prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: The large subunit and small subunit that use two types of RNA are major components that make up what?

The following are given passages.
Context 1: Passage 1:
Short interspersed nuclear elements (SINEs)
Short interspersed nuclear elements (SINEs) are non-autonomous, non-coding transposable elements (TEs) that are about 100 to 700 base pairs in length  They are a class of retrotransposons, DNA elements that amplify themselves throughout eukaryotic genomes, often through RNA intermediates  SINEs compose about 13% of the mammalian genome The internal regions of SINEs originate from tRNA and remain highly conserved, suggesting positive pressure to preserve structure and function of SINEs   While SINEs are present in many species of vertebrates and invertebrates, SINEs are often lineage specific, making them useful markers of divergent evolution between species  Copy number variation and mutations in the SINE sequence make it possible to construct phylogenies based on differences in SINEs between species  SINEs are also implicated in certain types of genetic disease in humans and other eukaryotes 
In essence, short interspersed nuclear elements are genetic parasites which have evolved very early in the history of eukaryotes to utilize protein machinery within the organism as well as to co-opt the machinery from similarly parasitic genomic elements  The simplicity of these elements make them remarkably successful at persisting and amplifying (through retrotransposition)  within the genomes of eukaryotes  These "parasites" which have become ubiquitous in genomes can be very deleterious to organisms as discussed below  However, eukaryotes have been able to integrate short-interspersed nuclear elements into different signaling, metabolic and regulatory pathways and SINEs have become a great source of genetic variability  They seem to play a particularly important role in the regulation of gene expression and the creation of RNA genes  This regulation extends to chromatin re-organization and the regulation of genomic architecture  The different lineages, mutations, and activities among eukaryotes make short-interspersed nuclear elements a useful tool in phylogenetic analysis 

Classification and structure
SINEs are classified as non-LTR retrotransposons because they do not contain long terminal repeats (LTRs)  There are three types of SINEs common to vertebrates and invertebrates: CORE-SINEs, V-SINEs, and AmnSINEs  SINEs have 50-500 base pair internal regions which contain a tRNA-derived segment with A and B boxes that serve as an internal promoter for RNA polymerase III 

Internal structure
SINEs are characterized by their different modules, which are essentially a sectioning of their sequence  SINEs can, but do not necessarily have to possess a head, a body, and a tail  The head, is at the 5' end of short-interspersed nuclear elements and is an evolutionarily derived from an RNA synthesized by RNA Polymerase III such as ribosomal RNAs and tRNAs; the 5' head is indicative of which endogenous element that SINE was derived from and was able to parasitically utilize its transcriptional machinery  For example, the 5' of the Alu sine is derived from 7SL RNA, a sequence transcribed by RNA Polymerase III which codes for the RNA element of SRP, an abundant ribonucleoprotein  The body of SINEs possess an unknown origin but often share much homology with a corresponding LINE which thus allows SINEs to parasitically co-opt endonucleases coded by LINEs (which recognize certain sequence motifs)  Lastly, the 3′ tail of SINEs is composed of short simple repeats of varying lengths; these simple repeats are sites where two (or more) short-interspersed nuclear elements can combine to form a dimeric SINE  Short-interspersed nuclear elements which only possess a head and tail are called simple SINEs whereas short-interspersed nuclear elements which also possess a body or are a combination of two or more SINEs are complex SINEs 

Transcription
Short-interspersed nuclear elements are transcribed by RNA polymerase III which is known to transcribe ribosomal RNA and tRNA, two types of RNA vital to ribosomal assembly and mRNA translation  SINEs, like tRNAs and many small-nuclear RNAs possess an internal promoter and thus are transcribed differently than most protein-coding genes   In other words, short-interspersed nuclear elements have their key promoter elements within the transcribed region itself  Though transcribed by RNA polymerase III, SINEs and other genes possessing internal promoters, recruit different transcriptional machinery and factors than genes possessing upstream promoters 

Effects on gene expression
Changes in chromosome structure influence gene expression primarily by affecting the accessibility of genes to transcriptional machinery  The chromosome has a very complex and hierarchical system of organizing the genome  This system of organization, which includes histones, methyl groups, acetyl groups, and a variety of proteins and RNAs allows different domains within a chromosome to be accessible to polymerases, transcription factors, and other associated proteins to different degrees   Furthermore, the shape and density of certain areas of a chromosome can affect the shape and density of neighboring (or even distant regions) on the chromosome through interaction facilitated by different proteins and elements  Non-coding RNAs  such as short-interspersed nuclear elements, which have been known to associate with and contribute to chromatin structure, can thus play huge role in regulating gene expression   Short-interspersed-nuclear-elements similarly can be involved in gene regulation by modifying genomic architecture 
In fact Usmanova et al  2008 suggested that short-interspersed nuclear elements can serve as direct signals in chromatin rearrangement and structure   The paper examined the global distribution of SINEs in mouse and human chromosomes and determined that this distribution was very similar to genomic distributions of genes and CpG motifs  The distribution of SINEs to genes was significantly more similar than that of other non-coding genetic elements and even differed significantly from the distribution of long-interspersed nuclear elements  This suggested that the SINE distribution was not a mere accident caused by LINE-mediated retrotransposition but rather that SINEs possessed a role in gene-regulation  Furthermore, SINEs frequently contain motifs for YY1 polycomb proteins  YY1 is a zinc-finger protein that acts as a transcriptional repressor for a wide-variety of genes essential for development and signaling   Polycomb protein YY1 is believed to mediate the activity of histone deacetylases and histone acetyltransferases to facilitate chromatin re-organization; this is often to facilitate the formation of heterochromatin (gene-silencing state)  Thus, the analysis suggests that short-interspersed nuclear elements can function as a ‘signal-booster' in the polycomb-dependent silencing of gene-sets through chromatin re-organization   In essence, it is the cumulative effect of many types of interactions that leads to the difference between euchromatin, which is not tightly packed and generally more accessible to transcriptional machinery, and heterochromatin, which is tightly packed and generally not accessible to transcriptional machinery; SINEs seem to play an evolutionary role in this process 
In addition to directly affecting chromatin structure, there are a number of ways in which SINEs can potentially regulate gene expression  For example, long non-coding RNA can directly interact with transcriptional repressors and activators, attenuating or modifying their function   This type of regulation can occur in different ways: the RNA transcript can directly bind to the transcription factor as a co-regulator; also, the RNA can regulate and modify the ability of co-regulators to associate with the transcription factor   For example, Evf-2, a certain long non-coding RNA, has been known to function as a co-activator for certain homeobox transcription factors which are critical to nervous system development and organization  Furthermore, RNA transcripts can interfere with the functionality of the transcriptional complex by interacting or associating with RNA polymerases during the transcription or loading processes  Moreover, non-coding RNAs like SINEs can bind or interact directly with the DNA duplex coding the gene and thus prevent its transcription Also, many non-coding RNAs are distributed near protein-coding genes, often in the reverse direction  This is especially true for short-interspersed nuclear elements as seen in Usmanova et al  These non-coding RNAs, which lie adjacent to or overlap gene-sets provide a mechanism by which transcription factors and machinery can be recruited to increase or repress the transcription of local genes  The particular example of SINEs potentially recruiting the YY1 polycomb transcriptional repressor is discussed above   Alternatively, it also provides a mechanism by which local gene expression can be curtailed and regulated because the transcriptional complexes can hinder or prevent nearby genes from being transcribed  There is research to suggest that this phenomenon is particularly seen in the gene-regulation of pluripotent cells In conclusion, non-coding RNAs such as SINEs are capable of affecting gene expression on a multitude of different levels and in different ways  Short-interspersed nuclear elements are believed to be deeply integrated into a complex regulatory network capable of fine-tuning gene expression across the eukaryotic genome 

Propagation and regulation
The RNA coded by the short-interspersed nuclear element does not code for any protein product but is nonetheless reverse-transcribed and inserted back into an alternate region in the genome  For this reason, short interspersed nuclear elements are believed to have co-evolved with long interspersed nuclear element (LINEs), as LINEs do in fact encode protein products which enable them to be reverse- transcribed and integrated back into the genome   SINEs are  believed to have co-opted the proteins coded by LINEs which are contained in 2 reading frames  Open reading frame 1 (ORF 1)  encodes a protein which binds to RNA and acts as a chaperone to facilitate and maintain the LINE protein-RNA complex structure  Open reading frame 2 (ORF 2) codes a protein which possesses both endonuclease and reverse transcriptase activities  This enables the LINE mRNA to be reverse-transcribed into DNA and integrated into the genome based on the sequence-motifs recognized by the protein's endonuclease domain 
LINE-1 (L1) is transcribed and retrotransposed most frequently in the germ-line and during early development; as a result SINEs move around the genome most during these periods  SINE transcription is down-regulated by transcription factors in somatic cells after early development, though stress can cause up-regulation of normally silent SINEs  SINEs can be transferred between individuals or species via horizontal transfer through a viral vector SINEs are known to share sequence homology with LINES which gives a basis by which the LINE machinery can reverse transcribe and integrate SINE transcripts  Alternately, some SINEs are believed to use a much more complex system of integrating back into the genome; this system involves the use random double-stranded DNA breaks (rather than the endonuclease coded by related long-interspersed nuclear elements creating an insertion-site)  These DNA breaks are utilized to prime reverse transcriptase, ultimately integrating the SINE transcript back into the genome  SINEs nonetheless depend on enzymes coded by other DNA elements and are thus known as non-autonomous retrotransposons as they depend on the machinery of LINEs, which are known as autonomous retrotransposons <The theory that short-interspersed nuclear elements have evolved to utilize the retrotransposon machinery of long-interspersed nuclear elements is supported by studies which examine the presence and distribution of LINEs and SINEs in taxa of different species  For example, LINEs and SINEs in rodents and primates show very strong homology at the insertion-site motif  Such evidence is a basis for the proposed mechanism in which integration of the SINE transcript can be co-opted with LINE-coded protein products  This is specifically demonstrated by a detailed analysis of over 20 rodent species profiled LINEs and SINEs, mainly L1s and B1s respectively; these are families of LINEs and SINEs found at high frequencies in rodents along with other mammals  The study sought to provide phylogenetic clarity within the context of LINE and SINE activity 
The study arrived at a candidate taxa believed to be the first instance of L1 LINE extinction; it expectedly discovered that there was no evidence to suggest that B1 SINE activity occurred in species which did not have L1 LINE activity  Also, the study suggested that B1 short-interspersed nuclear element silencing in fact occurred before L1 long-interspersed nuclear element extinction; this is due to the fact that B1 SINEs are silenced in the genus most-closely related to the genus which does not contain active L1 LINEs (though the genus with B1 SINE silencing still contains active L1 LINEs)   Another genus was also found which similarly contained active L1 long-interspersed nuclear elements but did not contain B1 short-interspersed nuclear elements; the opposite scenario, in which active B1 SINEs were present in a genus which did not possess active L1 LINEs was not found  This result was expected and strongly supports the theory that SINEs have evolved to co-opt the RNA-binding proteins, endonucleases, and reverse-transcriptases coded by LINEs  In taxa which do not actively transcribe and translate long-interspersed nuclear elements protein-products, SINEs do not have the theoretical foundation by which to retrotranspose within the genome  The results obtained in Rinehart et al  are thus very supportive of the current model of SINE retrotransposition 

Effects of SINE transposition
Insertion of a SINE upstream of a coding region may result in exon shuffling or changes to the regulatory region of the gene  Insertion of a SINE into the coding sequence of a gene can have deleterious effects and unregulated transposition can cause genetic disease  The transposition and recombination of SINEs and other active nuclear elements is thought to be one of the major contributions of genetic diversity between lineages during speciation 

Common SINEs
Short-interspersed nuclear elements are believed to have parasitic origins in eukaryotic genomes  These SINEs have mutated and replicated themselves a large number of times on an evolutionary time-scale and thus form many different lineages  Their early evolutionary origin has caused them to be ubiquitous in many eukaryotic lineages 
Alu elements, short-interspersed nuclear element of about 300 nucleotides, are the most common SINE in humans, with >1,000,000 copies throughout the genome, which is over 10 percent of the total genome; this is not uncommon among other species  Alu element copy number differences can be used to distinguish between and construct phylogenies of primate species  Canines differ primarily in their abundance of SINEC_Cf repeats throughout the genome, rather than other gene or allele level mutations  These dog-specific SINEs may code for a splice acceptor site, altering the sequences that appear as exons or introns in each species Apart from mammals, SINEs can reach high copy numbers in a range of species, including nonbony vertebrates (elephant shark) and some fish species (coelacanths)  In plants, SINEs are often restricted to closely related species and have emerged, decayed, and vanished frequently during evolution  Nevertheless, some SINE families such as the Au-SINEs and the Angio-SINEs are unusually widespread across many often unrelated plant species 

Diseases
There are >50 human diseases associated with SINEs  When inserted near or within the exon, SINEs can cause improper splicing, become coding regions, or change the reading frame, often leading to disease phenotypes in humans and other animals  Insertion of Alu elements in the human genome is associated with breast cancer, colon cancer, leukemia, hemophilia, Dent's disease, cystic fibrosis, neurofibromatosis, and many others 

microRNAs
The role of short-interspersed nuclear elements in gene regulation within cells has been supported by multiple studies  One such study examined the correlation between a certain family of SINEs with microRNAs (in zebrafish)  The specific family of SINEs being examined was the Anamnia V-SINEs; this family of short interspersed nuclear elements is often found in the untranslated region of the 3' end of many genes and is present in vertebrate genomes   The study involved a computational analysis in which the genomic distribution and activity of the Anamnia V-SINEs in Danio rerio zebrafish was examined; furthermore, these V-SINEs potential to generate novel microRNA loci was analyzed   It was found that genes which were predicted to possess V-SINEs were targeted by microRNAs with significantly higher hybridization E-values (relative to other areas in the genome)   The genes that had high hybridization E-values were genes particularly involved in metabolic and signaling pathways  Almost all miRNAs identified to have a strong ability to hybridize to putative V-SINE sequence motifs in genes have been identified (in mammals) to have regulatory roles  These results which establish a correlation between short-interspersed nuclear elements and different regulatory microRNAs strongly suggest that V-SINEs have a significant role in attenuating responses to different signals and stimuli related to metabolism, proliferation and differentiation  Many other studies must be undertaken to establish the validity and extent of short-interspersed nuclear element retrotransposons' role in regulatory gene-expression networks  In conclusion, though not much is known about the role and mechanism by which SINEs generate miRNA gene loci  it is generally understood that SINEs have played a significant evolutionary role in the creation of "RNA-genes", this is also touched upon above in SINEs and pseudogenes 
With such evidence suggesting that short-interspersed nuclear elements have been evolutionary sources for microRNA loci generation it is important to further discuss the potential relationships between the two as well as the mechanism by which the microRNA regulates RNA degradation and more broadly, gene expression   A microRNA is a non-coding RNA generally 22 nucleotides in length  This non-protein coding oligonucleotide is itself coded by longer nuclear DNA sequence usually transcribed by RNA polymerase II which is also responsible for the transcription of most mRNAs and snRNAs in eukaryotes   However, some research suggests that some microRNAs that possess upstream short-interspersed nuclear elements are transcribed by RNA polymerase III which is widely implicated in ribosomal RNA and tRNA, two transcripts vital to mRNA translation   This provides an alternate mechanism by which short-interspersed nuclear elements could be interacting with or mediating gene-regulatory networks involving microRNAs 
The regions coding miRNA can be independent RNA-genes often being anti-sense to neighboring protein-coding genes, or can be found within the introns of protein-coding genes  The co-localization of microRNA and protein-coding genes provides a mechanistic foundation by which microRNA regulates gene-expression  Furthermore, Scarpato et al   reveals (as discussed above) that genes predicted to possess short-interspersed nuclear elements (SINEs) through sequence analysis were targeted and hybridized by microRNAs significantly greater than other genes  This provides an evolutionarily path by which the parasitic SINEs were co-opted and utilized to form RNA-genes (such as microRNAs) which have evolved to play a role in complex gene-regulatory networks 
The microRNAs are transcribed as part of longer RNA strands of generally about 80 nucleotides which through complementary base-pairing are able to form hairpin loop structures These structures are recognized and processed in the nucleus by the nuclear protein DiGeorge Syndrome Critical Region 8 (DGCR8) which recruits and associates with the Drosha protein   This complex is responsible for cleaving some of the hair-pin structures from the pre-microRNA which is transported to the cytoplasm  The pre-miRNA is processed by the protein DICER into a double stranded 22 nucleotide   Thereafter, one of the strands is incorporated into a multi-protein RNA-induced silencing complex (RISC)  Among these proteins are proteins from the Argonaute family which are critical to the complex's ability to interact with and repress the translation of the target mRNA Understanding the different ways in which microRNA regulates gene-expression, including mRNA-translation and degradation is key to understanding the potential evolutionary role of SINEs in gene-regulation and in the generation of microRNA loci  This, in addition to SINEs' direct role in regulatory networks (as discussed in SINEs as long non-coding RNAs) is crucial to beginning to understand the relationship between SINEs and certain diseases  Multiple studies have suggested that increased SINE activity is correlated with certain gene-expression profiles and post-transcription regulation of certain genes   In fact, Peterson et al  2013 demonstrated that high SINE RNA expression correlates with post-transcriptional downregulation of BRCA1, a tumor suppressor implicated in multiple forms of cancer, namely breast cancer  Furthermore, studies have established a strong correlation between transcriptional mobilization of SINEs and certain cancers and conditions such as hypoxia; this can be due to the genomic instability caused by SINE activity as well as more direct-downstream effects   SINEs have also been implicated in countless other diseases  In essence, short-interspersed nuclear elements have become deeply integrated in countless regulatory, metabolic and signaling pathways and thus play an inevitable role in causing disease  Much is still to be known about these genomic parasites but it is clear they play a significant role within eukaryotic organisms 

