111 (emergency telephone number), History, Controversy
A case that caused particular concern was the disappearance of Iraena Asher, who vanished in October 2004 after she rang the police in distress and was instead sent a taxi that went to the wrong address.


111 (emergency telephone number), History, Controversy
On 11 May 2005 a severely critical independent report into the Police Communications Centres was released. It expressed ongoing concerns for public safety, and identified inadequate management, poor leadership, inadequate training, understaffing, underutilised technology and a lack of customer focus as being underlying risks for systemic failures. The report made over 60 recommendations for improvement, including recommending a 15 to 20 year strategy to move away from using 111 as an emergency telephone number because of problems with misdialling due to the repeated digits.


111 (emergency telephone number), History, Controversy
Despite ambiguous reporting, these issues were never with the 111 service itself, and did not impact fire or ambulance services. The problems were restricted solely to the Police Communications Centres.


111 (emergency telephone number), Contacting 111
111 can be dialled from all phones connected to a network including payphones, even without money or credit. The call is free from mobile phones but a sim card needs to be in the phone. The sim card does not have to have credit or be activated. New Zealanders who are deaf, hearing or speech impaired can .


111 (emergency telephone number), Contacting 111
Mobile networks will treat a 111 call as the highest priority, disconnecting another call if necessary to allow it to go through. If the mobile network your phone is connected to has limited or no coverage where you're calling from, an attempt will automatically be made to access another mobile network to ensure the call is connected.


111 (emergency telephone number), Contacting 111
Upon dialling 111, the caller will first hear a recorded message: "You have dialed 111 emergency; your call is being connected." This message was added in 2008 to allow people who have accidentally dialled 111 to hang up straight away. The Spark operator will then answer: "111 emergency, do you require fire, ambulance or police?". The operator will then connect the caller to the required service: "Connecting you to [service] now, please stay on the line with me." The Spark operator will remain connected with the caller until the specific service's communications centre has answered, and two way communication has been confirmed.


111 (emergency telephone number), Contacting 111
Emergency calls for some other services also use 111, but are still connected to one of the three services. For example, search and rescue or civil defence emergencies are connected to police. Gas leaks and hazardous substance emergencies are connected to the fire service.


111 (emergency telephone number), Contacting 111
In the interest of international compatibility, calls to foreign emergency numbers (112, 911, 999 etc. ), will be automatically diverted to 111. On average, 48% of calls to 111 are non-genuine. Over time, several measures have been introduced to attempt to reduce the number of non-genuine calls, such as the recorded message played to callers as soon as they dial 111 and charging for non-genuine calls made from landlines.


111 (emergency telephone number), Contacting 111
In May 2017, New Zealand introduced the Emergency Caller Location Information (ECLI) Service for providing the location of 111 mobile callers. ECLI has two sources of location:


111 (emergency telephone number), Contacting 111
Depending on a number of environmental conditions the location provided can be as precise as 4 meters using the GNSS capabilities of an smartphone. All location data is only to be held for 60 minutes and is then deleted to comply with the regulated conditions of use of ECLI as set by the NZ Privacy Commissioner.


111 (emergency telephone number), Other New Zealand emergency and related numbers
Other than 111, the following national emergency and related numbers are used for different services:-


111 (emergency telephone number), Other New Zealand emergency and related numbers
Other emergency numbers vary from area to area, or from service provider to service provider. These numbers can be found under the "Emergency Information" section on pages 2 and 3 of the local White Pages telephone directory.


111 (number)
111 (One hundred [and] eleven) is the natural number following 110 and preceding 112.


111 (number), In mathematics
111 is R3 or the second repunit, a number like 11, 111, or 1111 that consists of repeated units, or 1's. It equals 3 × 37, therefore all triplets (numbers like 222 or 777) in base ten are of the form 3n × 37. As a repunit, it also follows that 111 is a palindromic number.


111 (number), In mathematics
All triplets in all bases are multiples of 111 in that base, therefore the number represented by 111 in a particular base is the only triplet that can ever be prime. 111 is not prime in base ten, but is prime in base two, where 1112 = 710. It is also prime in these other bases up to 128: 3, 5, 6, 8, 12, 14, 15, 17, 20, 21, 24, 27, 33, 38, 41, 50, 54, 57, 59, 62, 66, 69, 71, 75, 77, 78, 80, 89, 90, 99, 101, 105, 110, 111, 117, 119 (sequence  in the OEIS)


111 (number), In mathematics
In base 18, the number 111 is 73 (= 34310) which is the only base where 111 is a perfect power.


111 (number), In mathematics
The smallest magic square using only 1 and prime numbers has a magic constant of 111:


111 (number), In mathematics
A six-by-six magic square using the numbers 1 to 36 also has a magic constant of 111:


111 (number), In mathematics
(The square has this magic constant because 1 + 2 + 3 + ... + 34 + 35 + 36 = 666, and 666 / 6 = 111).


111 (number), In mathematics
111 is also the magic constant of the n-Queens Problem for n = 6. It is also a nonagonal number.


111 (number), Nelson
In cricket, the number 111 is sometimes called "a Nelson" after Admiral Nelson, who allegedly only had "One Eye, One Arm, One Leg" near the end of his life. This is in fact inaccurate—Nelson never lost a leg. Alternate meanings include "One Eye, One Arm, One Ambition" and "One Eye, One Arm, One Arsehole".


111 (number), Nelson
Particularly in cricket, multiples of 111 are called a double Nelson (222), triple Nelson (333), quadruple Nelson (444; also known as a salamander) and so on.


111 (number), Nelson
A score of 111 is considered by some to be unlucky. To combat the supposed bad luck, some watching lift their feet off the ground. Since an umpire cannot sit down and raise his feet, the international umpire David Shepherd had a whole retinue of peculiar mannerisms if the score was ever a Nelson multiple. He would hop, shuffle, or jiggle, particularly if the number of wickets also matched—111/1, 222/2 etc.


111 (Željko Joksimović album)
111 is the third album by Željko Joksimović, a Serbian pop singer released in 2002.


111 Ate
Ate (minor planet designation: 111 Ate) is a main-belt asteroid that was discovered by the German-American astronomer C. H. F. Peters on August 14, 1870, and named after Ate, the goddess of mischief and destruction in Greek mythology. In the Tholen classification system, it is categorized as a carbonaceous C-type asteroid, while the Bus asteroid taxonomy system lists it as an Ch asteroid.


111 Ate
Two stellar occultations by Ate were observed in 2000, only two months apart. The occultation of the star HIP 2559 by 111 Ate was used to determine a chord length of 125.6 ± 7.2 km through the asteroid, giving a lower bound on the maximum dimension. During 2000, 111 Ate was observed by radar from the Arecibo Observatory. The return signal matched an effective diameter of 135 ± 15 km. The estimated size of this asteroid is 143 km, making it one of the larger asteroids.


111 Ate
Based upon an irregular light curve that was generated from photometric observations of this asteroid at Pulkovo Observatory, it has a rotation period of 22.072 ± 0.001 hours and varies in brightness by 0.12 ± 0.01 in magnitude.


111 BC
Year 111 BC was a year of the pre-Julian Roman calendar. At the time it was known as the Year of the Consulship of Serapio and Bestia (or, less frequently, year 643 Ab urbe condita) and the Sixth Year of Yuanding. The denomination 111 BC for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.


111 Battalion
111 Battalion was a motorised infantry unit of the South African Army.


111 Battalion, History, Origin of the black battalions
By the late 1970s the South African government had abandoned its opposition to arming black soldiers.


111 Battalion, History, Origin of the black battalions
In early 1979, the government also approved a plan to form a number of regional African battalions, each with a particular ethnic identity, which would either serve in their respective homelands or under regional SADF commands.


111 Battalion, History, The Swazi Battalion
This policy led to the formation of 111 Battalion for Swazis. 111 Battalion was raised in 1980 at Amsterdam, Mpumalanga on the Swaziland Border in the then Eastern Transvaal where a purpose built base was developed for it.


111 Battalion, History, The Swazi Battalion
Troops for 111 SA Battalion were recruited from the self-governing territory of KaNgwane, where the SADF itself maintained a base.


111 Battalion, History, Higher Command
111 Battalion resorted under the command of Eastern Transvaal Command based in Nelspruit.


111 Battalion, History, Operational Deployment
The battalion was responsible for patrolling the border between Swaziland and South Africa.


111 Battalion, Insignia
The badge was designed to represent the head ring and plumes of the Swazi King upon crossed assegais.


111 Battalion, Notes
Peled, A. A question of Loyalty Military Manpower Policy in Multiethinic States, Cornell University Press, 1998, ISBN 0-8014-3239-1 Chapter 2: South Africa: From Exclusion to Inclusion


111 Brigade (Sri Lanka)
The 111 Brigade is a formation of the Sri Lanka Army. The Brigade is responsible for the defense of the City of Kandy and the central province at large. It was formerly known as the Area Headquarters Kandy and was renamed in 2011 coming under the 11th Division.


111 Brigade (Sri Lanka)
It traces its roots to the Central Commander's Headquarters which was established in 1972 following the 1971 Insurrection under the command of Colonel E.J Divitotawela. In 1988, it was renamed as the 12 Division followed with another redesignation in 32 Division until it became known as the Area Headquarters on 23 October 1996.


111 Centoundici
111 Centoundici is  Tiziano Ferro's second studio album, released in late 2003.


111 Centoundici
The album was a tremendous success in Italy, topping the Italian Album Chart and selling over 450,000 copies, surpassing the success of previous album, Rosso Relativo, in the country. The Spanish version of the album, 111 Ciento once, was also released the same year and helped the album sell over one million copies around the world, further cementing Ferro as a well-recognized international pop and R&B artist.


111 Centoundici
The album sold well due to the popularity of the first single "Xverso", but when single "Sere nere" was released the album increased in sales much faster, thanks to the song reaching #1 in the airplay charts of Italy and Mexico.


111 Centoundici, Certifications and sales
^ Shipments figures based on certification alone. Sales+streaming figures based on certification alone.


111 Eighth Avenue
111 Eighth Avenue, also known as the Google Building, is a full-block Art Deco multi-use building located between Eighth and Ninth Avenues, and 15th and 16th Streets in the Chelsea neighborhood of Manhattan, New York City.


111 Eighth Avenue
At 2.9 million square feet (270,000 m2), it is the city's fourth largest building in terms of floor area as of 2014. It was the largest building until 1963, when the 3.14-million-square-foot (292,000 m2) MetLife Building opened. The World Trade Center, which opened in 1970–71, and 55 Water Street, which opened in 1972, were also larger, but the World Trade Center was destroyed in 2001. When the 3.5-million-square-foot (330,000 m2) One World Trade Center opened in 2014, 111 became the city's fourth largest building.


