support the weight of 50 plus stories towering above them, which is why if your eye continues upward, it soon meets air. 
 
Walk a bit further down the block, and pause when you’re across the street from the neon “Observation Deck” sign.

The observation deck, known as Top of the Rock, was designed to look like the deck of a cruise ship. But rather than endless ocean waves, viewers are greeted with unrivaled views of New York. You’re just above the canopy of the urban jungle, yet at the center of it all. 

Just a couple floors below Top of the Rock is the Rainbow Room. It’s the original home of New York glamour and entertainment, 800 feet above the street with a rotating dance floor, crystal curtains, and domed, rainbow-lit roof. But for now, look above the Observation Deck sign, to where the limestone columns are topped by sculpted figures.

The work is part of a pair by sculptor Leo Friedlander, generally referred to as “Transmission.” This one is called “Radio-” its sister, entitled “Television”, is on the other side of the building. On the left side here, three figures sing into waiting hands. The hands transmit the song over the awning to the sculpture on the right, where Mother Earth and her child tune into the dulcet tones.

The builders of Rock Center believed in the power of broadcast to move society forward, to spur the next generation of innovators. It can seem obvious in hindsight that television and radio were foregone conclusions, but most American families didn’t even own televisions when these studios were built. Rock Center’s emphasis on these new forms of media through its art and architecture firmly placed it at the forefront of industry innovation. 

Now continue down 50th Street, in the same direction you’ve been walking.

Up ahead on your left, you’ll see a vehicle ramp which is the gate to an entire belowground delivery system unique to Rock Center. Just about three stories beneath you, are labyrinthine shipping rooms with truck-sized turntables that turn delivery vehicles on a dime. Imagine a lazy susan, but for a full sized truck. Hiding deliveries helps keep these streets clear and makes room for a bit of calm in the bustle of Midtown. Sometimes you’ll even be able to spy scenery from SNL coming and going from down below. 

After you pass the Anthropologie store, turn left...onto the northern end of Rockefeller Plaza. 

Though Rockefeller Plaza was open to vehicle traffic for much of its history, it’s now fully pedestrianized across the three plazas. In the early 2000s, the black asphalt meant for cars was replaced with the New York bluestone you’ll see today. That further cemented the plaza’s purpose as a civic space. We might take this space for granted, but leaving room for views of the sky- and room to breathe was a progressive and intentional choice.

On your left ahead, you’ll see a large sculpture made of shining stainless steel above a doorway. Stop there for a moment.

RC21-023_Gesso_1500x1000px_RadioCity1_Ret-Look3.jpg

Radio City Music Hall

2. Radio City Music Hall.mp3

Henna: This is the associated press building named for its first tenants. Look up and find the top of the building. It doesn't come as close to scraping the sky as its neighbors. The associated press wanted width over height to fit hundreds of furiously typing journalists next to each other in a single newsroom. Imagine evenly space desks, stretching across this entire block behind those walls and windows. The sculpture is called &quot;News&quot; by Japanese American artist, Isamu Noguchi Walk closer to it. Notice how Noguchi captured a sense of urgency with each figure caught in the motion of getting a story out. See if you can spot the artist's signature. It's down on the bottom left of this 10 ton behemoth. Though the AP left for a new building in 2004, and allegedly tried to take this Noguchi with them, this sculpture remains a prime example of the spotlight Rockefeller Center, from its inception, as put on values like free speech and an independent press. As you walk through Rock Center, you'll begin to notice each work of art illustrates an ideal essential to positive change. Just as each building here has its own identity. All the public art original to rock center falls under a central theme. The idea of pushing on, of pushing past of building bigger and better worlds. It was an attempt to encapsulate the power of Mankind. Christine Roussel, the Archivist here at Rock Center told me &quot;it's not power over, but our ability to power through&quot;. The original public art here is curated with a theme of new frontiers. It celebrates the leaps in technology, communication, diplomacy, and commerce that have happened and are still happening within this campus. 

Navigation (Mike): Now retrace your steps and turn left when you get back to Anthropology. 

Henna: The presence of art at Rockefeller center is a public service to the city of New York. It's in large part because of Rockefeller Jr's wife, Abby Aldrich Rockefeller. She was an avid patron of the arts. She went on to co-found the Museum of Modern Art on the site of her former townhouse just a few blocks from here. At Rock Center, thanks to Abby, art is everywhere. Have you noticed all the reliefs along the wall on your left? 

Navigation (Mike): Keep walking past Banana Republic until you reach Fifth Avenue.