SINEs and pseudogenes
The activity of SINEs however has genetic vestiges which do not seem to play a significant role, positive or negative, and manifest themselves in the genome as pseudogenes   SINEs however should not be mistaken as RNA pseudogenes  In general, pseudogenes are generated when processed mRNAs of protein-coding genes are reverse-transcribed and incorporated back into the genome (RNA pseudogenes are reverse transcribed RNA genes)  Pseudogenes are generally functionless as they descend from processed RNAs independent of their evolutionary-context which includes introns and different regulatory elements which enable transcription and processing  These pseudogenes, though non-functional may in some cases still possess promoters, CpG islands, and other features which enable transcription; they thus can still be transcribed and may possess a role in the regulation of gene expression (like SINEs and other non-coding elements)   Pseudogenes thus differ from SINEs in that they are derived from transcribed- functional RNA whereas SINEs are DNA elements which retrotranspose by co-opting RNA genes transcriptional machinery  However, there are studies which suggest  that retro-transposable elements such as short-interspersed nuclear elements are not only capable of copying themselves in alternate regions in the genome but are also able to do so for random genes too   Thus SINEs can be playing a vital role in the generation of pseudogenes, which themselves are known to be involved in regulatory networks  This is perhaps another means by which SINEs have been able to influence and contribute to gene-regulation 
Passage 2:
Exonuclease VII
The enzyme exodeoxyribonuclease VII (EC 3 1 11 6, Escherichia coli exonuclease VII, E  coli exonuclease VII, endodeoxyribonuclease VII, exodeoxyribonuclease VII) is a bacterial exonuclease enzyme  It is composed of two nonidentical subunits; one large subunit and 4 small ones  that catalyses exonucleolytic cleavage in either 5′- to 3′- or 3′- to 5′-direction to yield nucleoside 5′-phosphates  The large subunit also contains an N-terminal OB-fold domain that binds to nucleic acids 
Passage 3:
Ribosomal protein
A ribosomal protein (r-protein or rProtein) is any of the proteins that, in conjunction with rRNA, make up the ribosomal subunits involved in the cellular process of translation  E  coli, other bacteria and Archaea have a 30S small subunit and a 50S large subunit, whereas humans and yeasts have a 40S small subunit and a 60S large subunit  Equivalent subunits are frequently numbered differently between bacteria, Archaea, yeasts and humans A large part of the knowledge about these organic molecules has come from the study of E  coli ribosomes  All ribosomal proteins have been isolated and many specific antibodies have been produced  These, together with electronic microscopy and the use of certain reactives, have allowed for the determination of the topography of the proteins in the ribosome   More recently, a near-complete (near)atomic picture of the ribosomal proteins is emerging from the latest high-resolution cryo-EM data (including PDB: 5AFI​) 

Conservation
Ribosomal proteins are among the most highly conserved proteins across all life forms  Among the 40 proteins found in various small ribosomal subunits (RPSs), 15 subunits are universally conserved across prokaryotes and eukaryotes  However, 7 subunits are only found in bacteria (bS21, bS6, bS16, bS18, bS20, bS21, and bTHX), while 17 subunits are only found in archaea and eukaryotes  Typically 22 proteins are found in bacterial small subunits and 32 in yeast, human and most likely most other eukaryotic species  Twenty-seven (out of 32) proteins of the eukaryotic small ribosomal subunit proteins are also present in archaea (no ribosomal protein is exclusively found in archaea), confirming that they are more closely related to eukaryotes than to bacteria Among the large ribosomal subunit (RPLs), 18 proteins are universal, i e  found in both bacteria, eukaryotes, and archaea  14 proteins are only found in bacteria, while 27 proteins are only found in archaea and eukaryotes  Again, archaea have no proteins unique to them 

Essentiality
Despite their high conservation over billions of years of evolution, the absence of several ribosomal proteins in certain species shows that ribosomal subunits have been added and lost over the course of evolution  This is also reflected by the fact that several ribosomal proteins do not appear to be essential when deleted  For instance, in E  coli nine ribosomal proteins (uL15, bL21, uL24, bL27, uL29, uL30, bL34, uS9, and uS17) are nonessential for survival when deleted  Taken together with previous results, 22 of the 54 E  coli ribosomal protein genes can be individually deleted from the genome  Similarly, 16 ribosomal proteins (uL1, bL9, uL15, uL22, uL23, bL28, uL29, bL32, bL33 1, bL33 2, bL34, bL35, bL36, bS6, bS20, and bS21) were successfully deleted in Bacillus subtilis  In conjunction with previous reports, 22 ribosomal proteins have been shown to be nonessential in B  subtilis, at least for cell proliferation 

Assembly
In E  coli
The ribosome of E  coli has about 22 proteins in the small subunit (labelled S1 to S22) and 33 proteins in the large subunit (somewhat counter-intuitively called L1 to L36)  All of them are different with three exceptions: one protein is found in both subunits (S20 and L26), L7 and L12 are acetylated and methylated forms of the same protein, and L8 is a complex of L7/L12 and L10  In addition, L31 is known to exist in two forms, the full length at 7 9 kilodaltons (kDa) and fragmented at 7 0 kDa  This is why the number of proteins in a ribosome is of 56  Except for S1 (with a molecular weight of 61 2 kDa), the other proteins range in weight between 4 4 and 29 7 kDa Recent de novo proteomics experiments where the authors characterized in vivo ribosome-assembly intermediates and associated assembly factors from wild-type Escherichia coli cells using a general quantitative mass spectrometry (qMS) approach have confirmed the presence of all the known small and large subunit components and have identified a total of 21 known and potentially new ribosome-assembly-factors that co-localise with various ribosomal particles 

Disposition in the small ribosomal subunit
In the small (30S) subunit of E  coli ribosomes, the proteins denoted uS4, uS7, uS8, uS15, uS17, bS20 bind independently to 16S rRNA  After assembly of these primary binding proteins, uS5, bS6, uS9, uS12, uS13, bS16, bS18, and uS19 bind to the growing ribosome  These proteins also potentiate the addition of uS2, uS3, uS10, uS11, uS14, and bS21  Protein binding to helical junctions is important for initiating the correct tertiary fold of RNA and to organize the overall structure  Nearly all the proteins contain one or more globular domains  Moreover, nearly all contain long extensions that can contact the RNA in far-reaching regions  Additional stabilization results from the proteins' basic residues, as these neutralize the charge repulsion of the RNA backbone  Protein–protein interactions also exist to hold structure together by electrostatic and hydrogen bonding interactions  Theoretical investigations pointed to correlated effects of protein-binding onto binding affinities during the assembly processIn one study, the net charges (at pH 7 4) of the ribosomal proteins comprising the highly conserved S10-spc cluster were found to have an inverse relationship with the halophilicity/halotolerance levels in bacteria and archaea  In non-halophilic bacteria, the S10-spc proteins are generally basic, contrasting with the overall acidic whole proteomes of the extremely halophiles  The universal uL2 lying in the oldest part of the ribosome, is always positively charged irrespective of the strain/organism it belongs to 

In eukaryotes
Ribosomes in eukaryotes contain 79–80 proteins and four ribosomal RNA (rRNA) molecules 
General or specialized chaperones solubilize the ribosomal proteins and facilitate their import into the nucleus  Assembly of the eukaryotic ribosome appears to be driven by the ribosomal proteins in vivo when assembly is also aided by chaperones   Most ribosomal proteins assemble with rRNA co-transcriptionally, becoming associated more stably as assembly proceeds, and the active sites of both subunits are constructed last 

Table of ribosomal proteins
In the past, different nomenclatures were used for the same ribosomal protein in different organisms  Not only were the names not consistent across domains; the names also differed between organisms within a domain, such as humans and S  cervisiae, both eukaryotes  This was due to researchers assigning names before the sequences were known, causing trouble for later research  The following tables use the unified nomenclature by Ban et al , 2014  The same nomenclature is used by UniProt's "family" curation In general, cellular ribosomal proteins are to be called simply using the cross domain name, e g  "uL14" for what is currently called L23 in humans  A suffix is used for the organellar versions, so that "uL14m" refers to the human mitochondrial uL14 (MRPL14)  Organelle-specific proteins use their own cross-domain prefixes, for example "mS33" for MRPS33: Table S3,S4  and "cL37" for PSRP5 : Table S2,S3  (See the two proceeding citations, also partially by Ban N, for the organelle nomenclatures )

See also
Alpha operon ribosome binding site
Ribosomal protein L20 leader
Mitochondrial ribosome, for a list of its protein subunits
Passage 4:
Nuclear cap-binding protein complex
Nuclear cap-binding protein complex is a RNA-binding protein which binds to the 5' cap of pre-mRNA  The cap and nuclear cap-binding protein have many functions in mRNA biogenesis including splicing, 3'-end formation by stabilizing the interaction of the 3'-end processing machinery, nuclear export and protection of the transcripts from nuclease degradation  When RNA is exported to the cytoplasm the nuclear cap-binding protein complex is replaced by cytoplasmic cap binding complex  The nuclear cap-binding complex is a functional heterodimer and composed of Cbc1/Cbc2 in yeast and CBC20/CBC80 in multicellular eukaryotes  Human nuclear cap-binding protein complex shows the large subunit, CBC80 consists of 757 amino acid residues  Its secondary structure contains approximately sixty percent of helical and one percent of beta sheet in the strand  The small subunit, CBC20 has 98 amino acid residues  Its secondary structure contains approximately twenty percent of helical and twenty-four percent of beta sheet in the strand  Human nuclear cap-binding protein complex plays important role in the maturation of pre-mRNA and in uracil-rich small nuclear RNA 
Passage 5:
Ribozyme
Ribozymes (ribonucleic acid enzymes) are RNA molecules that have the ability to catalyze specific biochemical reactions, including RNA splicing in gene expression, similar to the action of protein enzymes  The 1982 discovery of ribozymes demonstrated that RNA can be both genetic material (like DNA) and a biological catalyst (like protein enzymes), and contributed to the RNA world hypothesis, which suggests that RNA may have been important in the evolution of prebiotic self-replicating systems The most common activities of natural or in vitro evolved ribozymes are the cleavage (or ligation) of RNA and DNA and peptide bond formation  For example, the smallest ribozyme known (GUGGC-3') can aminoacylate a GCCU-3' sequence in the presence of PheAMP  Within the ribosome, ribozymes function as part of the large subunit ribosomal RNA to link amino acids during protein synthesis  They also participate in a variety of RNA processing reactions, including RNA splicing, viral replication, and transfer RNA biosynthesis  Examples of ribozymes include the hammerhead ribozyme, the VS ribozyme, leadzyme, and the hairpin ribozyme 
Researchers who are investigating the origins of life through the RNA world hypothesis have been working on discovering a ribozyme with the capacity to self-replicate, which would require it to have the ability to catalytically synthesize polymers of RNA  This should be able to happen in prebiotically plausible conditions with high rates of copying accuracy to prevent degradation of information but also allowing for the occurrence of occasional errors during the copying process to allow for Darwinian evolution to proceed Attempts have been made to develop ribozymes as therapeutic agents, as enzymes which target defined RNA sequences for cleavage, as biosensors, and for applications in functional genomics and gene discovery 

Discovery
Before the discovery of ribozymes, enzymes—which are defined as catalytic proteins—were the only known biological catalysts  In 1967, Carl Woese, Francis Crick, and Leslie Orgel were the first to suggest that RNA could act as a catalyst  This idea was based upon the discovery that RNA can form complex secondary structures  These ribozymes were found in the intron of an RNA transcript, which removed itself from the transcript, as well as in the RNA component of the RNase P complex, which is involved in the maturation of pre-tRNAs  In 1989, Thomas R  Cech and Sidney Altman shared the Nobel Prize in chemistry for their "discovery of catalytic properties of RNA"  The term ribozyme was first introduced by Kelly Kruger et al  in a paper published in Cell in 1982 It had been a firmly established belief in biology that catalysis was reserved for proteins  However, the idea of RNA catalysis is motivated in part by the old question regarding the origin of life: Which comes first, enzymes that do the work of the cell or nucleic acids that carry the information required to produce the enzymes? The concept of "ribonucleic acids as catalysts" circumvents this problem  RNA, in essence, can be both the chicken and the egg In the 1980s, Thomas Cech, at the University of Colorado Boulder, was studying the excision of introns in a ribosomal RNA gene in Tetrahymena thermophila  While trying to purify the enzyme responsible for the splicing reaction, he found that the intron could be spliced out in the absence of any added cell extract  As much as they tried, Cech and his colleagues could not identify any protein associated with the splicing reaction  After much work, Cech proposed that the intron sequence portion of the RNA could break and reform phosphodiester bonds  At about the same time, Sidney Altman, a professor at Yale University, was studying the way tRNA molecules are processed in the cell when he and his colleagues isolated an enzyme called RNase-P, which is responsible for conversion of a precursor tRNA into the active tRNA  Much to their surprise, they found that RNase-P contained RNA in addition to protein and that RNA was an essential component of the active enzyme  This was such a foreign idea that they had difficulty publishing their findings  The following year, Altman demonstrated that RNA can act as a catalyst by showing that the RNase-P RNA subunit could catalyze the cleavage of precursor tRNA into active tRNA in the absence of any protein component 
Since Cech's and Altman's discovery, other investigators have discovered other examples of self-cleaving RNA or catalytic RNA molecules  Many ribozymes have either a hairpin – or hammerhead – shaped active center and a unique secondary structure that allows them to cleave other RNA molecules at specific sequences  It is now possible to make ribozymes that will specifically cleave any RNA molecule  These RNA catalysts may have pharmaceutical applications  For example, a ribozyme has been designed to cleave the RNA of HIV  If such a ribozyme were made by a cell, all incoming virus particles would have their RNA genome cleaved by the ribozyme, which would prevent infection 