111 Eighth Avenue
The building, which has been owned by Google since 2010, is one of the largest technology-owned office buildings in the world. It is larger than Apple Park, Apple's 2.8 million square feet (260,000 m2) headquarters in Cupertino, California.


111 Eighth Avenue, Port Authority Commerce Building/Union Inland Terminal #1
The building was designed by Lusby Simpson of Abbott, Merkt & Co. and completed in 1932.


111 Eighth Avenue, Port Authority Commerce Building/Union Inland Terminal #1
The building had a multipurpose design when it opened in 1932 with the first floor and basement designated as "Union Inland Terminal #1" which was to be used to transport goods by truck to and from railroad lines and/or shipping piers. The building included four freight elevators that could carry fully loaded 20 ton trucks.


111 Eighth Avenue, Port Authority Commerce Building/Union Inland Terminal #1
The second floor was the Commerce section designed for exhibitions and the upper floors were designed for manufacturing.


111 Eighth Avenue, Port Authority Commerce Building/Union Inland Terminal #1
The Union Inland Terminal was built by the Port Authority to be a warehouse/union station to handle less-than-carload (LCL) shipments, consolidating the shipping functions of the Hudson River piers two blocks west of the building, the eight trunk railroads that operated a block west of the building and truck operations (an inland terminal by definition is a warehouse that is not immediately next to railroad lines/piers but is nearby and is used to relieve congestion at the transfer points).


111 Eighth Avenue, Port Authority Commerce Building/Union Inland Terminal #1
At its peak in the 1930s the Port Authority said it was handling more than half of the LCL freight operations south of 59th Street in Manhattan with more than 8,000 tons of goods passing through it each month. On one day alone in 1937 it was reported that 650 trucks had used the facility.


111 Eighth Avenue, Port Authority Commerce Building/Union Inland Terminal #1
The railroads involved were the Pennsylvania Railroad; Lehigh Valley Railroad; Baltimore & Ohio; Erie Railroad; Delaware, Lackawanna & Western Railroad; Central Railroad of New Jersey; New York Central Railroad; New York, New Haven & Hartford.


111 Eighth Avenue, Port Authority Commerce Building/Union Inland Terminal #1
Because of the warehouse mission of the building it was able to avoid some of the setback rules that greatly reduced the buildable space available for the skyscrapers that mark the Manhattan skyline. As a result, the 15-story building with most of its floors larger than the size of two football fields has more available rentable square footage than the 102-story Empire State Building which has 2.2 million square feet (200,000 m2). The construction occurred at a time of a massive projects built to deal with what at the time was street level freight railroad traffic on Manhattan's west side.


111 Eighth Avenue, Port Authority Commerce Building/Union Inland Terminal #1
Other projects in the neighborhood in the era included construction of the High Line and Starrett-Lehigh Building.


111 Eighth Avenue, Port Authority Building
The initial plan had called for more inland freight operations to be erected in Manhattan. However the freight transportation changed and freight railroads played a dwindling importance in Manhattan. By 1947 its initial mission was pretty much abandoned and it became the Port Authority Building which remained the Port Authority's headquarters until the opening of the World Trade Center in 1970.


111 Eighth Avenue, 1998 Taconic acquisition
The massive building served a dwindling warehouse/backoffice outpost until 1998 when Taconic Investment Partners acquired it.


111 Eighth Avenue, 1998 Taconic acquisition
Taconic began marketing it as a location to be used as a carrier hotel for the new booming internet business. This was coupled with the fashionable rise of the Chelsea neighborhood that surrounded it.


111 Eighth Avenue, Google
In 2010, Google, which had previously leased space in the building, contracted to purchase the entire 2.9-million-square-foot (270,000 m2) building, in a deal reported to be worth around $1.9 billion.


111 Eighth Avenue, Google
The building's meet-me room in its carrier hotel was once the biggest in the city (the other big meet-me room is at 60 Hudson Street).


111 Eighth Avenue, Google
111 8th Avenue is adjacent to trunk dark fiber lines stretching from Hudson Street and continuing up Ninth Avenue. That line at the time was owned by Lexent Metro Connect. There was speculation at the time of the acquisition that Google would use its strategic location to launch a Google Fiber operation in New York City. The Google Fiber plan never came to pass and Google has denied it has any plans to bring it to New York City anytime in the near future, although in 2013 it did begin offering free Wi-Fi to its Chelsea neighbors. The Lexent dark fiber line has been acquired by Lightower Fiber Networks.


111 Eighth Avenue, Google
In 2013 the first class of the newly created Cornell NYC Tech school began classes in the building, in space donated by Google. Classes continued in the building until the school moved to its new location on Roosevelt Island in 2017. Despite the massive size of the acquisition, Google has still found itself having to rent space elsewhere because it has been unable to break the leases with some of its tenants, including Nike, Deutsch Inc., and Bank of New York. After years of renting additional space across the street in the Chelsea Market, Google purchased that building in 2018.


111 First Street
111 First Street was an industrial building in Jersey City, New Jersey, at the intersection of First and Washington Streets in Downtown Jersey City. Prior to its demolition in 2007, the 19th-century industrial building on the site had been converted to an arts center, artists' residence, and loft. As of 2018, the site is the location of a proposed 52-story skyscraper.


111 First Street, Original building, Construction and industrial use
The original industrial building, constructed in 1866, was a Greek Revival brick building fronting on Washington Street that housed one of the nation's first conglomerates, the American Screw Company. It was purchased in the early 1870s by P. Lorillard & Co., and for about 85 years it was a factory and warehouse of the Lorillard Tobacco Company.


111 First Street, Original building, Construction and industrial use
In 1956, Lorillard moved its manufacturing operations out of Jersey City, and in the ensuing decades, a variety of other businesses used the building for purposes including light manufacturing, retail space, and storage.


111 First Street, Original building, Arts center
In the late 1980s, the warehouse was renovated after years of abandonment, and began to be shared by industrial tenants and artists. The building became known as an arts center, with galleries, studios, residences, and lofts that housed over 200 artists, including painters, sculptors, photographers, musicians, filmmakers, writers, and poets. The building's neighborhood, redeveloped as the Historic Warehouse District, was initially dubbed WALDO (Work And Live District Overlay), but soon became known as the Powerhouse Arts District.


111 First Street, Original building, Arts center
In the spring of 2005, the artists and other tenants were evicted in a dispute with developer Lloyd Goldman, and the building was demolished in 2007.


111 First Street, Original building, Legacy
The building and its artists were the subject of a 2012 documentary film, 111 First Street, directed by independent filmmaker Branko (Raul Romero), and largely filmed prior to the building's demolition. The documentary, subtitled From Paris to Jersey City, They Showed No Love, included interviews with artists and political figures.


111 First Street, Original building, Legacy
In 2017, twelve years after their eviction, more than 40 of the building's artists reunited to display their work in an exhibition called "111 1st Street: A Community of Artists."


111 First Street, Proposed skyscraper
The approved new building is a 52-story skyscraper to be built in the Powerhouse Arts District of Jersey City. The mixed-use building is to include residences, a hotel, and retail space, as well as planned artist lofts and gallery space. Under the owner's preliminary agreement with the city that permitted demolition of the building, the facade is to be reconstructed using the previously existing brick.


111 First Street, Proposed skyscraper
Rem Koolhaas of the Office for Metropolitan Architecture (OMA), an architectural firm based in the Netherlands, was announced as the project's architect on September 18, 2006. It is divided into three vertical rectangular sections, at 90 degree angles to one another, overhanging the building's base. According to the architects:


111 First Street, Proposed skyscraper
Each component of the [mixed-use] program is ... concentrated into individual blocks – a cube of artist work/live studios and galleries, a slab that combines hotel rooms and apartments, and a wider slab that accommodates deeper apartment units. The resulting volumes are stacked perpendicularly in plan to create a 52 story (592ft) tower. The stacking maintains the independence of each block, optimizes views from the site and creates a dynamic relationship between the building and its surroundings: spectacle from convention.


111 First Street (film)
111 First Street. From Paris to Jersey City, they showed no love. is a 2012 documentary film, directed by Branko, starring some of the artists of an Art Center and residence located at 111 First Street, Jersey City, New Jersey. It is the fifth feature-length documentary film created by independent filmmaker Branko.


111 First Street (film), Synopsis
111 First Street in Jersey City, New Jersey is the location of a proposed 52-story skyscraper. The former building housed on the site was a renovated warehouse that housed over 100 artists' studios, including painters, sculptors, photographers, musicians, filmmakers, writers, poets, and others. The concentration of artists led the building to be known as the "Heart of the Art Center". Although the building (and its occupants) are gone now, 111 First Street..., filmed before the demolition of the original building, documents this group of artists.


111 George Street
111 George Street is a building on George Street in the Brisbane CBD, Queensland, Australia which was completed in 1993. The building is owned, managed and occupied by the Queensland Government. With its repetitive grill pattern, it is sometimes colloquially referred to as the 'cheese grater'. The site covers 1,299 m2. A sister project known as 33 Charlotte Street was later built on the adjoining site, and has a very similar façade. This smaller building is 75 m high and was completed in September 2004.


111 George Street
As with all Queensland Government assets, the Department of Housing and Public Works manages the building on a day-to-day basis.


111 George Street, Tenants
111 George Street is currently occupied by three departments of the Queensland Government:


111 George Street, Tenants
The building used to be occupied by additional departments of the Queensland Government, which have since moved to other buildings or 1 William Street, where most executive branch and executive-level units are housed.


111 Herculis
111 Herculis is a suspected astrometric binary star system located 92 light years from the Sun in the northern constellation Hercules. It is visible to the naked eye as a faint, white-hued point of light with an apparent visual magnitude of 4.34. The system is moving nearer to the Earth with a heliocentric radial velocity of −45 km/s, and may come as close as 37 light-years in 537,000 years.


111 Herculis
According to Cowley et al. (1969), the visible component has a stellar classification of A5III, matching an A-type giant star. Abt and Morrell (1995) listed it as type A3IV, suggesting it is instead a less evolved subgiant star. The interferometry-measured angular diameter of the primary component is 0.52±0.02 mas, which, at its estimated distance, equates to a physical radius of roughly 1.6 times the radius of the Sun. The star is estimated to be 559 million years old with 2.40 times the mass of the Sun and is spinning with a projected rotational velocity of 71 km/s. It is radiating 13 times the Sun's luminosity from its photosphere at an effective temperature of 8,873 K.