Henna: Scarcity was not in the vocabulary of those building Rock Center. Rather than cut costs with lowered prices in the Great Depression market, they lavished the savings on artwork and additional materials. All told, roughly 1 million depression era dollars were spent on public art. And by the end of construction, Rockefeller center was home to 154,000 tons of structural steel, 1 million square feet of window glass in 25,000 doors, the transport and construction of it all created as many as 225,000 jobs around the globe in the middle of the worst depression this nation had ever seen. Today, the daily choreography of the campus still requires quite a crew. You'd never guess. There are 300 security staff, 200 cleaners, 70 engineers, 20 fire life and safety workers, 12 property managers, 15 greeters and 10 gardeners. And on top of all that Rockefeller Center is a thing of beauty. 

Navigation (Mike): Up ahead, turn left onto Fifth Avenue and keep walking until you reach the Atlas statue.


50 Rockefeller Center \|||// This is the Associated Press Building, named for its first tenants. Look up and find the top of the building. It doesn’t come as close to scraping the sky as its neighbors. The Associated Press wanted width over height to fit hundreds of furiously typing journalists next to each other in a single newsroom. Imagine evenly spaced desks stretching across this entire block behind those walls and windows.

The sculpture is called “News” by Japanese-American artist Isamu Noguchi. Walk closer to it. Notice how Noguchi captured a sense of urgency, with each figure caught in the motion of getting a story out. See if you can spot the artist’s signature…..it’s down on the bottom left of this 10 ton behemoth. 

Though the AP left for a new building in 2004 (and allegedly tried to take this Noguchi with them!) this sculpture remains a prime example of the spotlight Rockefeller Center, from its inception, has put on values like free speech, and an independent press. That spotlight shines even today. In 2019 New York artist Hank Willis Thomas created two life-size, hollow speech bubbles to frame Noguchi’s “News.” One was where you’re standing now. Those sculptures also doubled as benches, framing public spaces for conversation and reflection.

As you walk through Rock Center, you’ll begin to notice each work of art illustrates an ideal essential to positive change, just as each building here has its own identity. 

All the public art original to Rock Center falls under a central theme, the idea of pushing on, of pushing past, of building bigger and better worlds. It was an attempt to encapsulate the power of mankind. Christine Roussel, the archivist here at Rock Center told me, it’s not power over, but our ability to power through. 

The original public art here is curated with the theme of “New Frontiers.” It celebrates the leaps in technology, communication, diplomacy and commerce that have happened- and are still happening- within this campus. 

Now retrace your steps, and turn left when you get back to Anthropologie.

The presence of art at Rockefeller Center is a public service to the city of New York. It’s in large part because of Rockefeller Junior’s wife- Abby Aldrich Rockefeller. She was an avid patron of the arts. She went on to co-found the Museum of Modern Art on the site of her former townhouse, just a few blocks from here.

At Rock Center, thanks to Abby, art is everywhere. Take note of all the reliefs along the wall coming up on your left.

Keep walking until you reach Fifth Avenue.

Scarcity was not in the vocabulary of those building Rock Center. Rather than cut costs with lowered prices in the Great Depression market, they lavished the savings on artwork and additional materials. All told, roughly $1 million Depression-era dollars were spent on public art. 

And by the end of construction, Rockefeller Center was home to 154,000 tons of structural steel, 1 million square feet of window glass, and 25,000 doors. The transport and construction of it all, created as many as 225,000 jobs around the globe- in the middle of the worst depression this nation had ever seen. Today, the daily choreography of the campus still requires quite a crew. You’d never guess there are 300 security staff, 200 cleaners, 70 engineers, 20 Fire Life & Safety workers, 12 property managers, 15 greeters, and 10 gardeners. 

And on top of all that, Rockefeller Center is a thing of beauty. 

Up ahead, turn left onto Fifth Avenue.

Homer Murray, the chef at Hombre Taco here, had this to say:  

Homer Murray: “They had an idea of something that would mean more than the sum of its parts...it means a lot more than just a bunch of marble and gold.” 

That spirit is still abundant at Rock Center- both in contemporary art installations, and the ongoing redevelopment. More on that soon.

RC21-023_Gesso_1500x1000px_IMG_0800_Ret-Look3.jpg

News

3. Noguchi's News.mp3

Henna: Abby Aldridge Rockefeller began the tradition of presenting art to the public here that continues today. 

Navigation (Mike): Up ahead is Atlas by Lee Lawrie, one of the most iconic sculptures here in the city. Pause in front of him for a moment when you get closer. 