Structure and mechanism
Despite having only four choices for each monomer unit (nucleotides), compared to 20 amino acid side chains found in proteins, ribozymes have diverse structures and mechanisms  In many cases they are able to mimic the mechanism used by their protein counterparts  For example, in self cleaving ribozyme RNAs, an in-line SN2 reaction is carried out using the 2’ hydroxyl group as a nucleophile attacking the bridging phosphate and causing 5’ oxygen of the N+1 base to act as a leaving group  In comparison, RNase A, a protein that catalyzes the same reaction, uses a coordinating histidine and lysine to act as a base to attack the phosphate backbone Like many protein enzymes, metal binding is also critical to the function of many ribozymes  Often these interactions use both the phosphate backbone and the base of the nucleotide, causing drastic conformational changes  There are two mechanism classes for the cleavage of a phosphodiester backbone in the presence of metal  In the first mechanism, the internal 2’- OH group attacks the phosphorus center in a SN2 mechanism  Metal ions promote this reaction by first coordinating the phosphate oxygen and later stabling the oxyanion  The second mechanism also follows a SN2 displacement, but the nucleophile comes from water or exogenous hydroxyl groups rather than RNA itself  The smallest ribozyme is UUU, which can promote the cleavage between G and A of the GAAA tetranucleotide via the first mechanism in the presence of Mn2+  The reason why this trinucleotide (rather than the complementary tetramer) catalyzes this reaction may be because the UUU-AAA pairing is the weakest and most flexible trinucleotide among the 64 conformations, which provides the binding site for Mn2+ Phosphoryl transfer can also be catalyzed without metal ions  For example, pancreatic ribonuclease A and hepatitis delta virus (HDV) ribozymes can catalyze the cleavage of RNA backbone through acid-base catalysis without metal ions  Hairpin ribozyme can also catalyze the self-cleavage of RNA without metal ions, but the mechanism for this is still unclear Ribozyme can also catalyze the formation of peptide bond between adjacent amino acids by lowering the activation entropy 

Activities
Although ribozymes are quite rare in most cells, their roles are sometimes essential to life  For example, the functional part of the ribosome, the biological machine that translates RNA into proteins, is fundamentally a ribozyme, composed of RNA tertiary structural motifs that are often coordinated to metal ions such as Mg2+ as cofactors  In a model system, there is no requirement for divalent cations in a five-nucleotide RNA catalyzing trans-phenylalanation of a four-nucleotide substrate with 3 base pairs complementary with the catalyst, where the catalyst/substrate were devised by truncation of the C3 ribozyme The best-studied ribozymes are probably those that cut themselves or other RNAs, as in the original discovery by Cech and Altman  However, ribozymes can be designed to catalyze a range of reactions, many of which may occur in life but have not been discovered in cells RNA may catalyze folding of the pathological protein conformation of a prion in a manner similar to that of a chaperonin 

Ribozymes and the origin of life
RNA can also act as a hereditary molecule, which encouraged Walter Gilbert to propose that in the distant past, the cell used RNA as both the genetic material and the structural and catalytic molecule rather than dividing these functions between DNA and protein as they are today; this hypothesis is known as the "RNA world hypothesis" of the origin of life  Since nucleotides and RNA (and thus ribozymes) can arise by inorganic chemicals, they are candidates for the first enzymes, and in fact, the first "replicators" (i e , information-containing macro-molecules that replicate themselves)  An example of a self-replicating ribozyme that ligates two substrates to generate an exact copy of itself was described in 2002 
The discovery of the catalytic activity of RNA solved the "chicken and egg" paradox of the origin of life, solving the problem of origin of peptide and nucleic acid central dogma  According to this scenario, at the origin of life, all enzymatic activity and genetic information encoding was done by one molecule: RNA 
Ribozymes have been produced in the laboratory that are capable of catalyzing the synthesis of other RNA molecules from activated monomers under very specific conditions, these molecules being known as RNA polymerase ribozymes  The first RNA polymerase ribozyme was reported in 1996, and was capable of synthesizing RNA polymers up to 6 nucleotides in length  Mutagenesis and selection has been performed on an RNA ligase ribozyme from a large pool of random RNA sequences, resulting in isolation of the improved "Round-18" polymerase ribozyme in 2001 which could catalyze RNA polymers now up to 14 nucleotides in length  Upon application of further selection on the Round-18 ribozyme, the B6 61 ribozyme was generated and was able to add up to 20 nucleotides to a primer template in 24 hours, until it decomposes by cleavage of its phosphodiester bonds The rate at which ribozymes can polymerize an RNA sequence multiples substantially when it takes place within a micelle The next ribozyme discovered was the "tC19Z" ribozyme, which can add up to 95 nucleotides with a fidelity of 0 0083 mutations/nucleotide  Next, the "tC9Y" ribozyme was discovered by researchers and was further able to synthesize RNA strands up to 206 nucleotides long in the eutectic phase conditions at below-zero temperature, conditions previously shown to promote ribozyme polymerase activity The RNA polymerase ribozyme (RPR) called tC9-4M was able to polymerize RNA chains longer than itself (i e  longer than 177 nt) in magnesium ion concentrations close to physiological levels, whereas earlier RPRs required prebiotically implausible concentrations of up to 200 mM  The only factor required for it to achieve this was the presence of a very simple amino acid polymer called lysine decapeptide The most complex RPR synthesized by that point was called 24-3, which was newly capable of polymerizing the sequences of a substantial variety of nucleotide sequences and navigating through complex secondary structures of RNA substrates inaccessible to previous ribozymes  In fact, this experiment was the first to use a ribozyme to synthesize a tRNA molecule  Starting with the 24-3 ribozyme, Tjhung et al  applied another fourteen rounds of selection to obtain an RNA polymerase ribozyme by in vitro evolution termed '38-6' that has an unprecedented level of activity in copying complex RNA molecules  However, this ribozyme is unable to copy itself and its RNA products have a high mutation rate  In a subsequent study, the researchers began with the 38-6 ribozyme and applied another 14 rounds of selection to generate the '52-2' ribozyme, which compared to 38-6, was again many times more active and could begin generating detectable and functional levels of the class I ligase, although it was still limited in its fidelity and functionality in comparison to copying of the same template by proteins such as the T7 RNA polymerase An RPR called t5(+1) adds triplet nucleotides at a time instead of just one nucleotide at a time  This heterodimeric RPR can navigate secondary structures inaccessible to 24-3, including hairpins  In the initial pool of RNA variants derived only from a previously synthesized RPR known as the Z RPR, two sequences separately emerged and evolved to be mutualistically dependent on each other  The Type 1 RNA evolved to be catalytically inactive, but complexing with the Type 5 RNA boosted its polymerization ability and enabled intermolecular interactions with the RNA template substrate obviating the need to tether the template directly to the RNA sequence of the RPR, which was a limitation of earlier studies  Not only did t5(+1) not need tethering to the template, but a primer was not needed either as t5(+1) had the ability to polymerize a template in both 3' → 5' and 5' 3 → 3' directions A highly evolved RNA polymerase ribozyme was able to function as a reverse transcriptase, that is, it can synthesize a DNA copy using an RNA template  Such an activity is considered to have been crucial for the transition from RNA to DNA genomes during the early history of life on earth  Reverse transcription capability could have arisen as a secondary function of an early RNA-dependent RNA polymerase ribozyme 
An RNA sequence that folds into a ribozyme is capable of invading duplexed RNA, rearranging into an open holopolymerase complex, and then searching for a specific RNA promoter sequence, and upon recognition rearrange again into a processive form that polymerizes a complementary strand of the sequence  This ribozyme is capable of extending duplexed RNA by up to 107 nucleotides, and does so without needing to tether the sequence being polymerized 

Artificial ribozymes
Since the discovery of ribozymes that exist in living organisms, there has been interest in the study of new synthetic ribozymes made in the laboratory  For example, artificially produced self-cleaving RNAs with good enzymatic activity have been produced  Tang and Breaker isolated self-cleaving RNAs by in vitro selection of RNAs originating from random-sequence RNAs  Some of the synthetic ribozymes that were produced had novel structures, while some were similar to the naturally occurring hammerhead ribozyme 
In 2015, researchers at Northwestern University and the University of Illinois Chicago engineered a tethered ribosome that works nearly as well as the authentic cellular component that produces all the proteins and enzymes within the cell  Called Ribosome-T, or Ribo-T, the artificial ribosome was created by Michael Jewett and Alexander Mankin  The techniques used to create artificial ribozymes involve directed evolution  This approach takes advantage of RNA's dual nature as both a catalyst and an informational polymer, making it easy for an investigator to produce vast populations of RNA catalysts using polymerase enzymes  The ribozymes are mutated by reverse transcribing them with reverse transcriptase into various cDNA and amplified with error-prone PCR  The selection parameters in these experiments often differ  One approach for selecting a ligase ribozyme involves using biotin tags, which are covalently linked to the substrate  If a molecule possesses the desired ligase activity, a streptavidin matrix can be used to recover the active molecules 
Lincoln and Joyce used in vitro evolution to develop ribozyme ligases capable of self-replication in about an hour, via the joining of pre-synthesized highly complementary oligonucleotides Although not true catalysts, the creation of artificial self-cleaving riboswitches, termed aptazymes, has also been an active area of research  Riboswitches are regulatory RNA motifs that change their structure in response to a small molecule ligand to regulate translation  While there are many known natural riboswitches that bind a wide array of metabolites and other small organic molecules, only one ribozyme based on a riboswitch has been described: glmS  Early work in characterizing self-cleaving riboswitches was focused on using theophylline as the ligand  In these studies, an RNA hairpin is formed which blocks the ribosome binding site, thus inhibiting translation  In the presence of the ligand, in these cases theophylline, the regulatory RNA region is cleaved off, allowing the ribosome to bind and translate the target gene  Much of this RNA engineering work was based on rational design and previously determined RNA structures rather than directed evolution as in the above examples  More recent work has broadened the ligands used in ribozyme riboswitches to include thymine pyrophosphate  Fluorescence-activated cell sorting has also been used to engineering aptazymes 

Applications
Ribozymes have been proposed and developed for the treatment of disease through gene therapy  One major challenge of using RNA-based enzymes as a therapeutic is the short half-life of the catalytic RNA molecules in the body  To combat this, the 2’ position on the ribose is modified to improve RNA stability  One area of ribozyme gene therapy has been the inhibition of RNA-based viruses 
A type of synthetic ribozyme directed against HIV RNA called gene shears has been developed and has entered clinical testing for HIV infection Similarly, ribozymes have been designed to target the hepatitis C virus RNA, SARS coronavirus (SARS-CoV), Adenovirus and influenza A and B virus RNA  The ribozyme is able to cleave the conserved regions of the virus's genome, which has been shown to reduce the virus in mammalian cell culture  Despite these efforts by researchers, these projects have remained in the preclinical stage 

Known ribozymes
Well-validated naturally occurring ribozyme classes:

See also
Notes and references
Further reading
External links
Tom Cech's Short Talk: "Discovering Ribozymes"
Passage 6:
Ribosome
Ribosomes () are macromolecular machines, found within all  cells, that perform biological protein synthesis (mRNA translation)  Ribosomes link amino acids together in the order specified by the codons of messenger RNA (mRNA) molecules to form polypeptide chains  Ribosomes consist of two major components: the small and large ribosomal subunits  Each subunit consists of one or more ribosomal RNA (rRNA) molecules and many ribosomal proteins (RPs or r-proteins)  The ribosomes and associated molecules are also known as the translational apparatus 

Overview
The sequence of DNA that encodes the sequence of the amino acids in a protein is transcribed into a messenger RNA chain  Ribosomes bind to messenger RNAs and use their sequences for determining the correct sequence of amino acids to generate a given protein  Amino acids are selected and carried to the ribosome by transfer RNA (tRNA) molecules, which enter the ribosome and bind to the messenger RNA chain via an anti-codon stem loop  For each coding triplet (codon) in the messenger RNA, there is a unique transfer RNA that must have the exact anti-codon match, and carries the correct amino acid for incorporating into a growing polypeptide chain  Once the protein is produced, it can then fold to produce a functional three-dimensional structure 
A ribosome is made from complexes of RNAs and proteins and is therefore a ribonucleoprotein complex  Each ribosome is composed of small (30S) and large (50S) components, called subunits, which are bound to each other:

(30S) has mainly a decoding function and is also bound to the mRNA
(50S) has mainly a catalytic function and is also bound to the aminoacylated tRNAs The synthesis of proteins from their building blocks takes place in four phases: initiation, elongation, termination, and recycling  The start codon in all mRNA molecules has the sequence AUG  The stop codon is one of UAA, UAG, or UGA; since there are no tRNA molecules that recognize these codons, the ribosome recognizes that translation is complete  When a ribosome finishes reading an mRNA molecule, the two subunits separate and are usually broken up but can be re-used  Ribosomes are ribozymes, because the catalytic peptidyl transferase activity that links amino acids together is performed by the ribosomal RNA Ribosomes are often associated with the intracellular membranes that make up the rough endoplasmic reticulum 
Ribosomes from bacteria, archaea and eukaryotes in the three-domain system resemble each other to a remarkable degree, evidence of a common origin  They differ in their size, sequence, structure, and the ratio of protein to RNA  The differences in structure allow some antibiotics to kill bacteria by inhibiting their ribosomes, while leaving human ribosomes unaffected  In all species, more than one ribosome may move along a single mRNA chain at one time (as a polysome), each "reading" a specific sequence and producing a corresponding protein molecule 
The mitochondrial ribosomes of eukaryotic cells functionally resemble many features of those in bacteria, reflecting the likely evolutionary origin of mitochondria 

Discovery
Ribosomes were first observed in the mid-1950s by Romanian-American cell biologist George Emil Palade, using an electron microscope, as dense particles or granules   They were initially called  Palade granules due to their granular structure   The term "ribosome" was proposed in 1958:

During the course of the symposium a semantic difficulty became apparent  To some of the participants, "microsomes" mean the ribonucleoprotein particles of the microsome fraction contaminated by other protein and lipid material; to others, the microsomes consist of protein and lipid contaminated by particles  The phrase "microsomal particles" does not seem adequate, and "ribonucleoprotein particles of the microsome fraction" is much too awkward  During the meeting, the word "ribosome" was suggested, which has a very satisfactory name and a pleasant sound  The present confusion would be eliminated if "ribosome" were adopted to designate ribonucleoprotein particles in sizes ranging from 35 to 100S 
Albert Claude, Christian de Duve, and George Emil Palade were jointly awarded the Nobel Prize in Physiology or Medicine, in 1974, for the discovery of the ribosome  The Nobel Prize in Chemistry 2009 was awarded to Venkatraman Ramakrishnan, Thomas A  Steitz and Ada E  Yonath for determining the detailed structure and mechanism of the ribosome 

Structure
The ribosome is a complex cellular machine  It is largely made up of specialized RNA known as ribosomal RNA (rRNA) as well as dozens of distinct proteins (the exact number varies slightly between species)  The ribosomal proteins and rRNAs are arranged into two distinct ribosomal pieces of different sizes, known generally as the large and small subunit of the ribosome  Ribosomes consist of two subunits that fit together (Figure 2) and work as one to translate the mRNA into a polypeptide chain during protein synthesis (Figure 1)  Because they are formed from two subunits of non-equal size, they are slightly longer in the axis than in diameter 

Prokaryotic ribosomes
Prokaryotic ribosomes are around 20 nm (200 Å) in diameter and are composed of 65% rRNA and 35% ribosomal proteins  Eukaryotic ribosomes are between 25 and 30 nm (250–300 Å) in diameter with an rRNA-to-protein ratio that is close to 1  Crystallographic work has shown that there are no ribosomal proteins close to the reaction site for polypeptide synthesis  This suggests that the protein components of ribosomes do not directly participate in peptide bond formation catalysis, but rather that these proteins act as a scaffold that may enhance the ability of rRNA to synthesize protein (See: Ribozyme) 

The ribosomal subunits of prokaryotes and eukaryotes are quite similar The unit of measurement used to describe the ribosomal subunits and the rRNA fragments is the Svedberg unit, a measure of the rate of sedimentation in centrifugation rather than size  This accounts for why fragment names do not add up: for example, bacterial 70S ribosomes are made of 50S and 30S subunits 
Prokaryotes have 70S ribosomes, each consisting of a small (30S) and a large (50S) subunit  E  coli, for example, has a 16S RNA subunit (consisting of 1540 nucleotides) that is bound to 21 proteins  The large subunit is composed of a 5S RNA subunit (120 nucleotides), a 23S RNA subunit (2900 nucleotides) and 31 proteins 
Affinity label for the tRNA binding sites on the E  coli ribosome allowed the identification of A and P site proteins most likely associated with the peptidyltransferase activity; labelled proteins are L27, L14, L15, L16, L2; at least L27 is located at the donor site, as shown by E  Collatz and A P  Czernilofsky  Additional research has demonstrated that the S1 and S21 proteins, in association with the 3′-end of 16S ribosomal RNA, are involved in the initiation of translation 