111 Huntington Avenue
111 Huntington Avenue is a Boston skyscraper. Located on Huntington Avenue, it is part of the Prudential Center complex that also houses the Prudential Tower. Completed in 2002, the tower is 554 feet (169 meters) tall and houses 36 floors. It is Boston's tenth-tallest building. It won the 2002 bronze Emporis Skyscraper Award. It is sometimes given the unofficial nickname The R2-D2 Building after the Star Wars droid's top.


111 Huntington Avenue, Design
The 36-story tower is capped by an open-frame dome and crown which is illuminated at night. The building's original design called for a flat roof, but Boston Mayor Thomas Menino objected; Menino chose the present design from among several options the developer subsequently proposed.


111 Huntington Avenue, Design
The postmodern facade consists of a blue glass curtain wall designed by the architect firm Childs Bertman Tseckares Inc. (CBT). The lobby interior consists of reflective black marble walls with finished wood paneling and a dramatic lobby waterfall. It can be accessed from the adjacent Prudential retail mall.


111 Huntington Avenue, Design
The project was constructed by John Moriarty & Associates, Inc.


111 Huntington Avenue, Tenants
The anchor tenant of the building is the MFS Investment Management company which had reserved 350,000 sq ft (33,000 m2) out of the 890,000 sq ft (83,000 m2) for occupancy as of spring 2013. Other notable tenants include Foley & Lardner LLP, Analysis Group, Edwards Wildman Palmer, Bain Capital, Citi Private Bank and Apple Inc.


111 Murray Street
111 Murray Street (formerly known as 101 Murray Street or 101 Tribeca) is a residential skyscraper completed in 2018 in Manhattan, New York City. Developed by Witkoff Group and Fisher Brothers, the building is located at the intersection of Murray and West Streets, in the Financial District and Tribeca neighborhoods and close to Battery Park City.


111 Murray Street, Design
According to Winston C. Fisher, of Fisher Brothers, the building has 156 luxury condominiums. The tower stands 792 feet (241.4 m) to its pinnacle and has 2,100 square feet (195 sqm) of retail space on the ground floor. The building is the third tallest structure in the local area, after 30 Park Place and 56 Leonard Street, matching the height of the Woolworth Building. A 10,600 square-foot (985 sqm) plaza sits adjacent to the tower.


111 Murray Street, Construction
The tower was constructed at the site of the former St. John's University building at 101 Murray Street, which the developers purchased for $200 million in May 2013. In May 2015, the developers finalized the project's financing after securing an equity investment from a Chinese insurance company and a $445 million construction loan from The Blackstone Group, Deutsche Bank, and M&T Bank. By summer 2015, demolition of the previous structure was complete and construction of the foundation commenced. The building topped out in 2018.


111 Navy Chair
The Emeco 111 Navy Chair is a recycled plastic chair manufactured by Emeco. It is based on the Emeco 1006 chair originally built for Navy warships during World War II.


111 Navy Chair, History
In 2006, Coca-Cola sought a means to keep their plastic bottles out of landfills, and sought product applications via manufacturing partnerships. They approached chair manufacturer Emeco, best known for manufacturing chairs from aluminum. Emeco's leadership "jumped on the project." The company saw it as an opportunity to develop an innovative, structurally sound material and keep plastic bottles out of the landfill. The two companies began to talk about the possibilities of recreating the iconic Navy Chair using rPET.


111 Navy Chair, Development
At the time Emeco began working to create the chair out of rPET, other companies were making rPET products such as T-shirts, bags, caps and notebooks. Soft recycled PET plastic was originally intended for short-lived fabric and textiles and Emeco needed to build a tough, one-piece, scratch-resistant chair for heavy-duty use.


111 Navy Chair, Development
Emeco’s engineering team worked for 4 years to create a material made of recycled PET plastic that is made into pellets. Those pellets are mixed with glass fiber and color pigment. Each chair starts out as six kilograms of plastic pellets that are melted down and then injection-molded into the shape of the 1006 Navy Chair. Craftsmen add the H brace to make the chair sturdier and they smooth out any imperfections that result from injection moulding.


111 Navy Chair, Development
The resulting 111 Navy Chair has the identical design of the 1006 Navy Chair. The one-piece design is scratch-resistant and suitable for heavy-duty use.


111 Navy Chair, Development
Each 111 Navy Chair is made of at least 111 recycled PET plastic bottles – 65% post consumer PET – with 35% glass fiber and pigment; this gives the chair its name. The chair comes in 6 colors and passes all commercial requirements—it is structurally strong, fire retardant and cleanable.


111 Navy Chair, Results
As of late 2016, over 22 million plastic bottles have been kept out of the landfill and made into 111 Navy Chairs. Emeco CEO Gregg Buchbinder said in an interview with Forbes magazine "We’ve turned something many people throw away into something you want and can keep for a long, long time."


111 Navy Chair, Results
The chair sells at a much lower price than the original.


111 Piccadilly
111 Piccadilly, formerly Rodwell Tower or Rodwell House, is a high rise office development in Manchester, England, owned by Bruntwood, which was opened in 1965. The tower is 64 metres (210 ft) which makes it the joint-sixteenth tallest building in Manchester. The building is located at the corner of Ducie Street (near Station Approach which leads to Manchester's main railway station, Manchester Piccadilly). It is the last building in Piccadilly which continues here as London Road.


111 Piccadilly, History
The architects of the tower were Douglas Stephen & Partners who had to solve the constructional problem of building a high building over the Rochdale Canal. Its external appearance is enhanced by the eight enormous columns which carry the building above the canal; however the rendered finish did not look so good after a few years of rain.


111 Somerset
111 Somerset is a high-rise commercial building and shopping mall in Orchard, Singapore. The building was first known as Public Utilities Board Building (PUB Building) until 1995, and was later known as Singapore Power Building until 2008 when acquired by YTL Corporation Pacific Star. It used to house the headquarters of SP Group, until it shifted to its current site at Kallang.


111 Somerset
It includes two office towers and a retail podium. It is currently being managed by Perennial Real Estate Holdings.


111 Somerset, History
The PUB Building, located near Singapore's main shopping belt of Orchard Road, was built to accommodate several departments of the Public Utilities Board which had outgrown its office space in City Hall.


111 Somerset, History
The building was the result of an architectural design competition. In July 1971, a contest to design PUB's corporate headquarters was launched. Of 23 submissions, four were picked by a jury headed by then PUB chairman Lim Kim San. The proposal by the now-defunct Singapore architectural firm Group 2 Architects (1970–1978), formed by Ong Chin Bee and Tan Puay Huat, won.


111 Somerset, History
Built to a height of 100 metres (328 ft), the PUB Building was completed in 1977; construction cost S$32 million. It was renamed as the Singapore Power Building, after PUB's electricity and gas operations were corporatised to Singapore Power on 1 October 1995. The Singapore Power Building was renovated in 2006, when Singapore Power chose not to redevelop its corporate headquarters. Instead, it opted to refurbish and reclad the building in silvery metal.


111 Somerset, History
On 29 January 2007, PUB moved out of the building to join its parent ministry, Ministry of the Environment and Water Resources, at the Environment Building on Scotts Road. When YTL Pacific Star acquired the building in February 2008, it was renamed to its present name. The new owner undertook a S$50 million renovation and added more retail space to the building by converting offices, a cafeteria, empty spaces in the lobby areas as well as the carpark and the auditorium. It now has 500,000 square feet (46,000 m2) of offices, 60,000 square feet (5,600 m2) of retail space and a 5,000 square feet (460 m2) outdoor refreshment area. The reopening of the complex in 2010 included a FairPrice Finest supermarket.


111 Somerset, Architecture, Design concept
In the 1971 design competition for the PUB Building, the other three finalists proposed high-rise structures to project a corporate image. However, Group 2 Architect's winning design, in the jury's words, allowed "natural form and function to achieve character and dignity" for the building. The 17-storey high PUB building shows the influence of Gerhard M. Kallmann's 1962 Boston City Hall, also a competition winner, which was, in turn, influenced by Le Corbusier's Sainte Marie de La Tourette (1957–1960) by . The development of the form of the PUB Building was mannerist, however, in contrast to the inherent logic evident in La Tourette, and to some degree in the City Hall.


111 Somerset, Architecture, Design concept
The design and architecture of the building resulted in a Modernist architectural style known as Brutalism. This style of architecture was popular with government buildings in the 1970s and 80s.


111 Somerset, Architecture, Design concept
Situated between Somerset Road and Devonshire Road, Group 2 Architects designed the PUB Building as an H-shaped block with a central service core and a naturally-ventilated lobby. Facing north and south, the two parallel wings are of unequal height, and are linked by a wider transverse area three floors in height, and further up by the lift shaft and the access to each floor. Between the two wings is a landscaped courtyard.


111 Somerset, Architecture, Horizontal emphasis
The architects sought to create an approachable building that reflected the role of the PUB as a public supplier of gas and electricity, and this led them to choose strong horizontal elements for the design. In the building's façade, this is achieved with distinctive rows of vertical fins, staggered so as to emphasise horizontal movement; these fins also provide shade. A secondary horizontal pattern results from grouping two or more rows of these fins in blocks.


111 Somerset, Architecture, Horizontal emphasis
The Singapore Power Building's defining architectural motif is its "inverted ziggurat" façade. The building tapers from cantilevered upper floors to recessed lower floors, and the resulting overhangs help to shade the lower levels, a logical response to the tropical climate. The tropical setting also led to the provision of a generous shaded concourse at ground level. It was the combination of design features intended to reflect the climate, together with an objective of making the floor areas congruent with the size of the administrative elements of the utility that occupied them, that resulted in the building's distinctive structural profile.


111 Somerset, Architecture, Horizontal emphasis
Internally, the building was organised to reflect the distribution of office spaces required by PUB's departments at the time, with more space needed on the upper floors. The chamfered parapets at the ends soften the corners of the building. The length of the building is emphasised and the design elements are visually integrated by vertical projections housing staircases. The staggered façade provides views to the exterior, while offering voids in between that afford "breathing space".


111 Somerset, Architecture, Horizontal emphasis
The ground floor of the building was dedicated to public access and use for retail as well. It is entered via wide steps under columns that are three- or four-storeys high, and these pilotis create a sense of space for the naturally ventilated public lobby areas. From the concourse, which is decorated with wall-relief sculptures, steps lead to upper and lower public service areas, a cafeteria and carparks.


111 Somerset, Architecture, Horizontal emphasis
The original design of the Singapore Power Building was executed virtually without later alteration although it would later be surrounded by hotels, the Somerset MRT station and shopping complexes.


