Decker Building

The Decker Building, also known as the Union Building, is an 11-story historic commercial structure located at 33 Union Square West in Manhattan, New York City, between 16th and 17th Streets.^[1] Completed in 1893 for the Decker Brothers Piano Company, it was designed by architect John H. Edelmann, who was employed by Alfred Zucker at the time, to serve as the firm's headquarters with expansive ground-floor showrooms for pianos.^[1] The building exemplifies the cross-pollination of architectural influences between New York and Chicago during the late 19th century, reflecting Edelmann's background as a mentor to pioneering architect Louis Sullivan.^[1] Architecturally, the Decker Building features a Moorish Revival style blended with Venetian Gothic elements, characterized by intricate terra-cotta ornamentation, horseshoe arches, a loggia on the upper stories, deep window reveals, and originally a domed minaret crowning the corner that was later removed.^[1] Constructed from brick with terra-cotta accents, its facade draws on Islamic motifs such as arabesques and geometric patterns, making it a visually striking presence on the north side of Union Square.^[1] The design prioritized natural light for the piano showrooms through large plate-glass windows on the first two floors, while upper levels accommodated offices and additional commercial spaces.^[1] In its later history, the Decker Brothers firm occupied the building until 1913 amid a period of liquidation from 1902 to 1913 (except for 1903), after which it housed various tenants including architects and businesses.^[1] From 1968 to 1973, the sixth floor served as the second location of artist Andy Warhol's studio, known as The Factory, a hub for avant-garde art, films, and social experimentation in the Pop Art era, until redevelopment plans prompted relocation.^[2] The building was designated a New York City Landmark on July 12, 1988, recognizing its architectural and historical value, and it continues to function as a mixed-use property today.^[1]

Architecture

Design and Style

The Decker Building exemplifies the Moorish Revival style with distinctive Venetian Gothic influences, characterized by a narrow, vertical facade adorned with spires, horseshoe and ogee arches, and intricate terra-cotta detailing that creates a rhythmic interplay of light and shadow.^[1] This eclectic approach draws from Islamic architectural motifs, such as pointed arches and ornamental spires reminiscent of minarets, blended with the pointed tracery and decorative excess of Venetian Gothic, resulting in a facade that stands out for its ornamental profusion against the more restrained commercial structures of the era.^[3] The design's emphasis on verticality and decorative variety reflects the building's role as a visual anchor on its constrained site, enhancing the aesthetic diversity of Union Square's north side.^[1] Architect John H. Edelmann, who designed the building while employed in the New York office of Alfred Zucker, brought a unique perspective shaped by his career spanning Chicago and New York.^[1] Trained as a draftsman in Chicago under William Le Baron Jenney, where he mentored the young Louis Sullivan and absorbed influences from the city's emerging skyscraper innovations, Edelmann later relocated to New York, exemplifying the cross-pollination of architectural ideas between the two hubs of American design in the late 19th century.^[4] His work on the Decker Building showcases this fusion of Chicago structural influences with the ornate historicism prevalent in Manhattan's commercial architecture.^[1] Rising 11 stories at 33 Union Square West, the Decker Building was among the tallest structures on the square upon its completion in 1893, underscoring its prominence in the Victorian-era experimentation with tall, decorative commercial buildings in Manhattan.^[1] This height, achieved on a mere 30-foot-wide plot, highlighted innovative engineering adapted to urban density, contributing to Union Square's transformation from a residential enclave to a vibrant commercial district lined with architecturally adventurous loft buildings.^[3] The structure's design thus embodies the period's enthusiasm for stylistic eclecticism, where historical revivals were employed to lend prestige to industrial enterprises.^[1]