Archaeal ribosomes
Archaeal ribosomes share the same general dimensions of bacteria ones, being a 70S ribosome made up from a 50S large subunit, a 30S small subunit, and containing three rRNA chains  However, on the sequence level, they are much closer to eukaryotic ones than to bacterial ones  Every extra ribosomal protein archaea have compared to bacteria has a eukaryotic counterpart, while no such relation applies between archaea and bacteria 

Eukaryotic ribosomes
Eukaryotes have 80S ribosomes located in their cytosol, each consisting of a small (40S) and large (60S) subunit  Their 40S subunit has an 18S RNA (1900 nucleotides) and 33 proteins  The large subunit is composed of a 5S RNA (120 nucleotides), 28S RNA (4700 nucleotides), a 5 8S RNA (160 nucleotides) subunits and 49 proteins 
During 1977, Czernilofsky published research that used affinity labeling to identify tRNA-binding sites on rat liver ribosomes  Several proteins, including L32/33, L36, L21, L23, L28/29 and L13 were implicated as being at or near the peptidyl transferase center 

Plastoribosomes and mitoribosomes
In eukaryotes, ribosomes are present in mitochondria (sometimes called mitoribosomes) and in plastids such as chloroplasts (also called plastoribosomes)  They also consist of large and small subunits bound together with proteins into one 70S particle  These ribosomes are similar to those of bacteria and these organelles are thought to have originated as symbiotic bacteria  Of the two, chloroplastic ribosomes are closer to bacterial ones than mitochondrial ones are  Many pieces of ribosomal RNA in the mitochondria are shortened, and in the case of 5S rRNA, replaced by other structures in animals and fungi  In particular, Leishmania tarentolae has a minimalized set of mitochondrial rRNA  In contrast, plant mitoribosomes have both extended rRNA and additional proteins as compared to bacteria, in particular, many pentatricopetide repeat proteins The cryptomonad and chlorarachniophyte algae may contain a nucleomorph that resembles a vestigial eukaryotic nucleus  Eukaryotic 80S ribosomes may be present in the compartment containing the nucleomorph 

Making use of the differences
The differences between the bacterial and eukaryotic ribosomes are exploited by pharmaceutical chemists to create antibiotics that can destroy a bacterial infection without harming the cells of the infected person  Due to the differences in their structures, the bacterial 70S ribosomes are vulnerable to these antibiotics while the eukaryotic 80S ribosomes are not  Even though mitochondria possess ribosomes similar to the bacterial ones, mitochondria are not affected by these antibiotics because they are surrounded by a double membrane that does not easily admit these antibiotics into the organelle  A noteworthy counterexample, however, includes the antineoplastic antibiotic chloramphenicol, which successfully inhibits bacterial 50S and eukaryotic mitochondrial 50S ribosomes  Ribosomes in chloroplasts, however, are different: Antibiotic resistance in chloroplast ribosomal proteins is a trait that has to be introduced as a marker, with genetic engineering 

Common properties
The various ribosomes share a core structure, which is quite similar despite the large differences in size  Much of the RNA is highly organized into various tertiary structural motifs, for example pseudoknots that exhibit coaxial stacking  The extra RNA in the larger ribosomes is in several long continuous insertions, such that they form loops out of the core structure without disrupting or changing it  All of the catalytic activity of the ribosome is carried out by the RNA; the proteins reside on the surface and seem to stabilize the structure 

High-resolution structure
The general molecular structure of the ribosome has been known since the early 1970s  In the early 2000s, the structure has been achieved at high resolutions, of the order of a few ångströms 
The first papers giving the structure of the ribosome at atomic resolution were published almost simultaneously in late 2000  The 50S (large prokaryotic) subunit was determined from the archaeon Haloarcula marismortui and the bacterium Deinococcus radiodurans, and the structure of the 30S subunit was determined from Thermus thermophilus  These structural studies were awarded the Nobel Prize in Chemistry in 2009  In May 2001 these coordinates were used to reconstruct the entire T  thermophilus 70S particle at 5 5 Å resolution Two papers were published in November 2005 with structures of the Escherichia coli 70S ribosome  The structures of a vacant ribosome were determined at 3 5 Å resolution using X-ray crystallography  Then, two weeks later, a structure based on cryo-electron microscopy was published, which depicts the ribosome at 11–15 Å resolution in the act of passing a newly synthesized protein strand into the protein-conducting channel 
The first atomic structures of the ribosome complexed with tRNA and mRNA molecules were solved by using X-ray crystallography by two groups independently, at 2 8 Å and at 3 7 Å  These structures allow one to see the details of interactions of the Thermus thermophilus ribosome with mRNA and with tRNAs bound at classical ribosomal sites  Interactions of the ribosome with long mRNAs containing Shine-Dalgarno sequences were visualized soon after that at 4 5–5 5 Å resolution In 2011, the first complete atomic structure of the eukaryotic 80S ribosome from the yeast Saccharomyces cerevisiae   was obtained by crystallography  The model reveals the architecture of eukaryote-specific elements and their interaction with the universally conserved core  At the same time, the complete model of a eukaryotic 40S ribosomal structure in Tetrahymena thermophila was published and described the structure of the 40S subunit, as well as much about the 40S subunit's interaction with eIF1 during translation initiation  Similarly, the eukaryotic 60S subunit structure was also determined from Tetrahymena thermophila in complex with eIF6 

Function
Ribosomes are minute particles consisting of RNA and associated proteins that function to synthesize proteins  Proteins are needed for many cellular functions such as repairing damage or directing chemical processes  Ribosomes can be found floating within the cytoplasm or attached to the endoplasmic reticulum  Their main function is to convert genetic code into an amino acid sequence and to build protein polymers from amino acid monomers 
Ribosomes act as catalysts in two extremely important biological processes called peptidyl transfer and peptidyl hydrolysis  The "PT center is responsible for producing protein bonds during protein elongation" In summary, ribosomes have two main functions: Decoding the message, and the formation of peptide bonds  These two functions reside in the ribosomal subunits  Each subunit is made of one or more rRNAs and many r-proteins  The small subunit (30S in bacteria and archaea, 40S in eukaryotes) has the decoding function, whereas the large subunit (50S in bacteria and archaea, 60S in eukaryotes) catalyzes the formation of peptide bonds, referred to as the peptidyl-transferase activity  The bacterial (and archaeal) small subunit contains the 16S rRNA and 21 r-proteins (Escherichia coli), whereas the eukaryotic small subunit contains the 18S rRNA and 32 r-proteins (Saccharomyces cerevisiae; although the numbers vary between species)  The bacterial large subunit contains the 5S and 23S rRNAs and 34 r-proteins (E  coli), with the eukaryotic large subunit containing the 5S, 5 8S, and 25S / 28S rRNAs and 46 r-proteins (S  cerevisiae; again, the exact numbers vary between species) 

Translation
Ribosomes are the workplaces of protein biosynthesis, the process of translating mRNA into protein  The mRNA comprises a series of codons which are decoded by the ribosome so as to make the protein  Using the mRNA as a template, the ribosome traverses each codon (3 nucleotides) of the mRNA, pairing it with the appropriate amino acid provided by an aminoacyl-tRNA  Aminoacyl-tRNA contains a complementary anticodon on one end and the appropriate amino acid on the other  For fast and accurate recognition of the appropriate tRNA, the ribosome utilizes large conformational changes (conformational proofreading)  The small ribosomal subunit, typically bound to an aminoacyl-tRNA containing the first amino acid methionine, binds to an AUG codon on the mRNA and recruits the large ribosomal subunit  The ribosome contains three RNA binding sites, designated A, P, and E  The A-site binds an aminoacyl-tRNA or termination release factors; the P-site binds a peptidyl-tRNA (a tRNA bound to the poly-peptide chain); and the E-site (exit) binds a free tRNA  Protein synthesis begins at a start codon AUG near the 5' end of the mRNA  mRNA binds to the P site of the ribosome first  The ribosome recognizes the start codon by using the Shine-Dalgarno sequence of the mRNA in prokaryotes and Kozak box in eukaryotes 
Although catalysis of the peptide bond involves the C2 hydroxyl of RNA's P-site adenosine in a proton shuttle mechanism, other steps in protein synthesis (such as translocation) are caused by changes in protein conformations  Since their catalytic core is made of RNA, ribosomes are classified as "ribozymes," and it is thought that they might be remnants of the RNA world 
In Figure 5, both ribosomal subunits (small and large) assemble at the start codon (towards the 5' end of the mRNA)  The ribosome uses tRNA that matches the current codon (triplet) on the mRNA to append an amino acid to the polypeptide chain  This is done for each triplet on the mRNA, while the ribosome moves towards the 3' end of the mRNA  Usually in bacterial cells, several ribosomes are working parallel on a single mRNA, forming what is called a polyribosome or polysome 

Cotranslational folding
The ribosome is known to actively participate in the protein folding  The structures obtained in this way are usually identical to the ones obtained during protein chemical refolding; however, the pathways leading to the final product may be different  In some cases, the ribosome is crucial in obtaining the functional protein form  For example, one of the possible mechanisms of folding of the deeply knotted proteins relies on the ribosome pushing the chain through the attached loop 

Addition of translation-independent amino acids
Presence of a ribosome quality control protein Rqc2 is associated with mRNA-independent protein elongation  This elongation is a result of ribosomal addition (via tRNAs brought by Rqc2) of CAT tails: ribosomes extend the C-terminus of a stalled protein with random, translation-independent sequences of alanines and threonines 

Ribosome locations
Ribosomes are classified as being either "free" or "membrane-bound" 

Free and membrane-bound ribosomes differ only in their spatial distribution; they are identical in structure  Whether the ribosome exists in a free or membrane-bound state depends on the presence of an ER-targeting signal sequence on the protein being synthesized, so an individual ribosome might be membrane-bound when it is making one protein, but free in the cytosol when it makes another protein 
Ribosomes are sometimes referred to as organelles, but the use of the term organelle is often restricted to describing sub-cellular components that include a phospholipid membrane, which ribosomes, being entirely particulate, do not  For this reason, ribosomes may sometimes be described as "non-membranous organelles" 

Free ribosomes
Free ribosomes can move about anywhere in the cytosol, but are excluded from the cell nucleus and other organelles  Proteins that are formed from free ribosomes are released into the cytosol and used within the cell  Since the cytosol contains high concentrations of glutathione and is, therefore, a reducing environment, proteins containing disulfide bonds, which are formed from oxidized cysteine residues, cannot be produced within it 

Membrane-bound ribosomes
When a ribosome begins to synthesize proteins that are needed in some organelles, the ribosome making this protein can become "membrane-bound"  In eukaryotic cells this happens in a region of the endoplasmic reticulum (ER) called the "rough ER"  The newly produced polypeptide chains are inserted directly into the ER by the ribosome undertaking vectorial synthesis and are then transported to their destinations, through the secretory pathway  Bound ribosomes usually produce proteins that are used within the plasma membrane or are expelled from the cell via exocytosis 

Biogenesis
In bacterial cells, ribosomes are synthesized in the cytoplasm through the transcription of multiple ribosome gene operons  In eukaryotes, the process takes place both in the cell cytoplasm and in the nucleolus, which is a region within the cell nucleus  The assembly process involves the coordinated function of over 200 proteins in the synthesis and processing of the four rRNAs, as well as assembly of those rRNAs with the ribosomal proteins 

Origin
The ribosome may have first originated as a protoribosome, possibly containing a peptidyl transferase centre (PTC), in an RNA world, appearing as a self-replicating complex that only later evolved the ability to synthesize proteins when amino acids began to appear  Studies suggest that ancient ribosomes constructed solely of rRNA could have developed the ability to synthesize peptide bonds  In addition, evidence strongly points to ancient ribosomes as self-replicating complexes, where the rRNA in the ribosomes had informational, structural, and catalytic purposes because it could have coded for tRNAs and proteins needed for ribosomal self-replication  Hypothetical cellular organisms with self-replicating RNA but without DNA are called ribocytes (or ribocells) As amino acids gradually appeared in the RNA world under prebiotic conditions, their interactions with catalytic RNA would increase both the range and efficiency of function of catalytic RNA molecules  Thus, the driving force for the evolution of the ribosome from an ancient self-replicating machine into its current form as a translational machine may have been the selective pressure to incorporate proteins into the ribosome's self-replicating mechanisms, so as to increase its capacity for self-replication 

Heterogeneous ribosomes
Ribosomes are compositionally heterogeneous between species and even within the same cell, as evidenced by the existence of cytoplasmic and mitochondria ribosomes within the same eukaryotic cells  Certain researchers have suggested that heterogeneity in the composition of ribosomal proteins in mammals is important for gene regulation, i e , the specialized ribosome hypothesis  However, this hypothesis is controversial and the topic of ongoing research Heterogeneity in ribosome composition was first proposed to be involved in translational control of protein synthesis by Vince Mauro and Gerald Edelman  They proposed the ribosome filter hypothesis to explain the regulatory functions of ribosomes  Evidence has suggested that specialized ribosomes specific to different cell populations may affect how genes are translated  Some ribosomal proteins exchange from the assembled complex with cytosolic copies suggesting that the structure of the in vivo ribosome can be modified without synthesizing an entire new ribosome 
Certain ribosomal proteins are absolutely critical for cellular life while others are not  In budding yeast, 14/78 ribosomal proteins are non-essential for growth, while in humans this depends on the cell of study  Other forms of heterogeneity include post-translational modifications to ribosomal proteins such as acetylation, methylation, and phosphorylation  Arabidopsis, Viral internal ribosome entry sites (IRESs) may mediate translations by compositionally distinct ribosomes  For example, 40S ribosomal units without eS25 in yeast and mammalian cells are unable to recruit the CrPV IGR IRES Heterogeneity of ribosomal RNA modifications plays a significant role in structural maintenance and/or function and most mRNA modifications are found in highly conserved regions  The most common rRNA modifications are pseudouridylation and 2’-O methylation of ribose 

See also
Context 3: Passage 1:
Squadron A Armory
The Squadron A Armory is a former United States Army armory and was the home base of Squadron A  It took up the whole block between Madison Avenue and Park Avenue, between 94th and 95th Street  It was therefore also known as the Madison Avenue Armory   A surviving part of the building is listed on the National Register of Historic Places as Madison Avenue Facade of the Squadron A Armory and is a New York City landmark 
A stone plaque with the squadron's cry "Boutez en avant!", translated variously as "Press forward!" or simply "Charge!", is located on the wall at Madison Avenue 

History
The building was built in 1895 by a New York City contractor named John F  Johnson  It was constructed with red bricks, featuring massive walls with towers  It also included about 100 horse stalls to house Squadron A's horses The building was partially demolished in the 1960s; however, an emergency action from the New York City Landmarks Preservation Commission, which designated it a landmark, stopping the demolition of the Madison Avenue facade  That facade was later added to the National Register of Historic Places in 1972  When the eastern building was rebuilt, it was done in a style similar to the original 

Usage
Today, the eastern and central part of the site are used by Hunter College High School and Elementary School as the schools' main campus  The outline of some of the former walls is lined with trees 

See also
List of armories and arsenals in New York City and surrounding counties
Seventh Regiment Armory
List of New York City Designated Landmarks in Manhattan from 59th to 110th Streets
National Register of Historic Places listings in Manhattan from 59th to 110th Streets
Passage 2:
Metropolitan Life North Building
The Metropolitan Life North Building, now known as Eleven Madison, is a 30-story art deco skyscraper in the Flatiron District adjacent to Madison Square Park in Manhattan, New York City, at 11-25 Madison Avenue  The building is bordered by East 24th Street, Madison Avenue, East 25th Street and Park Avenue South, and was formerly connected by a sky bridge and tunnel to the Metropolitan Life Insurance Company Tower just south of it 
The North Building was built in three stages on the site of the second Madison Square Presbyterian Church  Construction started in 1929, just before the onset of the Great Depression  Originally planned to be 100 stories, the North Building was never completed as originally planned due to funding problems following the Depression  The current design was constructed in three stages through 1950  As part of the Metropolitan Life Home Office Complex, the North Building was added to the National Register of Historic Places on January 19, 1996 