111 Somerset, Architecture, Structural framework
The structural framework of the building utilises a simple system of reinforced concrete beams and slabs, and was originally clad in square mosaic and rectangular ceramic tiles on its walls and columns. The building's foundation comprises large diameter bored piles installed in decomposed sandstone. Beams span an average 7.6 metres except at the main entrance where post-tensioned concrete beams span 15 metres. The auditorium is roofed over by 24-metre long steel trusses with a composite reinforced concrete covering.


111 Songs
111 Songs is a project released by Hollerado in 2015. The project came to be when the band released a special promotional bundle for their second album White Paint. The bundle consisted of a T-shirt, the album, a poster, and a custom song. After realizing their mistake, and selling well over 100 bundles; the band removed the bundle to avoid having to write more songs. After delaying the custom songs for a while, the band decided to fulfil their promise to their loyal fans. The project took over 2 years to write and record, and the final result was enough content to fill over 5 full-length albums. Each song is written for a fan, and their name or pseudonym is listed after the title.


111 South Wacker Drive
111 South Wacker Drive is a high-rise office building located in Chicago, Illinois.. Completed in 2005 and standing at 681 feet (208 m), the 51 story blue-glass structure is one of the tallest in the city. It sits on the site of the former U.S. Gypsum Building, one of the tallest buildings in Chicago to be demolished.


111 South Wacker Drive
Designed by Lohan Caprille Goettsch Architects, the building is noted for its unique parking ramp. The ramp's cyclical form creates a dramatic sloped ceiling for the building's main lobby underneath. The ramp's corkscrew design is reflected outside as well; the pavement follows the radiating lines set inside.


111 South Wacker Drive
The building is also noteworthy for its sustainable design, becoming the first-ever project to be certified LEED-CS Gold by the U.S. Green Building Council.


111 South Wacker Drive, Original design
The original design called for a more extreme building. This 35 story, 638 foot (194 m) tower would utilize many of the existing caissons of the former U.S. Gypsum Building. The bulk of the building would be supported by a 120-foot (37 m) base and 20 large diagonal braces connected from the corners of the base to the bottom of the office structure. The effect would have been a nearly symmetrical shape and a building that seemingly looked unstable.


111 South Wacker Drive, Original design
The minimalistic lobby would have been enclosed in glass and left space for an exterior plaza with artwork.


111 South Wacker Drive, Original design
The plan was eventually abandoned with the current design chosen instead.


111 South Wacker Drive, Tenants
Tenants in the building include Deloitte, RR Donnelley, Harbor Funds, Wells Fargo Capital Finance, Bloomberg, Grippo & Elden LLC, Houlihan Lokey, and Locke Lord LLP.


111 South Wacker Drive, Tenants
Shelbourne Development, the firm behind the Chicago Spire, had 6,700-square-foot (620 m2) of office space on the 50th floor but vacated their offices in 2010 due to a dispute over $27,600 in unpaid rent.


111 Squadron SAAF
111 Squadron is a territorial reserve squadron of the South African Air Force. The squadron is primarily involved in VIP transport and reconnaissance flights in the Gauteng area. The squadron is headquartered at AFB Waterkloof.


111 Squadron, Republic of Singapore Air Force
The 111 Squadron "Jaeger" was formed when the Republic of Singapore Air Force acquired four Grumman E-2C Hawkeye Airborne Early Warning aircraft in 1987. Based at Tengah Air Base, its primary function is to perform airborne surveillance and early warning. Other functions include Aircraft Intercept Control, Surface Surveillance, Search and Rescue and Air Traffic Control.


111 Squadron, Republic of Singapore Air Force
The unit is represented by the Jaeger, a vigilant and courageous hawk-like bird whose vigilance is aptly reflected in their motto "Vigilance In Control".


111 Squadron, Republic of Singapore Air Force, History
Since the early 1990s, as one of the signatory members of Five Power Defence Arrangements (FPDA), Singapore has regularly deployed the squadron's Hawkeye to participate in the air exercise part of the Integrated Air Defence System (IADS) phase.


111 Squadron, Republic of Singapore Air Force, Overview
In 2001, RSAF working together with the Defence Science and Technology Agency (DSTA) upgraded the entire computer and software systems of the E-2C. State-of-the-art equipment was adapted to the harsh military environment and millions of lines of code were rewritten. Interfaces between the various E-2C subsystems were also designed and enhanced.


111 Squadron, Republic of Singapore Air Force, Overview
The RSAF acquired four Gulfstream G550 jets with the IAI EL/W-2085 Active Electronically Scanned Array (AESA) dual-band phased array radar (a newer derivative of the Phalcon system) for CAEW duties from Israel Aerospace Industries (IAI) in 2007, at least 2 aircraft were delivered in late 2008 and are expected to be fully operational by 2010. Not included in the deal is an additional G550 as an AEW trainer, which will be acquired and maintained by ST Aerospace on behalf of RSAF.


111 Squadron, Republic of Singapore Air Force, Overview
During the 2010 Singapore Airshow, the squadron unveiled the new aircraft, which had been further upgraded, at the display pavilion.


111 Squadron, Republic of Singapore Air Force, Aircraft operated
An E-2C Hawkeye (015) of 111 Sqn on display at Paya Lebar Air Base, 2006


111 Squadron, Republic of Singapore Air Force, Aircraft operated
An operational G550 CAEW of 111 Sqn on display at Singapore Air Show, 2010


111 Street, Edmonton
111 Street is a major arterial road in south Edmonton, Alberta, Canada. The south leg of the LRT runs between the northbound and southbound lanes north of 23 Avenue. It passes by Southgate Centre and the former location of Heritage Mall, now the location of the Century Park transit-oriented development.


111 Street, Edmonton
111 Street was originally part of the 1963 Metro Edmonton Transportation Study (METS), which proposed a downtown freeway loop and feeder routes, including three southern approaches from Highway 2 via 111 Street, Calgary Trail, and 91 Street / Mill Creek Ravine. As 111 Street was constructed,  a wide right-of-way was integrated; however the freeway plan was ultimately cancelled. In the 2000s, the LRT Capital Line was expanded and constructed along the median and opened in 2010.


111 Street, Edmonton, Neighbourhoods
List of neighbourhoods 111 Street runs through, in order from south to north:


111 Street, Edmonton, Major intersections
This is a list of major intersections, starting at the south end of 111 Street. The entire route is in Edmonton.


111 Tauri
111 Tauri is a wide binary star system in the constellation Taurus. It is located at a distance of about 47 light years from the Sun. Primary component A is a main sequence star with a stellar classification of F8V. The secondary component B (Gliese 201) is a K-type main sequence star. The primary is larger and more luminous than the Sun, with about 130% of the Sun's radius and 185% of the Sun's luminosity. The apparent magnitude of 5.1 indicates it is a faint star that can be viewed by the naked eye under good, dark-sky conditions.


111 Tauri
The metallicity of the primary star, which measures the proportion of elements other than hydrogen and helium, is similar to the Sun. Estimates of [Fe/H], which is the logarithm of the ratio of iron to hydrogen as compared to the Sun, range from a low of −0.14 to a high of 0.05. This star shows an unusually high content of Lithium, which remains unexplained. Age estimates for this star range from 3.6 to 3.76 billion years. however the most recent age determination indicates a very young star with an age of 20 to 50 million years. It is a prominent X-ray source.


111 Tauri
This star is rotating relatively rapidly, completing a rotation along the equator every 3.5 days as compared to 25 days for the Sun. It is also undergoing differential rotation in which the rotation velocity varies by latitude.


111 Tauri
This star was examined for an excess of infrared emission that could indicate it has a circumstellar debris disk of dust, but no significant excess was observed. The space velocity components of this star are [U, V, W] = [−36.94, −14.63, 7.63] km/s. It shares a common proper motion with HIP 25220, an active star with stellar classification K4V. Both stars are members of the Hyades stellar kinematic group of co-moving stars.


111 West 57th Street
111 West 57th Street, also known as Steinway Tower, is a supertall residential skyscraper in the Midtown Manhattan neighborhood of New York City. Developed by JDS Development Group and Property Markets Group, it is situated along Billionaires' Row on the north side of 57th Street near Sixth Avenue. The main portion of the skyscraper is an 84-story, 1,428-foot (435-meter) tower designed by SHoP Architects and erected in the 2010s. Preserved at the skyscraper's base is the 16-story Steinway Building (also Steinway Hall), a former Steinway & Sons store designed in the 1920s by Warren and Wetmore, which originally carried the address 111 West 57th Street.


111 West 57th Street
111 West 57th Street has 60 luxury condominiums: 14 in Steinway Hall and 46 in the tower. The residential tower has a glass facade with piers made of terracotta and contains a pinnacle with setbacks on the southern side. When completed, the tower will be one of the tallest buildings in the United States, as well as the thinnest skyscraper in the world with a width-to-height ratio of about 1:24. Steinway Hall, a New York City designated landmark, contains a facade made mostly of brick, limestone, and terracotta; it was restored as part of the residential development. 111 West 57th Street contains numerous resident amenities, housed mostly in the building's base, as well as a large rotunda within Steinway Hall that is also a designated city landmark.


111 West 57th Street
The Steinway & Sons store at 111 West 57th Street was planned in 1916 and, due to lawsuits and other delays, it did not open until 1925. Steinway Hall served as a store, recital hall, and office building for almost nine decades, though it was unsuccessful as a speculative development. Plans for a residential skyscraper on the site date to 2005, and JDS acquired the lots for the skyscraper between 2012 and 2013. Despite the tower's size, it was technically constructed as an addition to Steinway Hall. Construction on the tower and Steinway Hall's conversion began in 2014; the development faced several challenges, including financing difficulties, numerous lawsuits, and controversies over employment. The tower's concrete form topped out during April 2019, and the development is planned to be completed by the end of 2021.


111 West 57th Street, Site
111 West 57th Street is in the Midtown Manhattan neighborhood of New York City, just south of Central Park, between Sixth Avenue to the east and Seventh Avenue to the west. The building occupies the land lots at 105–113 West 57th Street and contains frontage along 57th Street to the south and 58th Street to the north. The rectangular site covers 20,621 square feet (1,915.8 m2), with a frontage of 106 feet (32 m) on 57th and 58th Streets, and a depth of 200.83 feet (61.21 m) between the two streets.


111 West 57th Street, Site
111 West 57th Street occupies the same city block as the Calvary Baptist Church, One57, and Alwyn Court to the west, and abuts The Quin immediately to the east. 111 West 57th Street is also near Carnegie Hall, Carnegie Hall Tower, and Metropolitan Tower one block west; Parker New York, 130 West 57th Street, and 140 West 57th Street across 57th Street to the south; and Hampshire House and Trump Parc across 58th Street to the north. The building stands across from the 57th Street station of the New York City Subway's F and <F> trains.