Materials and Features

The Decker Building's facade is primarily constructed from white limestone at the base and brick above, combined with elaborate terra-cotta ornamentation that provides a profusion of decorative elements, including foliate motifs, geometric patterns, and sculptural details to enliven the surface.^[1] Limestone quoins accentuate the corners, while the sidewalls are of plain brick, contributing to the building's structural integrity and visual hierarchy.^[1] The roof, originally covered in gravel and tile, further complements the masonry construction.^[1] Prominent features include horseshoe and ogee arches—forms of pointed arches—framing windows on multiple stories, with the second-story windows featuring cast-iron filigree spandrels and the fifth and eleventh stories incorporating horseshoe arches, the eleventh also featuring slender Moorish columns.^[1] Pinnacles originally topped the structure, including a minaret-like element that has since been removed, and a loggia with balustrades defines the tenth story.^[1] Window surrounds are deeply recessed with intricate surrounds, paired in the central bay and single in the side bays, enhancing the facade's rhythmic and ornamental quality.^[1] Structurally, the building employed innovative cast-iron columns at the second story and a steel cage skeleton combined with masonry bearing walls, allowing it to reach 11 stories in height—a notable advancement for commercial architecture in the early 1890s.^[1] Internally, the ground floor was configured as an open piano showroom for the Decker Brothers company, with high ceilings to facilitate expansive displays and illumination from the large street-facing windows, while upper floors supported manufacturing and storage.^[1] These elements reflect the building's adaptation of Moorish-Venetian stylistic influences to functional commercial needs.^[1]

History

Construction and Early Years

The Decker Building at 33 Union Square West in Manhattan was constructed between 1892 and 1893, replacing an earlier wooden structure on the leased site that had housed the operations of the Decker Brothers piano company since the 1870s.^[1] Commissioned by John Jacob Decker, the founder and head of the firm established in 1856, the new building was intended to serve as a prominent showroom and office space for the company's piano sales and administrative functions, complementing its manufacturing facility on West 35th Street.^[1] Upon completion in 1893, Decker Brothers immediately occupied the structure, leveraging its prime location on Union Square to showcase pianos to affluent clientele in a bustling commercial district.^[1] The company, known for innovative patents in piano construction during the late 19th century, maintained active sales operations there while the firm entered liquidation proceedings from 1902 to 1913, with a brief resumption in 1903.^[1] By May 1, 1896, control of the business had passed to William F. Decker, who oversaw its final years in the building.^[1] In January 1913, William F. Decker and co-owner William Maucher sold the eleven-story property to the real estate operators Lowenfeld & Prager, who renamed it the Union Square Building^[5] and repurposed it for general commercial tenancy.^[6] The building traded hands again in 1916, continuing as an office space for various commercial occupants through the early 20th century, reflecting the evolving business landscape around Union Square.^[5]

Andy Warhol's Factory

In early 1968, Warhol relocated his operations to the sixth floor of the Decker Building at 33 Union Square West. On June 3, 1968, he was shot there by Valerie Solanas. This second iteration of The Factory operated as his primary creative and social hub from 1968 to 1973, marking a shift toward a more structured and business-oriented environment compared to the chaotic energy of the first location.^[7]^[8] The interior was modified to optimize studio functionality, with open loft spaces designed to support assembly-line art production methods, including silkscreen printing and mass reproduction techniques that allowed Warhol and his assistants to generate series like the Mao portraits and Ladies and Gentlemen works. While the original Factory's signature silver foil walls were not replicated, the Union Square space emphasized practicality, with partitioned areas for painting, filming, and editing to accommodate Warhol's expanding output in visual art and cinema. During this period, The Factory hosted film productions such as Flesh (1968), Trash (1970), and Heat (1972), often featuring Warhol's superstars like Joe Dallesandro and Holly Woodlawn in raw, experimental narratives exploring fame, sexuality, and urban life.^[9]^[10] The Factory remained a vibrant social epicenter, where parties, performances, and impromptu gatherings drew musicians, artists, and intellectuals, sustaining the bohemian atmosphere amid Warhol's growing celebrity. Figures like Lou Reed, who continued collaborating with Warhol on projects including the 1972 album Transformer, and remnants of the Velvet Underground scene contributed to an eclectic mix of rock music, poetry readings, and networking that blurred the lines between creation and socializing. These events, often spilling into nearby venues like Max's Kansas City, solidified The Factory's role as a nexus for avant-garde culture in late-1960s and early-1970s New York.^[11]^[10] Warhol's use of the Decker Building space concluded in 1973, as the lingering trauma from the 1968 shooting prompted him to seek a more secure and expansive setup, leading to the relocation of The Factory to 860 Broadway. This move reflected a desire for enhanced privacy and professional infrastructure, aligning with Warhol's evolution into a multimedia mogul overseeing Interview magazine and commercial portraits.^[11]^[2]