History
Site
The original Madison Square Presbyterian Church, designed by Richard M  Upjohn in the Gothic Revival architectural style, was located on Madison Square Park at the southeast corner of East 24th Street and Madison Avenue, and was completed in 1854  The building was acquired by the Metropolitan Life Insurance Company and razed to make way for the 50-story Metropolitan Life Insurance Company Tower, which was briefly the world's tallest building  In exchange, the church received a 75-by-150-foot (23 by 46 m) plot of land on the north side of 24th Street that became the site for Stanford White's 1906 building for the Madison Square Presbyterian Church, sometimes called the "Parkhurst Church" after Reverend Charles Henry Parkhurst A plot on the north side of 24th Street, measuring 75 by 100 feet (23 by 30 m), was developed in 1903 as the first Metropolitan Annex, a 16-story printing plant building faced in Tuckahoe marble  The annex was designed by LeBrun, and it was connected to the main building by a tunnel  Upjohn's building was demolished in 1919 to make way for an expansion of that annex  The structure was to be 18 stories tall with six elevators, and would incorporate the existing annex, which would be 75 by 225 feet (23 by 69 m)  The ground story of the new annex would contain an auditorium with 1,100-seats, and the 12th story would include a lunchroom and a sky bridge to the 11th story of the home office building across 24th Street  This annex was designed by D  Everett Waid and completed in 1921 

Construction
The North Building was designed in the 1920s by Harvey Wiley Corbett and D  Everett Waid and built in three stages  Metropolitan Life had acquired the lot bounded by Madison Avenue, 24th Street, Fourth Avenue (now Park Avenue South), and 25th Street in September 1929  Preliminary plans, submitted that October, proposed a 35-story building that would serve as a new "home office", supplanting the old "home office" in the Metropolitan Life Tower directly to the south  The final design for the new building, presented in November 1929, called for a 100-story tower with several setbacks, which would have been the tallest building in the world  The structure would accommodate 30,000 daily visitors when completed, and would have escalators connecting the lowest 13 stories Following the Stock Market Crash of 1929 and the onset of the Great Depression, Corbett and Waid resubmitted plans for the building in November 1930  The new plans called for a 28-story brick, granite, and limestone structure  Starrett Brothers & Eken were selected as contractors the following month  Initially, only the eastern half of the block was developed; that structure was finished in 1932  Upon the first stage's completion, Corbett said, "it is a highly specialized building designed primarily as a machine to do as efficiently as possible the particular headquarters' work of our largest insurance company"  The new structure contained 22 acres (8 9 ha) of new office space  The original 16-story Metropolitan Life annex, at the northeast corner of Madison Avenue and 24th Street, remained in place In 1937, four buildings on Madison Avenue between 24th and 25th Street, ranging in height from 12 to 20 stories, were demolished to make way for the second phase of construction: the northwestern portion of the 28-story structure  In 1938, the company filed plans to build the western half of the 28-story building at a cost of $10 million  The western wall of the existing structure would be demolished so the two sections would be integrated into a single building  The second phase was finished in 1940 and contained 32 stories: 28 above-ground and four basement levels, the same as in the first phase LeBrun's and Waid's northern annexes were demolished in 1946 to make way for the third and final stage of the North Building  Waid and Corbett prepared the third phase along with Arthur O  Angilly  The design was similar to that of the first and second phases, but in smaller scale  Construction was completed in 1950  There were no plans to build the extra stories, even though the building plan would have allowed for such an expansion, because Metropolitan Life no longer required the extra space 

Later years
In 1985, Metropolitan Life vacated the clock tower and moved all remaining operations to the north building and the east wing of the south building  From 1994 to 1997, the building's interior was demolished and rebuilt by Haines Lundberg Waehler and the exterior was renovated at a cost of $300 million  The renovation entailed reducing the size of the building's core to provide additional office space  The North Building had been considered obsolete for the uses of Metropolitan Life (now MetLife), which had moved most of its employees to the MetLife Building in Midtown Manhattan  Credit Suisse First Boston, a subsidiary of Credit Suisse, then leased 1 5 million square feet (140,000 m2) within the building, an agreement that was later expanded to 1 6 million square feet (150,000 m2)  Other space was taken up by Alexander & Alexander Services, Emanuel/Emanuel Ungaro, Wells Rich Greene and the Gould Paper Corporation '

Digital rendering
In January 2022, ArchDaily published a digital rendering of what the building would have looked like if it had been constructed as planned to 100 stories and not truncated at 25 stories  Cortesía de 90Grados Arquitectura-Renderings assembled all the available data and graphic information about the building's intended design  The original plans were not extant, but sketches and photographs of a model were available  Where there were gaps in the information, they extrapolated from other designs by Corbett, in particular his work on Rockefeller Center  They then used various rendering programs to create the finished images of the building 

Architecture
The building, which has 2 2 million square feet (200,000 m2) of interior space, was constructed in three stages  The building's bulk is mitigated by numerous setbacks and its polygonal shape  As a result of these setbacks, mandated under the 1916 Zoning Resolution, the architects maximized the usable interior space The building initially contained 30 elevators, enough to serve the originally-planned 100 floors  In addition, because the existing building was constructed to be strong enough to support extra floors, the roof included 16 electrical generators, enough to power the building for several days 

Facade
The North Building is clad entirely with stone and contains numerous angled sides  The building is finished on the outside with Alabama limestone and marble detailing, covering an interior steel frame  The window frames are mostly made of bronze, except those installed during the final stage of construction, which are made of aluminum  The ground-floor windows are multi-pane windows and all others are three-over-three sash windows  Limestone grilles are located outside the second-story windows  The stonework is laid in a scalloped pattern; this is the only major decorative element on the building's exterior The North Building features four vaulted corner entrances, which are each three stories high and composed of loggias on either side of the corner  Each entrance contains a three-story-high pier with ribs, which supports a double-height loggia  The vaulted entrances contain modern-style coffers with a Moderne-style chandelier hanging from the center  Pink Tennessee marble is used as a decorative element on the floors and around the doors of each loggia  The middle of the 24th Street facade contains another entrance  The 25th Street side contains numerous loading docks  In addition, there are paired arched openings on Madison Avenue, which are decorated with floral-patterned stone screens  Until 2020, the North and South buildings were connected by a sky bridge on the eighth floor 

Interior
The three-story lobby contains travertine and marble finishes  The lobby contains a coffered ceiling with aluminum leaf in numerous colors  On the walls above the passages to each elevator lobby  there are bas-reliefs made of aluminum leaf  The other corridors contain terrazzo floors, plaster ceilings with stepped moldings, and marble paneling  On the upper floors, the elevators, restrooms, and stairs are located in a core at the center of each floor Corbett and Waid described how the building had "the latest ideas in ventilation, air conditioning, sound deadening, artificial lighting, intercommunicating pneumatic tubes, telephones, call bells, unit operating clock systems [and] special elevator and escalator installations"  The offices are located on the outer edges of each floor, near the windows, and are generally open plan spaces with few private rooms in order to accommodate the large numbers of workers at the company  The offices were utilitarian, with indirect artificial lighting allowing for office space that was up to 80 feet (24 m) deep  The stepped acoustic-tile ceilings increased in 6-inch (150 mm) intervals, from their lowest height near the building's core to their highest height near the windows, which maximized natural light while also providing space for ceiling ducts  Another innovation for the building at the time of its construction was the inclusion of a building-wide air conditioning system  The 27th floor contained an auditorium There are four basements: the kitchen on the first basement level (just below ground), the employee dining areas on the second and third basement levels, and the mechanical spaces on the fourth basement level  The dining areas could accommodate 8,000 diners per day  Seven-foot-high (2 1 m) murals are mounted on the walls of the basements' dining rooms and elevator lobbies  These murals were painted by Edward Trumbull, D  Putnam Brinley, Nicholas L  Pavloff, N  C  Wyeth, and Griffith Bailey Coale, depicting scenes from American folk stories, North American wildlife, and New York state history  They were intended to "bring to the employees a feeling of cessation from their work through the contemplation of artistic and amusing masterpieces " The original plans were to include an entrance to the 23rd Street subway station, but the entrance was ultimately built one block south, on 23rd Street, with an entrance through the Metropolitan Life Insurance Company Tower 

Tenants
SL Green Realty Corp has owned 11 Madison Avenue since 2015  The primary tenant is Credit Suisse  Additionally, Yelp, Inc  and several Sony companies such as Sony Corporation of America, Sony Music Entertainment, and Sony Music Publishing occupy the building The restaurant Eleven Madison Park is at street level on the Madison Avenue side of the building  The restaurant, which opened in 1998, offers a vegan multi-course tasting menu The building previously served as Met Life's records warehouse 

In popular culture
The 1981 thriller Eyewitness used the building's lobby as the place where William Hurt's character was employed as a janitor, and where the brutal murder that begins the film takes place   Other scenes from the film were shot there as well 
Director Martin Scorsese used the building as the location for Griffin Dunne's office in the 1985 film After Hours 
Woody Allen's 1986 Radio Days utilized the North Building for the building where the offices of a broadcasting network were located 
Passage 3:
Church of St  Ignatius Loyola (New York City)
The Church of St  Ignatius of Loyola is a Catholic parish church located on the Upper East Side of Manhattan, New York City, administered by the Society of Jesus (Jesuits)  The parish is under the authority of the Archdiocese of New York, and was established in 1851 as St  Lawrence O'Toole's Church  In 1898, permission to change the patron saint of the parish from St  Lawrence O'Toole to St  Ignatius of Loyola was granted by Rome  The address is 980 Park Avenue, New York City, New York 10028  The church on the southwest corner of Park Avenue and 84th Street is part of a Jesuit complex on the block that includes Wallace Hall, the parish hall beneath the church, the rectory at the midblock location on Park Avenue, the grade school of St  Ignatius's School on the north midblock location of 84th Street behind the church and the high school of Loyola School (also 980 Park Avenue) at the northwest corner of Park Avenue and 83rd Street  In addition, another Jesuit high school, Regis High School (55 E 84th Street), occupies the midblock location on the north side of 84th Street   The church was added to the National Register of Historic Places on July 24, 1980 

History
The parish was established in 1851  Occupying "the site of the former St  Lawrence O'Toole Church, founded in 1851, and named for a twelfth-century bishop of Dublin by the parish's first pastor, the Rev  Eugene O'Reilly from Ireland  The parish was entrusted to the care of the Society of Jesus in 1886 and marked the Jesuits' first major apostolate in the Yorkville area of New York  Late-nineteenth-century directories listed the address of St  Lawrence at the corner of Park Avenue and East 84th Street The present grand limestone edifice stands as testimony to both the growing affluence and confidence of the Catholic community on New York's Upper East Side near the start of the 20th century as well as the ambitious determination of Fr  Neil McKinnon, S J , pastor of the parish from 1893 to 1907  During his time, Martin J  Scott, later a noted author of novels and controversial literature, worked as assistant priest among the young (1902-1915) and built a day nursery in 1910 
The church was declared a New York City Landmark on March 4, 1969  The church was added to the National Register of Historic Places on July 24, 1980 The church was used as the setting for the funeral of Logan Roy, a central character in the HBO television series Succession  Filming for the episode, which aired in May 2023, took place over two and a half days 

Notable funerals
Jacqueline Kennedy Onassis, First Lady – May 1994
Aaliyah, singer and actress – August 2001
Patricia Kennedy Lawford – September 2006
Lena Horne, singer and actress – May 2010
Philip Seymour Hoffman, actor – February 2014
Oscar de la Renta, fashion designer – November 2014
Mario Cuomo, governor of New York – January 2015
Ann Mara, co-owner of N Y  Giants Football Team – February 2015
David Carr, N Y  Times media columnist – February 2015

Architecture
Construction
A wooden church was erected in 1852, which was replaced in 1853 by a modest brick structure The church's present foundation was built 1884-1886 as the foundations to a planned Gothic design  The parish was transferred to Jesuit control in 1886  The present church was built 1895 to 1900 to the designs of architect J  William Schickel of Schickel & Ditmars, and dedicated on December 11, 1898, by the Most Reverend Michael Corrigan, third Archbishop of New York 

Exterior
St  Ignatius Loyola, A Pictorial History and Walking Guide of New York City's Church of St  Ignatius Loyola (1999) includes an exemplary description of the exterior and interior of the church:

Two unbroken vertical orders, a Palladian arched window, and a tri-part horizontal division suggesting the central nave and side aisles beyond, lend a Classical balance to the Park Avenue exterior   Yet St  Ignatius' façade is not static; the central division raised in slight relief beyond the side divisions and the varying intervals between the symmetrically positioned pilasters (columns that are not free standing) create a subtly undulating dynamism that introduces a note of syncopated rhythm reminiscent of the exterior of Il Gesù, the Jesuits' mother church in Rome   The original plans for the street front of St  Ignatius, presently 90 feet high and 87 feel wide, included a pair of towers designed to reach 210 feet above the ground, but this feature of the project was abandoned early, leaving only the two copper-capped tower bases on either side of the central pediment as hints of the grander scheme   Located directly beneath this pediment are the motto of the Society of Jesus, Ad Majorem Dei Gloriam (To the Greater Glory of God) and the Great Seal of the Society, composed of a cross, three nails, and the letters I H S (the first three letters of Jesus' name in Greek which later became a Latin acronym denoting Jesus the Savior of Humankind); together they proclaim to all who pass by that St  Ignatius is a Jesuit Parish 

Interior
The church is constructed of American, European, and African marbles, including pink Tennessee, red-veined Numidian, yellow Siena, pink Algerian marble, white Carrara marble, and veined Pavonazzo marble; most of the intricate marble work was executed by the firm of James G  Batterson Jr , and John Eisele of New York The marble mosaic Stations of the Cross panels were designed by Professor Paoletti for Salviati & Company of Venice; some were publicly exhibited in Turin before installation 

The great twelve-panel bronze doors located at the sanctuary end of the side aisles… were designed by the Rev  Patrick O'Gorman, S J , pastor from 1924 to 1929    [and were] crafted by the Long Island Bronze Company… 
The Jesuit statues, including St  Francis Xavier and St  John Francis Regis were carved by the Joseph Sibbel Studio of New York in Carrara marble 
The church is notable for its organ, dedicated in 1993 and built by English organ builder Noel Mander  The instrument "is New York City's largest mechanical action (tracker) pipe organ, and the largest mechanical action pipe organ ever to have been built in the British Isles "Baptistery The semi-circular wrought-iron baptistery screen in the Chapel of John the Baptist of gilt flaming swords was wrought by Mr  John Williams to the designs of William Schickel  The baptistery font is of Carrara marble set above marble pavement designed "by Heaton, Butler & Bayne of London, with slight modifications made by Mr  John Buck of the Ecclesiastical Department of the Gorham Company of New York; the Gorham Company was also responsible for cutting and installing the mosaic's tesserae (the pieces comprising the mosaic) "  The baptistery's altar and surround curved walls are of Pavonazzo marble inlaid with mosaics, "designed and executed under the direction of Mr  Caryl Coleman of the Ecclesiastical Department of the Tiffany Glass and Decorating Company  These mosaics, composed of that company's justly famous opalescent Favrile glass, are as delicate as the Venetian glass mosaics above are bold " Tiffany also executed the baptistery's semi-dome 

