Responding to the changing nature of the Terminal's transportation role, the Master Place, completed in 1990, was based upon a blending of historic preservation and modern needs to build on the strengths of the Terminal's original 1913 architecture. A number of individual projects in the building were undertaken to show the public how great a restored Grand Central could be, such as the removal of the Kodak sign from the east balcony and the cleaning of a test patch of the sky ceiling. The primary goal of the revitalization project was to create a train station for the twenty-first century. Rich, hard wearing surfaces of Bottocino marble and simulated Caen stone were cleaned and repaired, restoring the original fabric to its previous splendor. Engiineering systems were restored or replaced and the building was air conditioned for the first time in its history. The famous sky ceiling was cleaned and newly illuminated using fiber optic lights. A new stair was created on the east side of the Main Concourse, following the designs of the original architect, Whitney Warren. The former Main Waiting Room, now renamed Vanderbilt Hall, has not only been restored and renovated, it has also been given a new set of uses. A new entrance on the east side, at 43rd Street and Lexington Avenue, connects to the Main Concourse through a passageway which resembles a European marketplace. In addition to the aesthetic effects of the restoration and its new retail amenities, commuters benefit from improved information systems, new arrival and departure boards, and a centralized Station Master's office.

The Architects' Building at 101 Park Avenue served as home to many of the designers of New York's early skyscrapers. Each bronze panel is a detailed portrait of a different building designed on this site.

Executed by one of the most prominent architects of the time, this Art Deco-style loft building demonstrates Kahn’s exploration of a new type of decorative architecture, notably in the colorful terra cotta ornamentation of the upper levels and mosaic on the lobby's ceiling.

Designed by the same architect as St. Patrick’s Cathedral and Grace Church, this brownstone cathedral originally incorporated two wooden spires, long since removed due to deterioration.

Modeled after the town halls of Medieval Amsterdam, this is one of few buildings in NYC in the Flemish/Dutch Renaissance style. With deeply recessed windows and upper-level rounded corners, it stands out from its more subdued neighbors.

Originally the Union Square Savings Bank, this monumental building is attributed to the architect of the Lincoln Memorial. Dominated by a portico with four massive Corinthian columns, it is a strong example of the Academic Classic-style popularized by the 1893 Chicago World’s Columbian Exposition.

This Italian palazzo-style townhouse was designed for James Hampden Robb, Commissioner of the Parks Department at the time. One of the only surviving houses along this stretch of Park Ave., its takeover by the Advertising Club in 1924 allowed it to resist demolition.

Cornelius Vanderbilt heir Alfred Gywnne Vanderbilt commissioned this hotel primarily as permanent housing for wealthy residents. Designed by the same architects as nearby Grand Central, it showcases terra cotta ornamentation and Adam-style details on the upper floors. The basement was once home to the famous Della Robbia Bar, also known as “The Crypt”, with a vaulted ceiling featuring Guastavino tile.