111 West 57th Street, Site
111 West 57th Street is one of several major developments around 57th Street and Central Park that are collectively dubbed Billionaires' Row by the media. Other buildings along Billionaires' Row include 432 Park Avenue four blocks southeast, 220 Central Park South one block northwest, Central Park Tower one block west, and the nearby One57.


111 West 57th Street, Site
111 West 57th Street's base contains Steinway Hall, a former store and recital hall for Steinway & Sons. Steinway Hall was completed in 1925 by Warren & Wetmore and is a New York City designated landmark. Steinway Hall was part of an artistic hub developed around the two blocks of West 57th Street from Sixth Avenue west to Broadway during the late 19th and early 20th centuries, following the opening of Carnegie Hall in 1891.


111 West 57th Street, Site
The area contains several buildings constructed as residences for artists and musicians, such as 130 and 140 West 57th Street, the Rodin Studios, and the Osborne Apartments. In addition, the area contained the headquarters of organizations such as the American Fine Arts Society, the Lotos Club, and the American Society of Civil Engineers.


111 West 57th Street, Design
111 West 57th Street, also known as Steinway Tower, was developed by Michael Stern's JDS Development Group and Kevin P. Maloney's Property Markets Group (PMG). WSP USA was the structural engineer for the project, while Jaros, Baum & Bolles was the engineer in charge of mechanical, engineering, and plumbing.


111 West 57th Street, Design
The building has two components. Warren and Wetmore's original Steinway Hall, at the base of the development, is topped by a 1,428 ft (435 m) tower designed by SHoP Architects. According to documents filed by SHoP Architects principal Gregg Pasquarelli, the roof slab of the tower is 1,257.5 feet (383.3 m) above ground level while the pinnacle is 1,423.58 feet (433.91 m) above ground. The building contains 84 stories above ground level or 85 including the roof slab. The top story is numbered as floor 91, while floor numbers 5–7, 13, and 21–25 are skipped. The tallest habitable story of the tower is 1,134 feet (346 m) above ground level. There is also a sub-cellar and cellar, used primarily for utilities and storage.


111 West 57th Street, Design, Form
The 16-story, "L"-shaped Steinway Hall fills most of the base, with frontages of 63 feet (19 m) along 57th Street and 100 feet (30 m) on 58th Street. The concert hall has a setback above the 12th story on 57th Street, and setbacks above the 9th and 12th stories on 58th Street. The 16th story along 57th Street (marketed as floor 19) is also set back from all sides. The roof of Steinway Hall contains a campanile with a pyramidal copper roof and lantern, similar to the Mausoleum at Halicarnassus. Christopher Gray of The New York Times described the campanile as having a "sculptural, even funerary, caste".


111 West 57th Street, Design, Form
The residential tower atop Steinway Hall is one of the tallest buildings in the United States, as well as the thinnest skyscraper in the world with a width-to-height ratio of about 1:24. Due to its slenderness, the building has been characterized as part of a new breed of New York City "pencil towers". The tower's northern elevation rises directly up to the pinnacle, and the southern elevation contains several setbacks as the tower rises, thinning the tower's footprint on higher floors. The pinnacle's lighting pattern was commissioned by L'Observatoire International. Because of the shape of the tower's pinnacle, 111 West 57th Street is nicknamed "Stairway to Heaven".


111 West 57th Street, Design, Facade, Steinway Hall
Steinway Hall's southern elevation, or side, faces 57th Street. The facade of the lowest three stories on 57th Street, made of Indiana Limestone above a pink-granite water table, contains two rectangular portals flanking a large central arch. The outer portals contain wooden pocket doors, which are surrounded by moldings and topped with entablatures. The central opening is a display window that contains an entablature supported by Ionic columns on either side, as well as a lunette above the entablature. The lunette has a cement sculptural group by Leo Lentelli, which contains a bas-relief of Apollo. Above the third story is a frieze with portraits of classical composers and pianists, as well as a central plaque with the name "Steinway".


111 West 57th Street, Design, Facade, Steinway Hall
The northern elevation on 58th Street is clad with brick, limestone, and terracotta. The lowest two floors contain rusticated limestone blocks; the first floor has loading docks on either end. One of the 58th Street loading docks led to a freight elevator for Steinway Hall's tenants, while the other led to a freight elevator used specifically by Steinway & Sons.


111 West 57th Street, Design, Facade, Steinway Hall
Steinway Hall's upper stories are clad with brick. On 57th Street, there are three pairs of windows on each of the 4th through 12th stories. On 58th Street, there are five windows on each of the 3rd through 12th stories; there is a balustrade at the third story and a cornice atop the 9th story. Above the 12th story, on both 57th and 58th Streets, is a parapet capped by urns. The western elevation is clad with plain brick and contains some window openings. The 13th through 15th stories of Steinway Hall have chamfered corners and Ionic colonnades, with a parapet above the 15th story. The 16th story has brick piers at each corner, shallow arches on each side, band courses at the bottom, and a cornice at the top.


111 West 57th Street, Design, Facade, Tower
The tower's facade was designed by BuroHappold. The portion of the tower's base at ground level, which is not occupied by Steinway Hall, contains doors with aluminum or bronze frames. This section serves as the retail entrance and was included only because zoning rules mandated it. The northern and southern elevations consist of large glass curtain walls. There are bronze mullions between the windows, which project slightly from the glass curtain wall. The top section of the northern elevation, above the highest habitable story, contains reflective glass panels in front of the pinnacle's reinforced concrete walls. There are glass parapets above each setback, and the roof terraces also contain guard rails made of aluminum, bronze, or steel.


111 West 57th Street, Design, Facade, Tower
The eastern and western elevations contain narrow windows between vertical piers of glazed terracotta. Six tones of white were used for the terracotta. The terracotta piers are made of extruded and glazed blocks arranged in a wave-like pattern. The piers are meant to be reminiscent of older terracotta designs in New York City, and the beige color complements the limestone facade of Steinway Hall. Each of the terracotta piers rises to the height of one of the setbacks on the pinnacle. There are also bronze mullions, which contain curving patterns resembling bird feathers, between the piers. The piers and mullions serve partially to stabilize the tower.


111 West 57th Street, Design, Structural features
The existing Steinway Hall contains a structural steel frame atop a foundation with reinforced concrete and steel grillages. The foundations of the tower contain about 200 rock anchors that descend at most 100 feet (30 m) into the underlying bedrock. These deep foundations are necessitated by the tower's extreme slenderness. The building has two cellar levels. Steinway Hall originally had a cellar vault extending under the roadway at 57th Street, which was partially infilled and modified as part of the tower's construction.


111 West 57th Street, Design, Structural features
The superstructure of 111 West 57th Street's tower is made mostly of concrete. The core structural system is formed by two large shear walls installed behind the eastern and western facades, maximizing usable floor area. The two shear walls range in thickness from 30–36 inches (760–910 mm) on the lower stories to 16 inches (410 mm) on the upper stories, and are recessed on upper floors to accommodate corner windows.


111 West 57th Street, Design, Structural features
The tower's floors consist of concrete slabs that could withstand loads of up to 14,000 pounds per square inch (97,000 kPa), and they are reinforced with 5,500,000 square feet (510,000 m2) of rebar and welded plates. The floors are also supported by additional beams at three-story intervals, as well as four outrigger walls on the mechanical floors and 6-foot-wide (1.8 m) beams on the southern side of each floor. Interior walls above the floor slabs also connect the shear walls. The top of the tower includes an 800-short-ton (710-long-ton; 730 t) tuned mass damper to provide stability against high winds or earthquakes.


111 West 57th Street, Design, Interior
111 West 57th Street's interior spaces were designed by Studio Sofield, though the interior of the original Steinway Hall was planned by Walter L. Hopkins. There are 60 apartments in total: 46 in the tower and 14 in Steinway Hall. According to the New York City Department of City Planning, the building has a gross floor area of 572,348 square feet (53,172.9 m2).


111 West 57th Street, Design, Interior
The building has 20,000 square feet (1,900 m2) of amenity space across several floors. Spanning the cellar and floors 1, 3, and 4 is a "non-residential unit", which contains 54,158 square feet (5,031.4 m2) of commercial space. Several stories in the tower and base contain mechanical equipment. Additionally, floors 51, 71, and 86 contain windbreaks and are not occupied. 111 West 57th Street contains fourteen elevators: five in Steinway Hall and nine in the tower. Seven of the tower elevators are within individual suites, while the remaining seven elevators are shared by all residents. Steinway Hall had initially contained six elevators, one of which was upgraded as part of the residential project.


111 West 57th Street, Design, Interior, Ground floor
The original western and eastern entrance vestibules on 57th Street have pink-granite floors and coffered domed ceilings. The eastern vestibule leads to a rectangular foyer with a vaulted ceiling, which in turn connects to the main rotunda and the original floor 2. The western vestibule leads north to a marble corridor that connects to Steinway Hall's original elevator lobby. The original elevator lobby had Botticino marble walls and black-and-white terrazzo flooring. A stone porte-cochère for residents is on 58th Street. There is a passenger and freight elevator connecting the cellar and ground-level loading dock.


111 West 57th Street, Design, Interior, Ground floor
Steinway Hall's octagonal rotunda features a domed ceiling reaching 35 feet (11 m) and measuring 45 feet (14 m) across. The sides of the rotunda consist of four white marble arches, green marble pilasters with coffered pendentives, and a continuous marble cornice just below the dome. A large chandelier hangs from the dome. Four paintings by Paul Arndt, depicting "the influence of music on human relations", are hung on the wall. The paintings are surrounded by grotesques and images painted by Cooper and Gentiluomo. The rotunda's southern wall contains the arched display window facing 57th Street.


111 West 57th Street, Design, Interior, Ground floor
Behind the northern wall are three green-marble archways on floor 1 and a balcony on floor 2. The central arch on the north wall led to piano showrooms in the rear of floor 1, while the right arch led to the basement. The rotunda sat up to 300 guests and a small symphony orchestra. When used by Steinway & Sons, the rotunda contained ornate furniture and paintings evocative of an upper-class home.


111 West 57th Street, Design, Interior, Ground floor
Steinway Hall's showrooms were clustered around a corridor that led from the rotunda. The corridor from the rotunda to these showrooms had dull red and old rose furniture, as well as green wall surfaces. The showrooms were covered with wood panels for better acoustics. The first showroom past the rotunda and foyers was the Pine Room, which had pine-paneled walls, draped windows, illumination from chandeliers and ceiling bulbs, and an ivory-white plaster ceiling in low relief. Dimmers were provided so the light could be intensified for instrument examination.