List of rectors
1   Rev  Eugene O'Reilly, rector 1851-August 5, 1852
2   Rev  Thomas Ouellet, S J , rector 1852- 
3  Rev  Walter J  Quarter, rector –1866
4  Rev  Samuel Mulledy (1811–1866), rector 1863–1866
5  Rev  Victor Beaudevin, S J , rector 1866–
10  Rev  John Treanor, S J , rector (–1880)
11  Rev  Robert J  Fulton, S J (1826-1895), rector November 1, 1880- 
12  Rev  David Merrick, S J  (rector 1880–)13  Rev  Neil McKinnon, S J , rector July 31, 1893 – 1907 (parish rededicated on December 11, 1898, with new upper church dedicated to St  Ignatius Loyola and lower church dedicated to St  Lawrence O'Toole)
14  William O'Brien Pardow, S J , rector 1907-1909
15  David Hearn, S J , rector 1909-1915
16  Cowles Havens Richards, S J , rector 1915-1919
17  James J  Kilrowy, S J , rector 1919-1924
18  Patrick F  O'Gorman, S J , rector 1924-1929
19  Edward J  Sweeney, S J , rector 1930-1933
20  William J  Devlin, S J , rector 1933-1935
21  W  Coleman Nevils, S J , rector 1935-1940
22  Francis A  McQuade, S J , rector 1940-1945
23  John Edwards Gratton, S J , rector 1945-1949
24  C  Justin Hanley, S J , rector 1949-1952
25  Robert I  Gannon, S J , rector 1952-1958
26  John J  McGinty, S J , rector 1958-1960
27  William T  Wood, S J , rector 1960-1966
28  Charles T  Taylor, S J , rector 1966-1970
29  Robert J  Haskins, S J , rector 1970-1979
30  Victor R  Yanitelli, S J , rector 1980-1986
31  Walter F  Modrys, S J , rector 1986-2005
32  Gerald R  Blaszczak, S J , rector 2005-2008
33  William J  Bergen, S J , acting rector June–August 2008
34  George M  Witt, S J , rector 2008-2015
35  Thomas H  Feely, S J , parish administrator 2015–2016
36  Dennis J  Yesalonia, S J , rector 2016–Present

See also
National Register of Historic Places listings in Manhattan below 14th Street
List of Jesuit sites
List of New York City Designated Landmarks in Manhattan below 14th Street
Passage 4:
126 Madison Avenue
126 Madison Avenue (also known as 15 East 30th Street and Madison House) is a residential skyscraper under development by Fosun Property in NoMad, Manhattan, New York City  The building is 47 stories and 730 feet (220 m) tall  J D  Carlisle Development Corp co-developed the project with Fosun Group, while Handel Architects is the architect  Construction began in 2017 

History
J D  Carlisle purchased the building's site for $102 million in March 2015 with plans to build a 53 story residential building  The developers received $350 million in construction financing from Bank OZK in May 2018  The structure topped out in June 2019 
Passage 5:
Calvary Church (Manhattan)
Calvary Church is an Episcopal church located at 277 Park Avenue South on the corner of East 21st Street in the Gramercy Park neighborhood of Manhattan, New York City, on the border of the Flatiron District  It was designed by James Renwick Jr , the architect who designed St  Patrick's Cathedral and Grace Church, and was completed in 1848   The church complex is located within the Gramercy Park Historic District and Extension  It is one of the two sanctuaries of the Calvary-St  George's Parish 

History
The Calvary Church parish was founded in 1832, and initially used a wooden-frame church on what was then Fourth Avenue – which has since become Park Avenue – uptown of its current site  That building was moved to the current location in 1842, and the new Renwick-designed Gothic Revival sanctuary was completed in 1848  Renwick patterned Calvary after twin-towered French cathedrals, but, unlike Grace Church, Calvary was constructed of brownstone  The church's two wooden spires were removed in September 1860 when they became unstable; the octagonal bases remained but eventually deteriorated and were removed in 1929 The church complex also includes the nine-story Calvary House, east of the church on Gramercy Park North (East 21st Street), also designed by Renwick, and built in 1867, and the "Renwick Gem" Schoolhouse, a small building to the north of the church which was built as a theatre but used for that purpose only for a short time before being utilized for the Calvary Church Sunday school  It has a large interior space, about 27 feet (8 2 m) between the columns, which were designed to hold up the heavy slate roof without the use of exterior buttresses  The building, which as of 2011 houses the 4th and 5th grade classes of the École Internationale de New York, compensates for the shadowing of the taller buildings around through Renwick's use of 42 clerestory windows 
The family of Theodore Roosevelt lived two blocks away from Calvary Church from 1854 to 1872 – Roosevelt was born in their house in 1858, and Calvary was the church the family belonged to  Other congregants included members of the Astor and Vanderbilt families The church enjoys a close historical association with the Washington National Cathedral  In 1896, the rector of Calvary, Henry Yates Satterlee, was consecrated the first Episcopal Bishop of Washington in a ceremony in Calvary Church   Satterlee was instrumental in procuring Mount Saint Alban as the site for the Cathedral, and he laid the Cathedral's main cornerstone in 1907  The parishioners of Calvary donated the church’s baptismal font to the new cathedral, and it is located in the Bethlehem Chapel 
Calvary has a strong connection to Alcoholics Anonymous  When the Rev  Dr  Samuel Shoemaker was the minister there, from 1925 to 1952, Calvary House became the American center of the Oxford Group, from which came some of A A 's major underlying ideas   Bill Wilson, the co-founder of the twelve-step group, wrote: "It is through Sam Shoemaker that most of A A



ground_truth: Ribosomes

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Le Rêve was created by the director behind what Cirque du Soleil production from 1998 onward?

The following are given passages.
Context 2: Passage 1:
Carolina Moraes
Carolina Moraes (born 5 April 1980) is a former synchronized swimmer from Brazil  She competed in the women's duet competition with her twin sister, Isabela Moraes, at both the 2000 and 2004 Summer Olympics  Both also competed for Ohio State University, winning 11 national championships, including the team routine title in 2000, and four straight titles in duet and trio routines between 1999 and 2002  Following the Olympics, Carolina and Isabela retired and joined Cirque du Soleil, with their first performance being as part of the 2005 World Aquatics Championships opening ceremony  Both have been  part of the cast of Le Rêve, a show presented in Las Vegas since 2007, though Carolina is less frequent as she travels with her husband, part of Cirque du Soleil's technical team 
Passage 2:
Isabela Moraes
Isabela Moraes (born 5 April 1980) is a former synchronized swimmer from Brazil  She competed in the women's duet competition with her twin sister, Carolina Moraes, at both the 2000 and 2004 Summer Olympics   Both also competed for Ohio State University, winning 11 national championships, including the team routine title in 2000, and four straight titles in duet and trio routines between 1999 and 2002  Following the Olympics, Carolina and Isabela retired and joined Cirque du Soleil, with their first performance being as part of the 2005 World Aquatics Championships opening ceremony  Isabela has been since 2007 part of Le Rêve, a show presented in Las Vegas 
Passage 3:
Zumanity
Zumanity (zoo-manity)  was a resident cabaret-style show by Cirque du Soleil at the New York-New York Hotel & Casino on the Las Vegas Strip, placed into the theatre previously occupied by Michael Flatley's Lord of the Dance (musical)  The production was unveiled on September 20, 2003 (previews started on August 14, 2003) and had its last performance on March 14, 2020  It was announced on November 16, 2020 that the show would be closing permanently  It is the first "adult-themed" Cirque du Soleil show, billed as "the sensual side of Cirque du Soleil" or "another side of Cirque du Soleil"  Created by René Richard Cyr and Dominic Champagne, Zumanity is a departure from the standard Cirque format  Intended to be for mature adult audiences only, this show is centered on erotic song, dance, acrobatics, and comedy The inspiration to create Zumanity  came from multiple sources  Cirque du Soleil founder Guy Laliberté had been offered the chance to create two new shows in Las Vegas, and wanted something completely new and original rather than multiple similar shows that would cannibalize off of each other's sales and audiences  Another reason was that the New York-New York Hotel and Casino wanted to make their entertainment appear more "trendy " The hotel liked the concept of a more adult Cirque du Soleil performance Laliberté admits that the biggest reason to produce this show was the chance to create something with riskier subject matter  He was interested in the idea of creating a show that explored human sexuality, something that was at complete odds with the other, more family-oriented Cirque du Soleil shows  "Our previous shows have all been family-oriented and politically correct, which is great," Laliberté said, "but we're human beings, we won't hide it  We're a bunch of happy campers  We like to live new experiences  Zumanity deals with some of those experiences "On February 22, 2022, Cirque du Soleil announced that a new show, "Mad Apple," would replace the Zumanity show at New York-New York Hotel and Casino, which opened on May 26, 2022 

Costumes
Thierry Mugler designed the costumes for Zumanity; he created the costumes to enhance the sensual atmosphere and heightened sexuality of the production   Many of the costumes are highly colorful, yet some are minimal to an exaggerated extreme  Fur, feathers, leather, lace, fishnet stockings, velvet dresses, tiny corsets, cone bras, and plastic accessories were primary materials utilized to create the costumes' provocative appeal  Jonel's costume, for example, is made of stretch vinyl and is airbrushed to create a semi-nude effect; her bright red wig is made of expanded foam  Faun has fur on his pants which is made from toothbrush bristles, human hair, and yak fur  Molinier's long velvet dress was created by using a stencil and net onto which black silicone was applied  Though some characters are made to look entirely nude, the sex organs are fake pieces  Zumanity had Cirque's most expensive and elaborate costumes, the Rose Boy's g-string alone costing $75,000 
For a great selection of character costumes and concept art, see Le Grand Chapiteau - Zumanity - Personages

The Human Zoo
The lobby was created in European style, with an emphasis on curves  A long lighting fixture on the ceiling looked to be made of many strips of golden silk  One of the walls was lined with what looked to be a burgundy, padded headboard  Along the headboard, there were peepholes that originally were conceived to show clips of erotic, vintage films, but eventually showed promotional posters of the show  There was a large window filled with blue swirls, and a glowing, golden fixture in the wall that seemed to resemble a labia  Another window with a frame that looked like branches or vines showcased the "Amsterdam Room," which had one of the performers in it, dancing and teasing the guests in the lobby  You could talk to the performer through a phone built into the wall  The lamps were elegant and attached to the wall by arms that looked porous  There was a small nook with a couch you could lay on, usually with one of the performers  The grand staircase leading to the balconies also looked to be made of vines, or even nerves possibly symbolizing the sense of touch 
The theatre had 3 bars, the Eroticafés: two on the ground floor and one upstairs  They served sushi and various drinks, the highlight being the Zumanitini  The Zumanitini was 1 oz  Vodka Citron, 1/2 oz  Cherry Pucker, and a splash of Triple Sec, Sweet and Sour, and cranberry  Next to one of the bars was a small stage that looked like someone's bedroom  You would always find one of the cast members beckoning to the guests from the bed  The restrooms were unique in that you would hear whispering and teasing at each station  Different from the other shows, Zumanity had multiple performers roaming the lobby, always ready to playfully flirt and take photos 
Entering the theatre itself, you'd find yourself in a cabaret, smaller and more intimate than the other resident Cirque du Soleil Las Vegas shows  The stage looked to be a marble parquet, with elegant, red curtains and two spiral staircases on either side  Above the stage was a bridge that the band played from, which could move up and down  Many chandeliers hung around the stage  The walls were lined with very dimly lit lamps  The carpet featured naked women in a style that looked similar to a Renaissance or Baroque painting  Around the back sides of the stage were barstools, and around the front circle of the stage were loveseats - special options on top of the normal theatre seating 
When the curtains opened, a giant structure called "The Wave" was exposed  These were two massive, wavey screens that images could be projected on  The screens could be moved into different positions 
The shop contained all sorts of novelties, from Zumanitini glasses to chocolate soap bars  Naturally, one could also find various adult-themed items 