Henna: One person promoting public art here is Casey Fremont. 

Casey Freemont: So there is of course this great history of public art throughout the campus. And there's this incredible precedent for presence of contemporary art on site. 

Henna: That's Casey, she's the Executive Director of Art Production Fund, a nonprofit that partners with Rock Center to present a program called Art in Focus. The programs seasonal rotation of contemporary art draws inspiration from the vibrancy of New York. Move around Atlas. Every angle offers something new. Part of what sets the art at Rock Center apart is its integration with the every day. Commuters, office workers and visitors all encounter the same works here. Here's Casey Fremont again. 

Casey Freemont: And going back to this idea of it being unexpected, they haven't necessarily sought it out. So they're not like intentionally walking into a museum or gallery and knowing what they're gonna see.

Henna: You've undoubtedly noticed the Lego flagship store. Have you ever wondered where they got their name? It's a combination of two Danish words that translate to play well. 

Navigation (Mike): Face St. Patrick's Cathedral across the street, then turn right. Keep walking across the street ahead of you. 

Henna: We've pointed out a number of things that set rock center apart, but there's an element of the campus we haven't yet touched on: the human scale of its design. Look up for a moment. Have you noticed the buildings nearest to you are lower even as the tower behind you soars? That difference is intentional to stand beside a limestone giant, like the International Building or 30 rock and not feel dwarfed is an impressive feat of design. To pull it off. The builders use something called setbacks. 

Navigation (Mike): Cross 50th street towards Cole Haan to keep heading down Fifth Avenue 

Henna: Setbacks look like steps on a pyramid. On 30 Rock there's spots where the elevator banks come to an end. EB Kelly, the managing director of Rockefeller center knows this well. You stand next to a skyscraper that goes, you know, 50 or 75 stories up with no setback that can feel a little bit dehumanizing. That's really the opposite of Rockefeller Center. This is a place where the architecture reinforces that human connection. 


 \|||// Abby Aldrich Rockefeller began the tradition of presenting art to the public here. That continues today. 
 
Up ahead is “Atlas,” by Lee Lawrie, one of the most iconic sculptures here in the city. Pause in front of him for a moment when you get closer.

One person promoting public art here is Casey Fremont.

Casey Fremont: “So there is of course this great history of public art throughout the campus...and there’s this incredible precedent for a presence of contemporary art on site.” 

That’s Casey. She’s the executive director of Art Production Fund, a non-profit that partners with Rock Center to present a program called Art in Focus. The program’s seasonal rotation of contemporary art draws inspiration from the vibrancy of New York. 

Move around Atlas- every angle offers something new.

Part of what sets the art at Rock Center apart, is its integration with the everyday. Commuters, tenants, and visitors all encounter the same works here. Here’s Casey Fremont again. 

Casey Fremont: “And going back to this idea of it being unexpected, they haven’t necessarily sought it out, they’re not like intentionally walking into a museum or gallery and knowing what they’re gonna see.” 

It’s that very sense of serendipity that makes the art at Rock Center so intriguing, especially when they intermingle with anchors like Atlas.

Now, walk behind “Atlas” to look toward St. Patrick’s Cathedral. See how his back is bowed, almost as if in homage to the cathedral. Atlas’ stolid modernism is in stark contrast to the neo-gothic cathedral and the sleek glass windows of Fifth Avenue.  

When you’re ready, go through those revolving doors behind Atlas. We’re headed into the lobby of the International building. On the off chance these doors are locked, you can make your way into the building through the doors across from Noguchi’s “News,” back where we came from. You can pause me if you need some time, and press play again once you’re in the lobby.

Are you inside? This room, bathed in amber light, warm despite its marble sheathing, is the lobby of the International Building. It’s called that for a reason. In its beginnings, it was home to the passport office. Their rent was just $1 a year, but their presence drew importers, a host of steamship companies, and 23 travel agencies. 

Those rectangular hollows - now filled with gold leaves- once hosted travel ads. The sculpture there today, entitled “Light and Movement” is by Michio Ihara from 1978. Ihara was born in Paris, raised in Tokyo, and came to the U.S. on a Fulbright to study at MIT in 1960. In a city of immigrants, it’s fitting that the work of such a global citizen adorns these walls. 

You might have noticed the more contemporary installations here as well.

Go toward the three glass displays to your right as you walked in. These are the work of Maurice Harris, an LA-based floral artist and the talent behind the current Art in Focus program. Walk toward the vitrine furthest from you, the one furthest left, and peer through the glass. Do you see that little girl at the back? That’s Maurice’s niece.