111 West 57th Street, Design, Interior, Ground floor
Two other showrooms had cream-colored, paneled walls and low-relief ceilings; one of these rooms had decorative paintings and medallions on the ceiling. Another showroom, known as the skylight room, had black-and-white wallpaper decorations depicting scenes in the French Empire style, as well as a skylight over more than half the room. The rear of the ground floor contained the Walnut Room, with walnut-paneled walls, windows facing 58th Street, and a beamed ceiling with pastel-color designs. Antique pieces throughout all the display rooms were arranged to complement the piano displays.


111 West 57th Street, Design, Interior, Ground floor
Following the construction of the residential tower, the rotunda was converted to a retail space with entrances from the residential lobby and the street. The residential lobby contains gold and silver-leaf murals with ebony and elephant motifs, a reference to the materials used in pianos. Also in the lobby is a mailroom, concierge area, shared toilet, and lounge. The elevator lobby contains custom bronze doors by Nancy Lorenz.


111 West 57th Street, Design, Interior, Amenities and Steinway Hall units
Floor 2 contained four display rooms, which generally were larger than the ground-floor showrooms. They generally had cream-colored walls and ceilings and were connected by a corridor with pea-green walls. The floor surfaces were laid in California redwood planks 2 inches (51 mm) thick, which could withstand the weight of the pianos. Floor 3 was initially Steinway Hall's executive offices while floors 4 and 8 (originally the fourth and fifth floors, respectively) were composed of soundproof music studios.


111 West 57th Street, Design, Interior, Amenities and Steinway Hall units
The original musical salon on floor 3 could fit 250 people and was designed with blue-gray plaster walls, a cream-colored low-relief ceiling, a gold-leaf cornice, an oak parquet floor, and a lighting system with a dimmer. Following the residential conversion, floor 8 has contained a residents' rehearsal room and offices; the room's design references the building's historical use. The non-residential areas between the cellar and floor 4 are served by a single elevator.


111 West 57th Street, Design, Interior, Amenities and Steinway Hall units
Floors 10 and 10M constitute the building's common amenity area. There is an 82-by-12-foot (25.0 by 3.7 m) indoor pool with a limestone deck and cabanas, as well as sauna, steam, and treatment rooms adjacent to the pool. Floors 10 and 10M also contain a private dining room, fitness center, and study. The amenity areas on floors 10 and 10M are connected by their own elevator.


111 West 57th Street, Design, Interior, Amenities and Steinway Hall units
The remaining stories of Steinway Hall were originally rented as office space. The floors up to the 15th story (now floor 18) typically measured 11,500 square feet (1,070 m2), with more space facing 58th Street than 57th Street. The 16th story (now floor 19) was much smaller and was intended as a studio apartment. After the residential conversion, the space above the amenity area was converted to 14 units, which range between 2,580 and 5,269 square feet (239.7 and 489.5 m2). They consist of ten 3-bedroom units, three 1-bedroom units, and one studio apartment.


111 West 57th Street, Design, Interior, Amenities and Steinway Hall units
Floor 11 has one 3-bedroom unit as well as the studio and 1-bedroom units, while floors 12, 14, 16, and 17 each have two 3-bedroom units. The largest unit, a three-bedroom duplex penthouse on floors 19 and 20, contains a stone entrance foyer, private terraces, an office, a den, a kitchen, and a living room with 26-foot (7.9 m) ceilings. These units are all connected to ground level and floor 10 by a pair of elevators.


111 West 57th Street, Design, Interior, Tower units
The 46 condominiums in the building's tower range from 3,873 to 7,128 square feet (359.8 to 662.2 m2). The apartments start above the 17th story, numbered as floor 20, because the views of Central Park from the lower floors are obstructed by neighboring buildings. The units are mostly three-bedroom apartments each occupying one full floor, except for seven duplex units on floors 60–61 and 72–83, which each have between two and four bedrooms. Many of the stories are open in plan and have 14-foot (4.3 m) ceilings. As of 2018, prices ranged from $16 million for a studio apartment to over $57 million for the duplex penthouse.


111 West 57th Street, Design, Interior, Tower units
The living-room doors contain bronze doorknobs by P. E. Guerin Hardware, which are shaped like the tower itself. The kitchens typically have quartzite counters as well as built-in appliances such as dishwashers, ovens, refrigerators, and freezers. The units also contain dark wood and onyx floors, an acknowledgment of the design of Steinway Hall. A typical unit, such as the residence on floor 43, has a living room facing north toward Central Park and master and guest bedrooms facing south, as well as walk-in closets and custom bathroom appliances.


111 West 57th Street, Design, Interior, Tower units
Some tower units have been customized, such as a unit on floor 34, designed by Kelly Behun with a musically-influenced theme. A pair of elevators connect each of the tower stories to the ground level and floor 10. One is a double-deck elevator with a service cab on the lower deck, which also descends to the cellar, while the other is a single-deck elevator. In addition, each of the duplex units have private elevators connecting both floors in the unit.


111 West 57th Street, History, Steinway Hall
Since 1864, Steinway & Sons had operated a piano showroom and performance auditorium at 14th Street in Lower Manhattan, where the piano industry was concentrated. When Carnegie Hall opened in 1891, the piano industry moved uptown to 57th Street, prompting Steinway & Sons to look for new sites in that area.


111 West 57th Street, History, Steinway Hall, Construction and opening
By July 1916, the company had identified a site at 109–113 West 57th Street, between Sixth and Seventh Avenues, with a parcel extending back to 58th Street. William K. Benedict and Marvin & Davis designed a 10-story building for the site. Work was delayed because the 1916 Zoning Resolution prohibited non-residential buildings on that section of 58th Street; additionally, neighborhood residents had filed lawsuits against Steinway & Sons, which were settled by July 1920.


111 West 57th Street, History, Steinway Hall, Construction and opening
Steinway & Sons acquired eight lots on 57th and 58th Streets from 1920 to 1924, and Warren and Wetmore designed a 16-story building, for which plans were filed in July 1923. The new Steinway Hall was built from June 1924 to April 1925. Many of the studios had already been rented by late 1924.


111 West 57th Street, History, Steinway Hall, Construction and opening
The hall at 111 West 57th Street officially opened on October 27, 1925, with a performance by Willem Mengelberg and 35 musicians from the New York Philharmonic, broadcast over radio. The building had cost $3 million, representing about a quarter of Steinway & Sons' total assets at the time. Steinway & Sons used the five lowest floors and rented out the upper floors. The basement housed storage, shipping, and a grand-piano testing area; the first story, a reception room and salesroom; the second story, salesrooms; the third floor, executive offices; and the fourth and fifth stories, music studios. Steinway & Sons used only the rear of the fourth story, where it had a large workroom. The "piano bank" in the basement had over 300 pianos, valued at over $15 million.


111 West 57th Street, History, Steinway Hall, Usage
According to a New Yorker article in 2001, "almost every twentieth-century virtuoso has passed through" the first-floor reception room while headed to the Concert and Artists Department in the basement. Among the notable performances at the 57th Street building was the 1928 duo piano recital by Vladimir Horowitz and Sergei Rachmaninoff. The 57th Street building was also intended as a speculative development for Steinway & Sons; it was not particularly successful in that respect, with a rate of return of only 2 percent. Even so, by 1940, all studios in the Steinway Building had been leased. Throughout the years, the building's tenants also included publications such as Musical America, Architectural Forum, and The Economist, as well as CBS broadcasting studios.


111 West 57th Street, History, Steinway Hall, Usage
Steinway Hall received an $850,000 first mortgage from Hubbard, Westervelt & Mottelay Inc. in 1939. The onset of World War II forced the closure of the building's recital hall. In March 1957, the Manhattan Life Insurance Company leased some space on the third floor for its tabulating and accounting departments. Steinway Hall and its land were sold to Manhattan Life the following year, with the insurance company planning to occupy the building as its home office. At that time, Musical Forum, Columbia Artists Management, and the Philharmonic Symphony Society of New York were among Steinway Hall's tenants. 111 West 57th Street was thus renamed the Manhattan Life Insurance Company Building. Steinway & Sons continued to lease space there, including the ground-floor showroom. Steinway Hall was acquired by 111 West 57th Street Associates in 1980. Bernard H. Mendik had acquired the leasehold for $8.65 million in that transaction.


111 West 57th Street, History, Steinway Hall, Usage
In 1990, the Apollo sculpture above the main entrance was restored, and the plaque above the entrance was replaced, after The Economist became a tenant at 111 West 57th Street. In 1997, Jeffrey Biegel performed the first classical music recital transmitted live over the internet, with audio and video, at Steinway Hall. Steinway bought back the building in May 1999 for approximately $62 million; the firm leased the land for 99 years from the building's former owner, who chose to retain ownership of the land. The New York City Landmarks Preservation Commission (LPC) designated Steinway Hall as a New York City landmark in November 2001. Manhattan Life moved out of the building that year, and a XM Satellite Radio studio opened there.


111 West 57th Street, History, Residential tower planning, Early plans
In May 2005, Investcorp and Ceebraid-Signal purchased the one-story Ritz Fur Shop building at 107 West 57th Street, adjacent to Steinway Hall, for $23 million, along with $8.75 million for neighboring air rights. According to The Real Deal, the sale was finalized in 2006 for $52 million. The companies planned a 35-story tower on the site with 37 residential units, three lower floors of office space, and ground floor and basement retail space.


111 West 57th Street, History, Residential tower planning, Early plans
In October 2006, Barry Sternlicht's Starwood Capital Group purchased the site at 105–107 West 57th Street for $52 million with a $30 million loan from Eurohypo. Demolition of the site was underway the same year. Before the financial crisis of 2007–2008, Starwood Capital reportedly planned to construct a new hotel tower for sister company Starwood as part of a new "Hotel Crillon" luxury brand based on Paris's Hôtel de Crillon. In early 2012, Starwood sold a majority interest in the assemblage to JDS Development Group for $40 million and stayed on as a joint venture partner.


111 West 57th Street, History, Residential tower planning, Early plans
That March, the first plans for the site at 105–107 West 57th Street were filed with the New York City Department of Buildings for a 51-story tower rising 671 feet (205 m) and containing 27 condominiums. Renderings of the planned development were revealed that September, showing a sloping tower by CetraRuddy, covered with balconies facing Central Park. At the time, construction was expected to take place from early 2013 to late 2014.