The Show: 2003 - 2005
Animation
"Through a series of scene transitions, this comedic quartet supplies the counterpoint to all that is erotic and provocative about ZUMANITY  In a show filled with serious sexual tension, Spymonkey is a reminder of the importance of having a laugh at ourselves and having fun in the bedroom!"Spymonkey was composed of Toby Park, Petra Massey, Aitor Basauri Barruetabena, and Stephan Kreiss
Eliot Douglass plays a jazzy cabaret tune on the piano as the Molinier stands by with a cigarette  Zumans descend the spiral staircases to walk among the audience, with some stripping on stage  Luciene and Licemar Medeiros, twin sisters in showy French maid outfits, brush up against audience members in the aisles as they feed them strawberries  Antonio Drija, Zumanity's resident Gigolo, flirts with audience members, passes out calling cards, and takes polaroids  The Puritans, Spymonkey dressed up as Quakers, take to the stage protesting the show's obscenities, while ironically being a bit sexual themselves Welcome, "Hello boys, hello girls"
"Half-lit cigarette, empty martini glass, all these chicks lined up in a row on a street with no name in a city that never sleeps "
The Puritans are booted off stage  Joey Arias, our "Mistress of Seduction" madame, emcee and drag artist, sings a jazzy tune in her sensuous, smokey voice reminiscent of Billie Holiday  She then welcomes and warms the audience up for the coming show with laughs and very personal questions for the guests Warnings, "Rules of the House"
Lonnie Gordon, acclaimed dance, pop, and R&B singer, takes the stage, singing a song that highlights some things about the effects of the show that may surprise audiences, and what is prohibited  Eventually, Corinne Zarzour, Zumanity's rock diva, would join her Extravaganza
“Blaring horns and hammering drums announce the beginning of the fanfare  One by one the cast makes its fashionable entrance, parading down the catwalk in costumes every bit as vibrant, bold, and diverse as their spectrum of talents and personalities  It’s an incandescent introduction to the colorful cast of performers who will guide the audience on their journey into the world of ZUMANITY ”Wind and Wassa
"We summon the spirits of passion and hope "
"All at once a storm sweeps over the stage as Marcela [de la Vega Luna], Queen of the Wind, summons the spirits in a fevered flamenco dance  With smoldering intensity, her hypnotic trance stirs the soul, arouses the imagination and prepares the senses for an uninhibited transformation "
"Marcela awakens the unbridled passion in Wassa [Coulibaly]  Exploding into a vigorous African dance, her arms, legs and torso take on a primal energy of their own, flying erratically and erotically in rhythm to the intoxicating tribal pulse "Water Bowl
"Do you remember that first hint of something delicious and strange? Of water on parched lips? Or that very first glass of champagne? Do you remember how, in one magical moment, everything changed?"
"Abandoning their innocence, contortionists Gyula [Gyulnara Karaeva] and Bolormaa [Zorigtkhuyag] bathe in inhibition and taste love for the first time  Fluidly they glide through the water striking a sensual array of inconceivable poses to explore the limits of physicality, sexuality and creativity all at once "
Cirque's Amaluna would also showcase a water bowl act years later in 2012 Hoops
"Oh, innocence: so fleeting, so fragile  One day the sweet young thing, the next thing you know, you're soaking wet and lying naked in a hotel room in Vegas  Story of my life: 'what goes around, comes around '"
"Julia [Kolosova] brings to life the school girl fantasy  She gyrates and swivels as she guides her hoops up and down her lithe frame, ultimately engulfing her body  Then, without warning, the dream takes flight as she soars through the air performing daring feats of aerial choreography "
Julia hula hooped in midair while swinging around the theatre The Rose Boy
"I've been looking at all these beautiful, sexy, wonderful women up on stage tonight, and I know some of you are wondering, 'Where's the beef?' Does anybody want some roses?"
"Alex [Castro] peels away the tough exterior to expose his weakness    for the ladies  He tantalizes and teases the audience by revealing his chiseled body bit by bit in a sinfully seductive striptease "Pom Poms
Spymonkey comes out entirely nude (the privates were prosthetics) and teases the audience by covering themselves only by pom poms, which they remove to give quick flashes of their bodies  At one point, one of the members crawls over the audience's seats with his privates getting entangled in guests' hair Body2Body
"These days I live for the elicit tingle of skin on skin, the taste of sweat, and the pungent scent of passion  How about you? Are there parts of your lover's body you've left unexplored, untouched, untasted? Well, my only question is, "What are you waiting for?'"
"Sara [Joel] and Stéphan [Choinière] entwine in a tantric, hand-balancing duet that underscores the beauty of sex  Featuring a breath-taking array of Kama Sutra-inspired maneuvers, their act portrays the discovery of a lover’s body with dramatic strength, flexibility and trust "
The artists maneuver their bodies into various shapes, making living, human sculptures  Body2Body can be related to hand-2-hand, although it is done quite differently  The performers use their entire bodies to lift each other, and the act has high emphasis on choreography Expressions and Dislocation
Expressions: Interlude into Dislocation where the Fauna [Jesse Villa] breakdances on the stage 
Dislocation: "Limber Lothario, Moukhtar [Gusengadzhiev], performs on command for his sadomasochistic sirens, who derive pleasure from watching him squirm  Redefining flexibility, his elastic body bends, twists, and contorts into nature-defying positions that inspire both 'awes' and 'ows '"Dance on TV
"Gorgeous good girl, Elena [Gatilova], breaks out of her shell to grab her lover’s attention  Turning up the heat on love gone flat, she ignites the scene with her feminine wiles, sultry gymnastics and dance to rekindle the flame and make her lover see her again as if for the very first time "
This act features a television set in the middle of the stage, with multiple men watching the sports game playing on the set  Elena dances on the TV, trying to get their attention  Eventually she succeeds and the sports game turns to static  Zumanity's other female dances take the stage, and they all remove their tops and dance on chairs for the men 2Men
"Tumultuous lovers Patrick [King] and Johan [King Silverhult] tango in the throes of passion  Through their fierce choreography unfolds a love story between two deities, Love and War  Again and again they attract and repel in intense conflict until the magnetic energy between them becomes more than they can bear "
Patrick and Johan perform a violent dance in a cage, symbolizing fighting  They are sparring over Marcela, who dances in the background in a flamenco dress, egging them on  As the fight goes on, it becomes softer and more sensual, and the brilliant red light behind Marcela starts to grow smaller  The fighters eventually lose all focus on Marcela, give one big, passionate kiss, and walk off the stage together, to Marcela's great dismay Revenge of the Doll
Spymonkey reappears to shed their sexual inhibitions  One of them carries a sex doll onto the stage, preparing to have fun with it  He is chased by a few of the others dressed as policemen  When he comes back out, the doll comes to life to hump the audience members and the cast  Originally, there was also a segment where Spymonkey used gags to mock some of the previous acts, much like in Cirque's Dralion Savage Love, Market, Fire, and Aerial Straps
"Are you still hiding from monsters under your bed? Skeletons in your closet? Follow me to a place where rules are broken and pleasure dances with pain  Just be careful what you ask for    you might just get exactly what you deserve "
Market, part 1: First, arabesque music plays as the Boteros juggle dildos, Zumans flail in chains, and Jonel Earl dances with a whip  The interlude resembles a sadomasochistic circus  This act originally contained 2 pythons, Adam and Yves, some of Cirque's only animals ever used in its shows  This interlude would remain in the show until its closing 
Fire: Fire was only in the show for a few weeks, but it featured Heidi Good and Jila Alaghamandan in very showy S&M leather outfits as they performed a fire dance  Androgynous Cape ["Almukatab" Jacobo Espina] also danced with one of the snakes  This act was removed from the show because Guy Laliberté, Cirque's founder, did not want a fire act in the show  The smoke left in the air after the act also made it difficult for the Straps artist to perform 
Savage Love: It is unknown when exactly this act was in the show, but it is believed to be either the replacement for Fire or a back-up act  This act featured Vanessa Convery and Ugo Mazin violently dancing in the 2Men cage  See reference for a video of the act 
Market, part 2 (also called Inferno in press releases): "Pleasure dances with pain as ZUMANITY’s resident gigolo, Antonio [Drija], feels the wrath of the women [Jonel Earl, Laetitia Ray, Vanessa Convery, Sophie Ayache, and Agnès Roux] he has scorned  Captured by a militia of vixens in a barred prison cell he finds himself caught in the middle of rough-and-tumble romantic revenge "This act replaced either Fire or Savage Love, and was in the show until around 2005  There was also a version of it that used 7 men and 1 woman 
Straps: "Laurence [Jardin], alone on stage in fragile silence, is bound by her straps  An exercise in self-inflicted pleasure and pain, she uses the leather contraption to tease and torture herself  All the while she watches her bonds ease into auto-erotic aerial maneuvers  Scored by heavy breathing, gentle moans of ecstasy and the friction of her straps, Laurence’s self-satisfying bondage flight draws to a climactic finale "From 2005 and onwards, Market, referred to above as "part 1," would lead directly into straps S&M Hoedown
Spymonkey comes onstage dressed in S&M leather with various pain-inducing items  They do a hoedown dance while inflicting pain on themselves as a sexual stimulant Sheets and Tissus
Sheets: An opening interlude to Tissus," this is a short ballet where the dancers had silken, white sheets on their hands that they danced with 
Tissus: "Though he desperately tries to catch her attention, Alan [Jones Silva] passes unnoticed by the glamorous goddess Olga [Vershinina]  Finally, the once unattainable object of his affection is within arms reach as their two worlds entwine mid-flight in mesmerizing aerial dance "Midnight Bath
"Let your imagination have free reign  Let your fantasies take you to unexpected places "
"With the suggestion that you can’t keep love locked up in a bedroom, Vanessa [Convery] and Ugo [Mazin] give imagination free reign and let fantasy take them to unexpected places  Using milk as their medium they caress each other’s flesh in this luscious lactic sexual experiment "As the name suggests, this act was performed in a bathtub in the middle of the stage  The act was opened by another jazz number from Joey Arias: "Touch me, hold me, never let me go "Orgy, has been referred to in the show as Lazy Susan of Sex, Sex Station 69, Garden of Delights, and Zumanitarium
"The cast emerges from every orifice of the theatre in search of hedonistic prey  In duos, trios (and some flying solo), they assume a smörgåsbord of sexual positions on the Lazy Susan of Sex, where they touch, stroke, moan and embrace until the tension builds to an orgasmic conclusion "This is an audience participation segment  Antonio would lead two members of the audience onto the stage, usually one male and one female  Each would be given to a few of the cast members that would try to arouse them based on their sexual orientation  Antonio usually caressed and rubbed up against the female as the emcee would ask personal questions and make sexual innuendos  The emcee would then move on to the male and try to arouse him  If he was okay with it, his shirt and pants would be removed by the time the emcee got to him  Joey Arias would stick her microphone into his underwear and speak into it Pacemakers and Finale
"Bringing the show full circle, senior-most members of the cast, Birgit and Fleming [Thomsen], surprise the audience with an astonishing hand balancing adagio  Together they defy time and gravity with physical feats of strength, flexibility and control  This real life couple, married for over 48 years, is a testament to the enduring, everlasting nature of true love "
Birgit and Fleming were sitting in the audience and brought on stage as "guests," when in reality they were cast members and would break into acrobatics 

The Show: 2005 - 2015
There were various changes throughout 2005, from acts to costumes  The Body2Body artists left the show and the act was replaced by Hand-to-Hand  Spymonkey also left and the "Sexperts," Dick and Izzy, replaced them for the remainder of Zumanity's run  While Pom Poms stayed in the show through 2014 (and would feature Dick, Izzy, and the Boteros), all of the other clown acts were new  Pacemakers and Extravaganza would also be changed around 2006, when Extravaganza was moved to the end of the show and Pacemakers left permanently 

Dick and Izzy: "Zumanity’s resident sex therapists, Dick [Nicky Dewhurst] and Izzy [Shannan Calcutt] aim to please with their sexy and silly methods engaging the audience in a hilarious round of not-so-innocent repartee  The sexual tension runs high as Dick, a French sex merchant, peddles his wares, while Izzy, his wife!, searches the audience night after night for a boyfriend "Animation: Instead of the Puritans, Dick and Izzy come out dressed in 1950s-esque prom outfits  Both hit on various members of the audience and try to swing with the couples  They make sexual innuendos with bananas and fence with dildos 
Scotch Baggies!: Izzy pitches her new business - little plastic sandwich baggies that she fills with scotch (in reality, tea) to use instead of breast implants  She removes her top and has one of the male members from the audience hold the baggies to her breasts as she tapes them to herself  "You are not going to see this at the Celine Dion show "
Knives (possibly called Sex Toys): Volunteers from the audience is strapped to a board and blindfolded while tricked into thinking knives are being thrown at them 
Vegas Hook-Up (also referred to as Express Dating): Audience members are once again brought on stage  Dick and Izzy explain that it's better to forget all of the normal wooing on a first date and go straight for the bedroom  They teach the audience members how to turn each other on  Then, they make them get onto a bed and ride each other as they sink into the stage and silly string shoots up Hand-2-Hand
"In an aggressive but intimate hand-balancing duet, [Joanie Leroux-Côté] and [Nicolas Alain Michel Besnard] entwine in a powerful act with breathtaking acrobatic-inspired manoeuvres  Their flawless movements thrust the two kindred spirits into a provocative tale of lust "I Like It
Back-up act where Joey Arias would sing another jazz song 
"Oh, What a Feelin" may have also been sung more than during Joey's final performance Mistress of Sensuality, Edie
"Part showgirl, part cabaret queen, Mistress of Sensuality Edie [Christopher Kenney] plays hostess to your every fantasy  As the sun sets and desires come alive, Edie uses her signature blend of sass and sensuality to guide the audience through the erotic escapades that make up the world of Zumanity "
Joey Arias left the show at the end of 2007, and Edie became Zumanity's main emcee for the rest of the run Roue Cyr (Cyr Wheel)
"Jonas [Woolverton] is brought to the stage on his knees   A slave to love and forced to perform for his Mistress, he spins and turns inside his wheel while she cracks her whip  He is eager to please, even donning a blindfold for some of his tricks  One can only hope the pleasure is worth the pain he receives   "Handbalancing
"Dima ["Shine" Bulkin] is alone, going in circles around his pole  He has just about given up on love when he meets a lovely contortionist who seems to fit into his world  She brings him back to earth in this beautiful act "Chains
"Brandon [Pereyda] brings fantasies to life  He flies and defies gravity on his chains  Dreams take flight as he soars through the air, performing daring feats of aerial athleticism choreography and strength "
Though this act is associated with the refresh in 2015, Zumanity's 2012 b-roll shows this act being used  It was most likely a back-up or rotational act until it was made a main act in 2015 

The Refresh: 2015 - 2020
On January 20, 2015, a refresh of the show was introduced to the public in which roughly 30% of the show was changed from its original concept  Certain acts, including Hoops, Dance on TV, Pom Poms and  Tissus (in its original form) were retired  Entirely new acts included chains, Aerial Dream, and Perfect Jam  Tissus was changed into a solo act and the Rose Boy evolved into Magnum, mostly the same routine but the dancer became a secret agent  Yanis Marshall choreographed new dance segments throughout the show, and there are multiple acts in which men dance in high heels (including Wind, Perfect Jam and for a short amount of time, the 2Men act)  The show also features new and updated music, costumes, comedic acts, characters and artists 

Come Together
"All at once, a storm sweeps over the stage as three characters, Spirits of the Wind [Marie Ndutiye, Tiffany de Alba, Arnaud Boursain], summon passion, desire and lust in a fevered dance  With smouldering intensity, their hypnotic dance stirs the soul, arouses the imagination and prepares the senses for an uninhibited transformation "Magnum
"Look out, ladies, 'cuz here comes Magnum  He's an undercover agent, and it's no secret he's on a mission  Who's gonna share that special bond? Is it you? Catch him if you can "
"Magnum [Willie Hulett], our very special secret agent, peels away his tough exterior in a sensual mission for the ladies  He tantalizes and teases the audience by revealing his chiseled body bit by bit before showing off his secret weapon "Perfect Jam
"Let me entice you to unlock and unleash your inner diva "
"Gorgeous, and powerful, the dancers [Tiffany de Alba, Anouck Margueritte, Briana McKee, Marie Ndutiye, Kaitlyn Reese Davin, Leah Sykes-Hodgson, Monteece Taylor, Arnaud Boursain, Pepe Muñoz Martinez] invade the space to express and celebrate their female and male energy and unleash their inner diva  Turning up the heat, they ignite the stage performing a sultry and dynamic dance that will entice the imagination "Aerial Dream (also called M&M)
"Is there someone in your life that you lust for, long for, but the only safe place to rendezvous is in your dreams? You fall asleep and hope he's there again tonight  The best part? Nobody needs to know, not even the person right next to you, shhh   "
"One woman and one man [Marina Tomanova and Michael McNamara]  One bed  One airborne fantasy  She dreams about him, the intense secret object of her desires  They will meet and experience a magnificent, sensual and passionate performance  Dream or reality?"2Men
"2 men in a cage [Arnaud Boursain, Pepe Muñoz Martinez]  Through their fierce choreography, a passionate story of impossible love and anger unfolds  Again and again, they attract and repel in intense conflict until the magnetic energy between them becomes more than they can bear "As previously stated, the big thing that changed about this act was that the men danced in bright red heels and in an entirely new form of dance 
This was eventually changed into a wushu (sport) act with ninjas [Philip Sahagun and Wes Scarpias] Tissus 2 0
"Though he desperately tries to catch her attention, Alan [Jones Silva] remains unnoticed by Mariko [Muranaka], the musical muse whose beauty propels him to soar to new heights  Finally, the once-unattainable object of his affection is within arms’ reach, and their two worlds come together at the finale of this mesmerizing aerial dance "Body2Body 2 0
Used as a back-up for hand-2-hand, Stéphan Choinière returned to the show in 2017 and performed a new version of Body2Body with Tsvetelina Tabakova Solo Strap
A solo strap back-up act that was performed by Tsvetelina Tabakova from 2019 onwards Light
A comedic act with Dick and Izzy as they rave on the stage with one of the audience members Trapeze
Halfway around the world, his loved one is away  It's raining, and descending in his thoughts are the warmth of her love, the softness of her lips, the caress of her touch    It’s late, he’s restless and alone again tonight, and not knowing when they’ll be together again sends his emotions flying "
Arthur Morel van Hyfte's act in 2017  This used the bed and music from Aerial Dream and replaced the act for awhile 

Emcees
Main emcees
Mistress of Seduction, Joey Arias: August 14, 2003 to December 31, 2007
Raven O: August 14, 2003 to December 31, 2006
Mistress of Sensuality, Edie [Christopher Kenney]: Jan 1, 2008 to March 14, 2020Understudy emcees
Queen of Québec, Vanessa Convery: back-up for an unknown time, but she was in the show from August 14, 2003 to January 3, 2014
Señorita Extravaganza, Antonio Drija: back-up for an unknown time, but he was in the show from August 14, 2003 to January 3, 2014
AXLE Beaurouge [Brandon Pereyda]: May 1, 2017 to March 14, 2020
Pepe Muñoz Martinez: roughly 2014 to 2016
Pulga, Alan Jones Silva: July 18, 2016 to March 14, 2020Guest emcee
NeNe Leakes: June 27, 2014 to July 01, 2014

Characters
Mistress of Seduction/Mitzi la Bouche/Mitzi la Gaine/Mistress of Ceremonies - Joey Arias
Mistress of Sensuality, Edie - Christopher Kenney
Pulga - Alan Jones Silva as emcee
AXLE Beaurouge - Brandon Pereyda as emcee
Queen of Québec - Vanessa Convery as emcee
Señorita Extravaganza - Antonio Drija as emcee
Wind/La Muerte - Marcela de la Vega Luna
Dick and Izzy/The Sexperts - Nicky Dewhurst and Shannan Calcutt
Afrique/African Queen - Wassa Coulibaly
Ginger - Shereen Hickman as clown understudy to Izzy
Jane - clown understudy to Izzy
Jessica - Laetitia Dewhurst as clown understudy to Izzy
Rose Boy - Alex Castro
Spider Shadow - Dima "Shine" Bulkin
Magnum - Willie Hulett
Blue Robotica - Mariko Muranaka
Biker - Brandon Pereyda
Fauna - Jesus Villa
Athon and Arno Extravaganza/The Gods of Love and War - Patrick King (Athon) and Johan King-Silverhult (Arno)
Molinier (see Pierre Molinier) - Jonel Earl
Botero Sisters - Licemar and Luciene Medeiros
Casanova/Gigolo/El Siete - Antonio Drija
Miss Salsa - Agnès Roux
Mec Branché - Ugo Mazin
Mademoiselle Loup/Blue Blade - Laurence Jardin
Dominatrix - Jonel Earl
Ballerine - Sophie Ayache
Comet - Stéphan Choinière (originally called Ultraman during creation, after the Japanese super hero)
Romantique/Vixen Vanessa/Diamond Girl - Vanessa Convery
Scottish Fantasy - Alex Stabler
Tissu Star - Olga Vershinina
Airman - Nicolas Alain Michel Besnard
Androgynous Cape - "Almukatab" Jacobo Espina
Carol/La Catin - Elena Gatilova
Valentino
Bunny Girl
Lothario - Moukhtar Gusengadzhiev
Roadrunner - Jerónimo Garcia-Cabral Medina
Illusia and Illaria
Queen of Barbare - seems to be Jila Alaghamandan