Maurice Harris: “My sister is my first muse, my niece is my second muse, and then my friend Era Moman is my third and um… I found this project to be a way to see the beauty that I wanna see in myself that I see in others… Interesting people, everyday people I love, people that are related to me, people that I meet in the street that I think show some kind of reflection of who I am.” 

Part of that reflection of self for Maurice is his identity as a Black man. For him, that’s particularly important to highlight in today’s world. 

Maurice Harris: “I’ve really had a hard time thinking of myself as an artist, because I didn’t have a lot to say. However, when Black men started dying at the hands of police I felt like it was my job to start to join the conversation…And part of that for me was the images that we see of Black men which are generally speaking we’re either hyper-masculine or hyper-sexualized. We’re put in positions where we are more than human or less than human in terms of how we’re slightly fetishized.”

For Maurice, beauty is one of the most powerful things he can bring to bear.

Maurice Harris: “Beauty is one of those subversive tools that like at first glance you just see something that is gorgeous, but if you spend more time with it you start to question things hopefully…”

But as you move between these three works, Maurice hopes you can see a bit of yourself. Here’s Maurice again. 

Maurice Harris: “As you’re walking through, take your time. Pause for a second. Is there a flower you’ve never seen before? Is there a flower you love? Is there something about this person’s face that looks familiar? Is there something about this person’s face that looks foreign? What draws you to this image? How do you see yourself in this image?” 

When you’re ready, take a look at the green marble on the walls and columns. Take a step towards the wall nearest to you.

This dark green, white-veined stone was placed using a technique known as bookmatching. That’s when a single slab of marble is sliced thin  enough that the same lines are on multiple pieces. The matching slabs are lined up to make mirror images of their partners, creating an infinite number of shapes. Take a moment to look closely at the marble. Notice what shapes and images you can see written in stone.

Now, head back out through those revolving doors, to Atlas. You’ll see LEGO’s flagship store on your left; the company gets its name from two Danish words that translate to “play well.” Put the store behind you to head down the right, down Fifth Avenue. 

We’ve pointed out a number of the things that set Rock Center apart, but there’s an element of the campus we haven’t yet touched on: the human scale of its design. Look up for a moment. Have you noticed the buildings nearest to you are lower, even as the tower behind you soars? That difference is...intentional.

To stand beside a limestone giant...like the International Building or 30 Rock and not feel dwarfed is an impressive feat of design. To pull it off, the builders used something called setbacks. 

Cross 50th Street to keep heading down Fifth Avenue.

Setbacks look like steps on a pyramid. On 30 Rock, they’re spots where the elevator banks come to an end. 

EB Kelly, the managing director of Rockefeller Center, knows this well.  

EB Kelly: “right you stand next to a skyscraper that goes 50 or 75 stories up with no setback, that can feel a little bit dehumanizing. That’s really the opposite of Rockefeller Center. This is a place where the architecture really enforces that human connection.”

Have a look around, do you see any trees peeking over the tops of the buildings to your right? The green thumb treatment is original to Rock Center.

Rooftop gardens were cutting edge in the 1930s, and still are now. The architects went all out- They installed a stream, shrubs and flowering trees at 30 Rock. 

But the rooftop gardens aren’t the only spots for greenery here.

RC21-023_Gesso_1500x1000px_art-atlas_Ret-Look3.jpg

Atlas

4. Atlas.mp3

Navigation (Mike): Keep walking until you're centered on the open promenade to your right once you're there linger for a moment on the sidewalk.

Henna: Take a good look at the trees branches. It takes about 50,000 L E D lights strung along almost five miles of wire to light America's Christmas tree.

There's one part of the tree that really draws your eye up to the top. That's the Swarovski star. It might not be apparent from here, but the star is nine feet wide and 900 pounds and is made up of 3 million crystals.

Getting all that in place takes a pretty large crew and a whole lot of scaffolding. 

That's ultimately what the bulk of Christmas at Rockefeller Center boils down to is the collaboration to make it all possible. Everything you see around you is months in the making and involves countless hours and people to make it all. But why do it?

Why put in all that work?

The tree brings out that those childhood memories of like when you were a kid and whether you're waiting for the tree, you're waiting for Santa Claus or whatever way you celebrated the holidays. 

It's such a magical place during the holidays and I feel so excited to have my work be part of that kind of magical experience for other.

You know, rock Center is a special place just because a lot of people come, not only from New York area, but all around the globe. 