111 West 57th Street, History, Residential tower planning, JDS and PMG control
At the end of 2012, Steinway & Sons announced that it would sell Steinway Hall, adjacent to the planned development at 107 West 57th Street, for $46 million. At the time, Steinway & Sons was losing $5 million a year from continuing to own Steinway Hall. In March 2013, a joint venture of JDS Development, PMG, and Arthur P. Becker officially purchased Steinway Hall.


111 West 57th Street, History, Residential tower planning, JDS and PMG control
Becker allegedly purchased his stake with the help of a $21 million loan from Russian oligarchs Serguei Adoniev and Albert Avdolyan, concealed via numerous offshore LLCs in the British Virgin Islands and Hong Kong orchestrated by British financier Andy Ruhan. JDS paid $131.5 million to Wexford Capital for the land underneath the building, an adjacent structure, and air rights in July 2013. After the purchase, Starwood Capital Group exited their investment, leaving JDS and PMG as the developers.


111 West 57th Street, History, Residential tower planning, JDS and PMG control
While the original assemblage allowed the developers to build a structure up to 697 feet (212 m) tall, the acquisition of Steinway Hall and air rights allowed JDS and PMG to develop a building twice as high. However, because of Steinway Hall's existing city landmark status, the LPC could approve or deny any plans involving modification of Steinway Hall, and any additions would need to be constructed around the existing structure.


111 West 57th Street, History, Residential tower planning, JDS and PMG control
Steinway & Sons was allowed to remain in the building for 18 months after the sale. The developers either bought out the other eleven tenants' leases or waited for the leases to expire. Not long after the developers bought Steinway Hall, they secured a $230 million acquisition loan from Annaly Capital Management on the development site. Stern and Maloney did not yet have the cash to fund the tower's construction. Although Ruhan had promised to be a primary investor, he subsequently lowered his investment and took a 26.3 percent stake with his partner Arthur P. Becker. Accordingly, AmBase Corporation purchased a 59 percent stake in the development for $56 million in June 2013. Stern and Maloney retained the remaining 14.7 percent stake.


111 West 57th Street, History, Residential tower planning, JDS and PMG control
With the acquisition of Steinway Hall, the developers decided to create new plans. The developers considered several architects, including CetraRuddy, Gehry, and HOK, before ultimately hiring SHoP Architects. In an interview, Stern said that he had selected SHoP because the firm was "not afraid to push boundaries", as in its design of the Barclays Center arena. In August 2013, the developers filed permits for a 74-story, 1,200-foot (370 m) tower that would hold 100 condominiums above six floors of retail. SHoP's plans incorporated the existing structure into the base of the new tower.


111 West 57th Street, History, Residential tower planning, JDS and PMG control
Further complicating the planning process, the LPC had considered landmark status for Steinway Hall's rotunda in mid-2013; such a designation would require the developers to preserve the space. JDS and PMG expressed support for the landmark status, and the LPC designated the rotunda as a landmark that September. The same month, the Wall Street Journal unveiled updated renderings for the tower. The new design would stretch 1,350 feet (410 m) tall with 45 full-floor apartments, giving the 60-foot-wide (18 m) tower a slenderness ratio of 1:23. JDS and Property Markets Group presented their plans to the LPC in October 2013, and the commission approved the plans, paving the way for full construction permits.


111 West 57th Street, History, Tower construction
The developers broke ground on the project in early 2014. That July, the developers installed the tallest freestanding crane in New York City history, measuring 220 feet (67 m), to construct the residential tower. In January 2015, the New York City Department of Buildings approved final permits for the project. The new permits called for the tower to rise 80 stories, with a 1,397-foot (426 m) roof and a 24-foot (7.3 m) crown bringing its pinnacle to 1,421 feet (433 m). At the time, the tower was to contain 55 luxury condominiums and would be finished in 2017.


111 West 57th Street, History, Tower construction
Due to technicalities in New York City zoning law, the new tower was classified as an alteration of the existing Steinway Hall, which also had the address 111 West 57th Street. With the tower's construction, that building's floor area would increase 2,850 percent. The tower's proposed height was slightly increased in March 2015 to 1,428 feet (435 m).


111 West 57th Street, History, Tower construction, Financial issues
Meanwhile, construction costs had risen by over $50 million because of complications in working around Steinway Hall. The site had to be excavated manually to avoid disturbing Steinway Hall's tenants; materials had to be staged inside the building; and the crane could not operate if the wind speed was over 35 miles per hour (56 km/h). To cover the extra costs, the developers had issued six capital calls totaling $63.6 million. AmBase participated in only the first four calls, and each time, provided a small portion of the funding that JDS and PMG requested.


111 West 57th Street, History, Tower construction, Financial issues
AmBase's stake was subsequently reduced from 60.3 percent to 43.5 percent, and by May 2015, AmBase was looking to reduce its involvement in 111 West 57th Street. The next month, the developers received a four-year, $725 million construction loan, split between a $400 million senior loan from American International Group and a $325 million mezzanine loan from Apollo Global Management. The Qatar Investment Authority provided $161.5 million of the mezzanine loan through investment vehicles managed by Apollo.


111 West 57th Street, History, Tower construction, Financial issues
In March 2016, Maloney told Bloomberg News that sales at the building would not commence until the following year. This was attributed to a general slowdown in the luxury residential market. By June 2016, the project had risen above street level. The project still encountered financial difficulty and faced a lawsuit from AmBase. In January 2017, the developers had defaulted on the $325 million mezzanine loan from Apollo. However, they negotiated a forbearance agreement on $300 million of the debt and the remaining $25 million was sold to Spruce Capital Management. The developers were in the process of negotiating another $100 million mezzanine loan from Baupost Group to repay Spruce but the loan was vetoed by AmBase. Meanwhile, the landmark facade of Steinway Hall was restored in early 2017.


111 West 57th Street, History, Tower construction, Financial issues
Construction had stalled by July 2017, after the tower had been built to 20 stories. At the time, Spruce claimed that it had not received payment on the $25 million mezzanine loan and filed paperwork to begin the process of foreclosure, leading AmBase to file another lawsuit against Maloney, Stern, and Spruce. The next month, the New York Supreme Court ruled that Spruce Capital could proceed with foreclosure. This allowed the lender to transfer the development entirely to Maloney and Stern, wiping out AmBase's investment completely.


111 West 57th Street, History, Tower construction, Continued construction
By November 2017, the tower had reached a height of roughly 500 feet (150 m), and initial glass facade installation had begun. Despite the building's monetary and legal issues, a number of apartments in the tower had already gone to contract. In March 2018, the tower's height surpassed the halfway point at over 700 feet (210 m). Two months later, Madison Realty Capital provided a $90 million preferred equity investment in the tower, allowing construction to continue. The developers filed paperwork with the Attorney General of New York to raise prices at the project in August 2018. Sales at the project officially relaunched the next month with prices ranging from $18 million to over $57 million. By then, the building was more commonly known by its address than as "Steinway Tower".


111 West 57th Street, History, Tower construction, Continued construction
The building's concrete form topped out during April 2019, and the steel reached the top of the parapet that October. Despite an unfavorable luxury real estate market, the building's 7,175-square-foot (666.6 m2) penthouse entered contract in mid-2019 for "close to" its asking price of $58 million, making it one of the most expensive New York condo sales of 2019. In August 2019, the developers hired Newmark Group to find tenants for the building's 50,000 square feet (4,600 m2) of retail space on the building's first four floors and basement. One month later, JDS asked lenders for a $1.1 billion loan to replace AIG's $725 million in construction debt.


111 West 57th Street, History, Tower construction, Continued construction
During 2020, Steinway Hall's landmarked rotunda was restored by John Canning Studios, which mitigated water damage, repaired the ceiling and entablatures, and cleaned the walls and metalwork. The facade and roof of the hall were also restored. That April, the first sale for a unit in Steinway Hall was finalized. However, construction slowed considerably in early 2020 due to the COVID-19 pandemic in New York City. This caused the project to fall into danger of missing key construction deadlines and a corresponding decline in sales, and thus face the possibility of having to repay outstanding debt. Despite a general decrease in real estate activity due to the pandemic, there were several multi-million-dollar sales at 111 West 57th Street during mid-2020, and a penthouse went into contract for $50 million that December.


111 West 57th Street, History, Tower construction, Continued construction
The facade of the tower was being completed by September 2020. The exterior hoist was being disassembled from the facade by March 2021, as the tower approached completion. In May 2021, Todd Morley said he would construct the world's largest non-fungible token museum at 111 West 57th Street. According to Morley, his blockchain company Overline would use the top of the building as an antenna.


111 West 57th Street, Incidents and controversies, Lawsuits, AmBase lawsuits
AmBase filed a lawsuit in April 2016, alleging that the developers neglected to account for cost overruns reaching $50 million. AmBase sought damages of $105 million in relation to the two capital calls in which they did not participate, claiming that these capital calls served mainly to dilute their stake. AmBase also claimed that Becker and Ruhan did not have their 26 percent stake diluted despite not participating in the capital calls.


111 West 57th Street, Incidents and controversies, Lawsuits, AmBase lawsuits
Since construction costs had allegedly risen by more than 10 percent, AmBase claimed their contract entitled them to full repayment of their $66 million investment along with 20 percent interest. JDS and PMG countersued in January 2017, alleging that since there had never been an officially approved budget, there was no measure by which to determine cost overruns.


111 West 57th Street, Incidents and controversies, Lawsuits, AmBase lawsuits
AmBase filed another lawsuit in mid-2017, claiming that Maloney and Stern were colluding with the lender to allow a foreclosure which would wipe out AmBase's $66 million equity investment while preserving Maloney and Stern's $35 million stake. The New York Supreme Court's trial division ruled in August 2017 that Maloney and Stern would receive full control of the project. AmBase lost its appeal to the Appellate Division in January 2018.


111 West 57th Street, Incidents and controversies, Lawsuits, AmBase lawsuits
AmBase refiled the second lawsuit in federal court in early 2018, claiming that Maloney and Stern's alleged collusion with Spruce violated the Racketeer Influenced and Corrupt Organizations Act and seeking a $136 million judgment. At the time, AmBase and founder Richard Bianco faced their own lawsuit from hedge fund IsZo Capital, which claimed the company had purposefully forced the 2017 foreclosure by denying the Baupost Group loan, for Bianco's own benefit. In October 2018, AmBase's federal lawsuit was dismissed after the court found no evidence of collusion between Maloney, Stern, and Spruce.