Post-Warhol Period and Refurbishment

Following Andy Warhol's departure from the sixth floor in 1973, the Decker Building at 33 Union Square West continued to serve primarily as commercial office space, but it experienced a period of physical decline over the subsequent two decades, marked by alterations such as the obliteration of the original storefront and the removal of decorative elements like balconies and the minaret.^[12] This deterioration contributed to financial difficulties for the owners, culminating in a foreclosure sale in 1994, when the property was acquired by Windsor Construction Company.^[5] In 1995, architect Joseph Pell Lombardi led a comprehensive refurbishment of the building, restoring the terra-cotta facade to its original Moorish Revival design while replicating the lost first-floor storefront and reconstructing the balconies—though the minaret was not reinstated.^[12] As part of this adaptive reuse project, the upper floors were converted into 18 luxury residential condominium units, transforming the once-industrial structure into a mixed-use property with commercial space on the ground level.^[5] The ground floor saw a notable commercial tenant in 2015 with the opening of Dylan's Candy Bar, a flagship store founded by Dylan Lauren that occupies the retail space and draws on the building's artistic heritage for its themed interior design.^[13] In 2016, the property received a $27 million refinance loan from Sterling National Bank, supporting its continued operation as a mixed-use building with residential units above and commercial tenancy below.^[14]

Significance

Landmark Status

The Decker Building was designated a New York City Landmark by the Landmarks Preservation Commission (LPC) on July 12, 1988, in recognition of its architectural merit as an exemplary structure in the Moorish Revival style with Venetian Gothic influences.^[1] This designation highlighted the building's distinctive facade, featuring intricate terra-cotta ornamentation, horseshoe arches, ogee arches, arabesques, and multifoil balconies that contribute to its exotic and varied aesthetic.^[1] In 2003, the Decker Building was added to the National Register of Historic Places (NRHP reference number 03001179), further affirming its significance at the national level for its role in late 19th-century commercial architecture and its contribution to the Union Square historic context.^[15] The LPC's designation imposes regulations that protect the building's Moorish-Venetian features from alteration or demolition, requiring owners to obtain approval for any exterior changes to maintain the historic integrity of elements like the terra-cotta embellishments and arched detailing.^[1] This status directly influenced the 1995 refurbishment, during which architect Joseph Pell Lombardi restored the facade while converting the interior to residential use, ensuring compliance with preservation standards to preserve the original ornamental details.^[5] Today, the landmark and NRHP statuses continue to guide ongoing maintenance, mandating regular upkeep to prevent deterioration of the facade and uphold the building's architectural character.^[16]

Cultural Legacy

The Decker Building's association with Andy Warhol's Silver Factory from 1968 to 1973 profoundly shaped the trajectory of pop art by transforming artistic production into an industrialized, collaborative process that blurred lines between high art and mass culture. Warhol's use of silkscreen techniques at the studio elevated consumer icons like Campbell's Soup Cans into enduring symbols, democratizing art and critiquing consumerism in ways that influenced subsequent generations of artists.^[17] This era also cemented the building's role in New York City's counterculture, serving as a magnet for avant-garde figures including musicians, poets, and performers who frequented nearby venues like Max's Kansas City, fostering an interconnected scene of experimental film, music, and multimedia that defined the 1960s underground. The Factory's parties and productions, involving "Superstars" such as Edie Sedgwick and Nico, created a blueprint for celebrity culture and interdisciplinary creativity that echoed through later movements in performance art and rock music.^[17] Architect John H. Edelmann's design of the building in 1892 reflects Gilded Age innovation through its eclectic Moorish Revival style, incorporating intricate terracotta ornamentation inspired by Islamic geometry to symbolize the era's embrace of global influences and technological progress in construction. Edelmann, an outspoken anarchist expelled from the Socialist Labor Party for his radical views and founder of the Socialist League in 1892, infused the structure with a subversive undertone, mentoring figures like Louis Sullivan while challenging conventional architectural norms.^[18] In contemporary times, the Decker Building garners recognition in media and guided tours as a pivotal site in Warhol's legacy, featured in documentaries and walking routes that highlight its contributions to New York's artistic heritage, such as the location where Interview magazine was launched. It stands as a symbol of Union Square's evolution from a 19th-century commercial and activist center to a vibrant cultural district blending historic preservation with modern retail and public spaces.^[19]^[20] The building exemplifies broader Manhattan trends of adaptive reuse, transitioning from industrial piano manufacturing to luxury residential apartments in the late 20th century, with 20 residential units above ground-floor commercial space, mirroring the neighborhood's shift toward mixed-use developments that sustain cultural vitality amid urban densification.^[21]