No matter who I'm talking to, if I say I'm a Radio City Rockette, they either have a memory of seeing the show with their friends and family, or they just have another memory of meeting a Rockette at some point in time, and they always share it with me.

No matter how young or old you are, you know, it's let there be light. Right. 

This is where we leave you beneath the lights of the Rockefeller Center Christmas tree. 

This walk was presented by Rockefeller Center in partnership with Gesso. All the interviews were recorded at Newsstand Studios at Rockefeller Center.


19 West 49th Street \|||// Walk until you’re centered on that open promenade to your right. Once you’re there, linger for a moment on the sidewalk. 

This promenade is known as the Channel Gardens. The name is a nod to the English Channel between England and France. The gardens are flanked by La Maison Francaise on the left and the British Empire Building on the right. 
 
Now, walk forward onto the promenade to that first fountain, but don’t head down the slope just yet. Maybe find a spot on one of the benches beside the flower beds. 

Where you’re sitting was once the site of the very first botanical garden in the United States. Founded in 1801, it was known as the Elgin Botanic Garden. Though it was short lived, it served as a museum of sorts, showcasing both native and exotic species of plants. 

These days, the garden’s updates are thanks to Future Green Studio. The Brooklyn-based landscape design firm is behind each of the seasonal displays.

Sophie Muschel-Horton of Future Green Studio is the lead designer. She hopes to give a nod to history in the Channel Gardens’ design. 

Sophie Muschel-Horton: “It all drew from the botanical gardens. And that, that was kind of the origin story of the concept. And so it, it grew from there… this land was. Um, used for other purposes in the, in the past and, you know, Rockefeller center, wasn't always here…I think I want people to... Question the history of the site. whether it's the built kind of human influence... or the plants that, that used to grow here.” 

Often, the plants featured in the gardens are native to New York state. 

Now, get to your feet, and slowly head toward the sunken plaza ahead. While pointing to the past, Future Green Studio also works to highlight what’s here now. Like the fountains, all along the center of the gardens. Take a step onto one of the raised paths between the fountains to get a closer look. There’s more to them than you’d think.

Adam Rolston: “…believe it or not the bottoms of the fountains in the Channel Gardens are glass block, and they are in fact skylights. With water on top. So they’re skylight pools.”

That was Adam Rolston, the designer of the Concourse update. More from him soon.

Straight ahead you can see Prometheus glistening in gold, at the base of 30 Rock. Keep walking toward him. Pause when you reach the end of the gardens. I’ll tell you when to keep going.

Beyond the barriers you can see the active construction on the Rink. It’s part of Rock Center’s ongoing redevelopment. When it’s through, glass doors will replace the stone walls that surrounded the Rink, introducing more light and new entry points into the concourse.  

Go ahead and take a peek through the barriers. When you do, you join a long line of construction onlookers. When steamrollers and cranes were still onsite here in the 1930s, Rock Center came up with a plan to involve New Yorkers before there were even doors to open. They built a one hundred foot, roofed viewing platform, complete with a suggestion box and christened it: The Sidewalk Superintendents’ Club. 

The club was hugely popular- even celebrities like Marilyn Monroe got involved. She helped celebrate the opening of a new Sidewalk Superintendents’ site here in 1957, when construction on the Time and Life Building across Sixth Avenue began. 

The see-through barriers around the Rink today are a nod to the Sidewalk Superintendents, even as the revitalization behind them is a nod to Rock Center’s history.

Now, walk to your left. Take those stairs at the end of the walkway. We’ll turn right at the top. 

The flags you see around the Rink were first installed for Easter Weekend in 1942. Today, there are 193 flagpoles, one for each member of the United Nations. Depending on the season, you might see flags for LGBTQ Pride, the holidays, or flags of all 50 states.

The flags also sometimes serve as canvases for rotating exhibitions. Currently, they’re hosting a flag of KAWS’ design. Pause up ahead, and look down the plaza on the far side of the street. 

Every morning, between 5 and 11am, this part of the plaza is a co-star of the Today Show. People gather here to be included in a live segment or in the hopes of being in the background of the show, which is shot just through those windows on the left. Take a good look. See if you can spy anyone through the windows. 

When you’re ready, keep heading straight, toward the FAO Schwarz. We’re going to walk down the block and stop for a moment under the neon NBC sign.

Hear an Audio Sample

Reviews

Already recommended to my friends

Great walking tour

Learned so much about the city

ROCKEFELLER CENTER

Rockefeller Center

Free

About

Get the App

Stay in Touch

Join our Newsletter

Get the App

About

Stay in Touch