111 West 57th Street, Incidents and controversies, Lawsuits, AmBase lawsuits
After the dismissal of their three previous lawsuits, AmBase again sued Spruce Capital, Maloney, and Stern in May 2019, restating previous allegations of collusion and seeking additional damages for the developers' alleged breach of their fiduciary duties. AmBase then appealed to the United States Court of Appeals for the Second Circuit, which declined the appeal in September 2019.


111 West 57th Street, Incidents and controversies, Lawsuits, Other lawsuits
In June 2018, Barbara Corcoran sued the building's developers for $30 million, claiming that her brokerage company's contract to market the building's units had been unfairly terminated. The developers claimed that the brokerage had been replaced with Douglas Elliman after failing to sell 25 percent of the building's units by the middle of 2018 as required by their contract. However, Corcoran claimed that due to the numerous lawsuits, delays, and cost overruns, the developers had halted marketing and sales for the units which made it impossible for the brokerage to reach their sales hurdles. Corcoran also sued Douglas Elliman for tortious interference, claiming the company had hired away the building's sales director in violation of her non-compete clause.


111 West 57th Street, Incidents and controversies, Lawsuits, Other lawsuits
In December 2020, JDS sued HVAC contractor Copper II and the contractor's insurer Talisman Casualty for over $11.7 million. In its lawsuit, the developers claimed that Copper II had delayed its installation of the HVAC system, leading them to warn the contractor in November 2018. JDS also claimed that that, due to improper installation of the HVAC system, ten stories sustained water damage during July 2019. In August 2021, JDS sued crane contractor US Crane & Rigging and one of its subsidiaries for $50 million, claiming that the contractor's negligence had caused glass panels on the facade to break the previous October (see § Incidents).


111 West 57th Street, Incidents and controversies, Labor controversies
The developers intended for the tower to become New York City's tallest building that was constructed with non-union labor. Non -unionized workers could be paid at cheaper rates and did not have to be paid double overtime, hourly pension fees, and benefit fees. The decision was condemned by the Building and Construction Trades Council of Greater New York's leader Gary LaBarbera, who in May 2015 criticized the developers for not using union labor or giving the workers adequate safety training.


111 West 57th Street, Incidents and controversies, Labor controversies
The union detailed multiple incidents that had occurred at the site including "a worker falling from scaffold that lacked a railing, one worker who fell in a partial building collapse and another who had his leg crushed when a steel beam slipped." Manhattan Borough President Gale Brewer sided with LaBarbera, sending Stern a letter expressing concern over the workers' safety, training, and pay. New York City Public Advocate Letitia James echoed Brewer's concerns and agreed that the usage of non-union labor could lead to increased danger for workers.


111 West 57th Street, Incidents and controversies, Labor controversies
Cyrus Vance Jr., the New York County District Attorney indicted subcontractor Parkside Construction in May 2018 for several financial crimes. The indictment included charges of stealing $1.7 million from 520 workers on the project by purposely shorting their hours and failing to pay them overtime, hiding nearly $42 million in wages from state insurance officials to avoid paying workers’ compensation premiums, and using undocumented immigrants from Mexico and Ecuador. The company's owners, Francesco and Salvatore Pugliese, were arrested and charged with grand larceny, insurance fraud and scheme to defraud. The company's construction foreman, its payroll manager, and an outside accountant were also charged in the scheme. Parkside had previously been sued in 2015 in a class-action lawsuit by former workers on the site, who had alleged widespread wage theft.


111 West 57th Street, Incidents and controversies, Incidents
The media has reported on several accidents during  111 West 57th Street's construction. On January 21, 2019, a suspended scaffold attached to the building broke free from the exterior of floor 55 and showered pieces of broken glass from cracked windows over nearby sidewalks due to high winds. The New York City Buildings Department initiated a partial stop work order, and issued the site a violation for failure to safeguard construction equipment. A year later, in January 2020, a terracotta block fell from the tower, denting the roof of a passing taxi.


111 West 57th Street, Incidents and controversies, Incidents
Another high wind on October 29, 2020, knocked the tower's construction crane loose, causing debris to fall. While the crane was quickly secured and no one was injured, the surrounding neighborhood was closed off for several hours. Two weeks later, on November 15, a glass curtain wall fell fifty-six floors into a nearby street. On December 24, 2020, an 11-by-2-foot (3.35 m × 0.61 m) pane of glass fell from the 58th Street side of the building, although nobody was hurt.


111 West 57th Street, Critical reception
Writing for Vanity Fair, architectural critic Paul Goldberger referred to the plans for the tower as "quite possibly the most elegant" of Billionaires' Row's structures. Goldberger described it as "a subtle and graceful re-interpretation in modern form of the stepped-back, "wedding cake" towers of New York's past". C. J. Hughes of The New York Times said that the tower rejected "the crystalline look so popular with new developments in the neighborhood". Architectural critic Carter Horsley wrote that the tower was "a very original design by SHoP" and that it "definitely has a feminine character" with its crown resembling a tiara.


111 West 57th Street, Critical reception
Justin Davidson of New York magazine wrote: "No tower will be the last, biggest, or tallest for long, but this one might be the best." A writer for The Wall Street Journal in 2021 said of the building's slenderness ratio: "These are not the proportions of a classical column but of a coffee stirrer."


111 West 57th Street, Critical reception
The construction of 111 West 57th Street also garnered some criticism. In 2015, when the tower was still in development, a neighborhood group protested the fact that the Steinway Tower and other Billionaires' Row towers would cast long shadows over Central Park. When the building was nearly completed, in 2019, a writer for Business Insider visited one of the condominium units, saying: "I can't say that my tour of its first condo felt too different from another Billionaires' Row apartment I've visited."


111/112 Avenue, Edmonton
Mayfield Road, 111 Avenue (Norwood Boulevard), and 112 Avenue is a major arterial road in north Edmonton, Alberta. It serves Edmonton's Northwest Industrial District, the former Town of Jasper Place (amalgamated with Edmonton in 1964), the inner city north Downtown Edmonton, and post-World War II Edmonton. Prior to the opening of Yellowhead Trail in the early 1980s, Highway 16 followed Mayfield Road and 111 Avenue between Stony Plain Road and 109 Street.


111/112 Avenue, Edmonton, Overview, Mayfield Road
The roadway begins as "Mayfield Road" and runs northeast from 170 Street, north of Stony Plain Road, and travels north-east for approximately 1.9 km (1.2 mi) before it turns east and continues as 111 Avenue. Originally there was an interchange at the intersection of Mayfield Road, Stony Plain Road, and 170 Street where through traffic travelled from Highway 16 west (presently part of Stony Plain Road) to Mayfield Road. The interchange was removed in the mid-1980s as part of a larger project that included converting Stony Plain Road and 100 Avenue to one-way streets and accommodating increased traffic on 170 Street.


111/112 Avenue, Edmonton, Overview, 111 Avenue
At 163 Street, Mayfield Road turns east and becomes the main segment of 111 Avenue; it forms the boundary between the residential areas of the former town of Jasper Place and Northwest Industrial District. At 142 Street, 111 Avenue passes through the Edmonton's Central core residential neighbourhoods, passing a number of landmarks including the Telus World of Science, Westmount Centre, Kingsway Mall, Royal Alexandra Hospital, and Glenrose Rehabilitation Hospital. The portion between 101 Street and 90 Street has the name "Norwood Boulevard" in addition to 111 Avenue, this name has remained since the City of Edmonton decided to number its streets, but keep a select few names.


111/112 Avenue, Edmonton, Overview, 111 Avenue
111 Avenue also has a western segment which continues west of Mayfield Road. It is a collector road which originates at Anthony Henday Drive, passes through the northwestern industrial areas, and ends at 163 Street just north its intersection with 111 Avenue / Mayfield Road.


111/112 Avenue, Edmonton, Overview, 112 Avenue
At 90 Street the roadway becomes 112 Avenue and passes Commonwealth Stadium. To the east, it enters post-World War II neighbourhoods that are aligned with the North Saskatchewan River and at 76 Street, just west of Wayne Gretzky Drive, it begins run northeast. 112 Avenue ends at 50 Street between 114 Avenue and 115 Avenue, three blocks south of 118 Avenue. The misalignment of cross-streets along 50 Street is due to the street layout of the former town of Beverly.


111/112 Avenue, Edmonton, Redevelopment
On February 25, 2013 City Council passed a motion and will start evaluating option 2 for 111 Avenue redevelopment with a target area between 82 Street and 101 Street


111/112 Avenue, Edmonton, Redevelopment
Option 2: Improve Physical Infrastructure along Norwood Boulevard. Coordinate a streetscape plan that incorporateslandscape infrastructure conducive to enhancing connectivity to surrounding initiatives and projects. This could include intersection modifications and associated landscape improvements on 96 Street and 95 Street linking to neighbourhood revitalization projects, business revitalization zones and others. Adapt existing eligibility requirements for the Façade Improvement Program and the Development Incentive Program to enable property owners along Norwood Boulevard to access funding. Currently, Façade Improvement Program funding is limited to projects within existing Business Revitalization Zoneboundaries. A capital program and cost estimate for streetscape improvements would need to be developed. Physical infrastructure improvements are generally seen as a mechanism for encouraging business development in a given area.


111/112 Avenue, Edmonton, Neighbourhoods
List of neighbourhoods Mayfield Road, 111 Avenue, and 112 Avenue runs through, in order from west to east.


1110
Year 1110 (MCX) was a common year starting on Saturday (link will display the full calendar) of the Julian calendar.


1110 AM
The following radio stations broadcast on AM frequency 1110 kHz: 1110 AM is a U.S. clear-channel frequency as defined by the Federal Communications Commission. KFAB Omaha and WBT Charlotte share Class A status on this frequency.


1110 Jaroslawa
1110 Jaroslawa (prov. designation: 1928 PD) is a bright background asteroid and rather slow rotator from the inner regions of the asteroid belt. The stony S-type asteroid has a rotation period of 97.4 hours and measures approximately 13 kilometers (8 miles) in diameter. It was discovered at the Simeiz Observatory on the Crimean peninsula on 10 August 1928, by astronomer Soviet Grigory Neujmin, who named it after his son, Jaroslav Grigorevich Neujmin (born 1928).


1110 Jaroslawa, Orbit and classification
Jaroslawa is a non-family asteroid from the main belt's background population. It orbits the Sun in the inner main-belt at a distance of 1.7–2.8 AU once every 3 years and 4 months (1,207 days; semi-major axis of 2.22 AU). Its orbit has an eccentricity of 0.24 and an inclination of 6° with respect to the ecliptic.


1110 Jaroslawa, Orbit and classification
The asteroid was first observed as A917 FA at Heidelberg Observatory in March 1917. The body's observation arc begins with its official discovery observation at Simeiz in August 1928.