Music
The studio album for Zumanity was released on March 22, 2005, under Cirque du Soleil's music label  This is an "inspired by" album containing music that was not actually used in the show and was very loosely based on the live music  This is similar to the songs If I Could Reach Your Heart, We've Been Waiting So Long, and Reach for Me Now on the KÀ album  The CD does not feature Zumanity's musicians, although it does contain the voice of Joey Arias and that of Anna Liani, who worked with Zumanity's composer, Simon Carpentier, on the show's music and wrote the lyrics to Mio Bello, Bello Amore  She also sings Mio Bello, Bello Amore on Cirque's Midnight Sun DVD  The music on the album is mainly a collaboration between Simon Carpentier, Robbi Finkel, and Robbie Dillon 
A promotional album entitled Foreplay was included with the original program  It was released on July 31, 2003, and contains select work-in-progress songs from the show's creation period  The program was last sold around 2005, and this album is now considered a collector's item  Four other work-in-progress songs were released on Zumanity's website in 2003, all completely different from anything used in the show, although one of them was quite clearly an early version of Wind 

Names for live music:

Zumanity Tango (2Men, 2003-2020)
Sex Is Beautiful (Body2Body, 2003-2005; Body2Body 2 0, 2017-2020; Hand-2-Hand, 2005-2020)
Love Myself (possible name for Straps, 2003-2020)
Girl Attitude (Cyr Wheel, ?-2018)
Libera me (Hoops, 2003-2015; Aerial Dream, 2015-2020; Trapeze, 2017)
The tune to this song was changed from 2015 onwards 
I Like It (Rotational act sung by Joey Arias and possibly Raven O, 2005(?)-2007)
What a Feelin’ (Act sung by Joey Arias during her final performance on December 31, 2007)
The Rose Boy (Rose Boy, 2003-2015; Magnum, 2015-2020)
My Erotic Lounge (Scotch Baggies!, 2005-2020)
Major-Minor (Welcome, 2003-2007)
Wind (Wind, 2003-2015; Come Together, 2015-2020)
Mio Bello, Bello Amore (Pacemakers, 2003-2006(?); Handbalancing, 2010-2018; Solo Strap, 2019-2020)
Disco Alan (Tissus 2 0, 2015-2020)
The opening of this song contains an instrumental medley of Wind and Mio Bello, Bello Amore 
Into Me (Chains, 2012(?)-2020)
Water Bowl (Water Bowl, 2003-2020)
Perfect Jam (Perfect Jam, 2015-2020)
First Taste (Water Bowl opening, 2003-2020)

Vocalists
Emcee
See the Emcee section above for a list of the hosts of the show  The emcee sang Major-Minor for Welcome, Midnight Bath, Sex Is Beautiful, the Rose Boy, and I Like It from August 14, 2003 to December 31, 2007  From 2008 onwards, the emcee only sang during the Rose Boy and Sex Is Beautiful  The songs sung by the emcee are mainly in the jazz/cabaret genre Hip Hop Singer
Kinnie Starr: August 14, 2003 to September 2003
Little is known about this period in Zumanity's history, but Kinnie may have sung some of the rock singer's songs for acts like Dance on TV and Water Bowl R&B/Soul Singer
Lonnie Gordon: August 13, 2003 to December 31, 2006
Debbie "Divine" Davis: January 2007 to December 31, 2007
Paris Red: January 1, 2008 to March 14, 2020
Cassiopée: August 2017 to December 2017
Cassiopée also sang as a back-up for both the R&B and rock roles, depending on which one was needed, during 2016 to 2020 Rock Singer
Corinne Zarzour: October 3, 2003 to January 2004; September 2004 to March 14, 2020
Nathalie Noël: January 2004 to September 2004
Laur Fugère: 2004; 2006Backing Singer
Geneviève Dubé: August 14, 2003 to March 14, 2020
Melle Vasquez: August 14, 2003 to March 14, 2020
Anne Charbonneau: August 14, 2003 to December 2008

Original Musicians
Anne Charbonneau (bandleader/accordion/keyboards/keyboard programming) - August 14, 2003 to December 2008
Jean-François "Djeff" Houle (assistant bandleader/bass/programming/laptop fx) - August 14, 2003 to 2006(?)
Jean-François Blais (clarinet/flute/soprano and tenor saxophone/percussion) - August 14, 2003 to March 14, 2020
Jean-François Thibeault (trombone/percussion) - August 14, 2003 to June 2009
Larry Aberman (drums/percussion/programming) - August 14, 2003 to October 31, 2019
Melle Vasquez (guitar/percussion/banjo) - August 14, 2003 to March 14, 2020
Geneviève Dubé (vibraphone/violin) - August 14, 2003 to March 14, 2020
Eliot Douglass (piano) - August 14, 2003 to October 31, 2019
Lonnie Gordon (percussion) - August 14, 2003 to December 31, 2006
Sébastien Jean (flügelhorn/trumpet) - August 14, 2003 to October 31, 2019
Passage 4:
Mystère (Cirque du Soleil)
Mystère (French: [mis tɛʁ], mee-STAIR, "mystery") is one of six resident Cirque du Soleil shows in Las Vegas, Nevada  Held in a custom theatre at the Treasure Island Hotel and Casino, the show was first performed on 25 December 1993, making it the company's longest running show  As with many Cirque du Soleil productions, Mystère features a mixture of circus skills, dance, elaborate sets, opera, worldbeat music, and street theatre-style comedy  Featuring a musical score composed by René Dupéré and Benoît Jutras, the show was created under the direction of Franco Dragone 

History
The idea for Mystère started around 1990  It was originally planned for Caesars Palace with a theme based on Greek and Roman mythology  The plan, however, was scrapped by the casino executives, who thought the project would be too financially risky  Mystère was very different from the typical material they were used to in a Las Vegas show  According to Mystère set designer Michel Crête, "Vegas    was still very influenced by Folies Bergère, with the scarves, feather boas, etc  There was a European culture already in place, oddly enough, not an American one  The people who opened the door for something new were Siegfried and Roy  They were the first to move away from the Folies Bergère thing "
Treasure Island picked up the show three years later  Mystère was their first show that would have its own theater, rather than touring with a circus tent   Mystère would have a permanent base in Las Vegas  They worked with Mirage Casino-Hotel to produce a show 
Recent milestones Mystère has achieved include:

Mystère celebrated their 20th anniversary on 25 December 2013  
Mystère celebrated their 10,000th show on 27 December 2014 
Mystère celebrated their 11,111th show on 17 May 2017 

Set and technical information
The theater is a unique theater built in the Treasure Island Hotel and Casino specifically for the show  The design of the theater was created by Michel Crête and that of Montreal-based team of Scéno Plus  This theater seats 1,541 audience members  The stage measures 120 feet by 70 feet deep and covers approximately 10,032 square feet  The stage floor is made of a layer of Base Mat, which is rubber made from recycled old tires and sneakers  This helps give the stage some bounce for tumbling  This is held together by polyurethane adhesive and covered with thousands of gallons of liquid that dries onto the surface  The Downstage D Lift is 36 feet in diameter and includes a 28-foot revolving stage  The revolving stage rotates up to 10 revolutions per minute  Props, equipment, and performers are elevated to stage level from the basement or trap by four moving lifts  These moving lifts were constructed in Montreal and then assembled in Las Vegas, NV The snail seen growing larger throughout the show is called Alice  By the end of the show, she is a giant inflatable puppet controlled by four puppeteers from the inside  The puppeteers move her around by following markings on the floor, since they can not see outside the puppet  They also control her eyes, torso, and tail The taiko drums in Mystère are created by the Japanese company Asano Taiko, located in Mattō, Ishikawa Prefecture  The largest drum in Mystère is the ōdaiko, which is 6 feet (1 8 m) in diameter and 15 feet (4 6 m) in length, and weighs half a ton  Due to the large size of the drum, it had to be brought into the theatre during construction  Since the completion of the theatre the drum can not be removed, as no door is large enough to accommodate it 

Characters
The cast of Mystère comprises a myriad of fantastic and mysterious characters  All this information was confirmed by Mystère's artistic director from 1995 to 2001: Pavel Brun 
Inti X & Y (Spermatos/Spermatites): A comic chorus representing the seeds of life 
Red Bird: Convinced he can fly  According to Pavel Brun, he is the main character in the entire narrative of Mystère's universe 
Les Laquais: The "lackeys" of Mystère who serve and support others  They perform in the Korean plank act 
Brian Le Petit: A troublemaker who steals people's popcorn and causes chaos both onstage and off  (2000–present)
Chanteuses Plumes: A duo of muses who sing the emotion of all humans 
The Firebirds: Along with the Double Faces, they perform the Chinese pole act 
Les Bébés: Two enormous babies on a quest for nourishment  There's Big Baby (also known as Bébé François) and the Baby Girl  There was a third baby for a short period, similar to Francois, who was a part of the original 1993 cast, until his eventual removal in Mid-1994 
Egon Egli: A strange, lanky, bespectacled youth who rides across the stage on his bicycle  No longer in the show 
La Vache à lait: Protector of youth and a symbol of fertility  When he sounds his horn, it heralds a new beginning 
Moha-Samedi: A man in pink, named after the first day of the new millennium  He is the narrator no one listens to, he was originally portrayed by Canadian actor Paul Ahmarani and later by Lorenzo Pisoni 
La Belle: Afraid of ugliness, she seeks to avoid pain at all costs 
Black Widow: The antithesis of La Belle  She represents a praying mantis who destroys the illusions and dreams of her victims  Originally portrayed by Katie Renauld
Birds of Prey: These unpredictable birds soar and fly throughout the world of Mystère  They are graceful, yet aggressive when hungry  Originally portrayed by Lejdka Zievert and Mark Ward
The Frog: Creepy characters witness to the strength of birth and time 
The Green Lizards: Mischievous and skittish chameleons  There is the Male Chameleon and the Female Chameleon (who are not present in the show anymore)  The Male Chameleon was originally portrayed by Karl Baumann
Double Faces: These two-faced creatures perform in the Chinese pole act 
Les Palmiers: Out of a purple-blue mist, these tropical ladies float by 
Deus ex machina: The machine that regulates the existence of everything 
The Tribe (Les Pagnes): The primitive, tragic ghosts of modern humanity  They descend from the skies to provide the earthly beat of our journey  They welcome us, and they bid us farewell  They perform in Taïko
Monarch Bird: A male bird introduced in 2022 as backup dancing character 
The Prince of the Darkness: The prince of the dark side of Mystère, performed by Miguel Godreau from 1993 to 1994; he left the show for health reasons and is no longer in the show  Left before the premiere due to complications from HIV  He was originally part of the group of dancers containing La Belle, Birds Of Prey, Green Lizard and Black Widow 
La Banane: A yellow creature with a large, bulbous head that performed with some artists from 1993 to 1995; no longer in the show  originally appeared on the Net-Up set, before Flying Trapeze 
The Shaman: A mysterious man who creates the sounds of the world; no longer in the show  Originally portrayed by Luis Perez
Bungee Warrior: A duo of muscle men able to fly in the air 
The Jugglers: A trio of jugglers that performed the Manipulation act from 1993 to 1995; no longer in the show 
The Cube Man: Exhibiting great strength and courage, he captures the attention of young souls in search of wonder ; no longer in the show  Originally played by Mikhail "Misha" Matorin, and later Paul Bowler
The Mountain Man: An archangel who is ready to sacrifice everything  Originally known as Gabriel reffereing his archangel statut 
Mephisto and Vénus: Part of the Giants race, they are thwarted, twisted creatures  Their presence wreaks havoc in any domain  Together they want to create chaos and destroy the balance that exists within the world of Mystère 
The Giants: A gentle race with feathers and long legs  There's the happy-go-lucky Pumpkin Giant, the grumpy Fly Giant, the magnificent Giraffe Giant, the rare Plume Giant (no longer in the show) and the Egg Giant, a delicate interior inside a protective shell 
Stas Greyner: a kind of playful dwarf  Performs handbalancing since 1998 
The Medusa: A long-appendaged creature that was part of the original cast between 1993 and 1995; no longer in the show  Appeared among the smoke and disappeared among the shadows, performed during the Net-Set Up 
The Wheel Rider: A slightly tattered man who performed the German Wheel act from 1995 to 1997; no longer in the show  Originally played by Wolfgang Bientzle
The Green Man: A curly-horned creature similar to a Satyr that was part of the cast from a short period in 1997, no longer in the show  Originally portrayed by Guennadi Tchijov 
Tony: A living doll that was part of the original cast between 1993 and 1995, Originally portrayed by Tony Manducas; no longer in the show 
 The Zucchinis: Two inflatable marionettes only used in the Net Set-up for the original trapeze act; no longer in the show 
The Egg: An egg-like creature who appeared sometimes during the Overture and Bungee acts from 1993 to 1995; no longer in the show 
Alice the Escargot: An enormous snail  Born from a spring rain, carrier of the souls of the ancestors and herald of the future 
The Bungees: Like majestic birds in flight, the Bungees dive fearlessly through the air, creating images of unison and separation 
Benny Le Grand: Mystère's original clown, a mad professor-esque character who was more dark and bitter  He would often cause mischief either by whacking one of the Spermatos with a drumstick, throwing a loaf of bread at the red bird, drenching people with bottled water, interrupting the show as an impromptu tour guide, throwing around silver dollars, popcorn, and women's purses, harassing ticket holders, discouraging guests from seeing the show, or kidnapping an audience member and driving them around in a golf cart  (1993 - 1995, 1996 - 2000)
Alex El Sobrino: Benny Le Grand's Spanish nephew, who was slightly more refined in personality  (1998 - 2000)
Alfredo et Adrenaline: A comedic duo of clowns who had previously appeared in Le Cirque Reinventé's European tour, and the special Zirkus Knie show  They often bickered with each other while trying to entertain the audience, from Alfredo trying to perform as a mime, to the two of them throwing paint at each other while trying to perform a song, but they soon literally kissed and made up  (1995 - 1996)

Acts
Mystère features several acrobatic acts, supplemented by clown acts and transitional scenes that advance the storyline 
Aerial Straps Duo (2017 – present): A pair of aerialists performs twists and turns as they fly over the stage 
Chinese Poles and Hand Balancing (2012–present): A group of acrobats climb up, jump between, and slide down four adjacent metal poles while an acrobat contorts into poses on two balancing canes on a platform above the Chinese poles 
Hand-to-Hand (1993 – present): Two artists perform an exhibition of strength and stamina on a rotating dome 
Bungee (1993 – present): A group of artists bounce and swing from the ceiling to the ground and back on bungees 
Teeterboard and Power Track (2017–present): Artists perform a combination of these two skills 
Taiko (1993 – present): A group of artists perform powerful rhythms on Japanese taiko drums 
Flying trapeze (2012 – present): Unlike the original version where two separate trapeze towers were surrounded by a platform on one side and an aerial cradle on the other, the current version has a platform on either side  Each trapeze tower now has two trapeze bars swinging beside each other  The act and music were originally from Zed (a resident show at Tokyo Disney Resort) which closed in 2011 

Reserve acts
Aerial Straps (1994, 2002 – present)On reserve for the aerial straps duo; features a single artist on straps with the Black Widow or La Belle performing choreography on stage 

Retired acts
Manipulation (1993 - 1995)
Flying Trapeze (1993 - 1995)
German Wheel (1995 - 1997)
Dual High Bar (1996 - 2012)
Flying Man in Silk (1997)
Aerial Cube (1996, 1998 – 2015)
Chinese Poles (1993 - 2011)
Trampoline, Fast Track, and Korean plank/Teeterboard (1993 - 2017)
Aerial Straps and Cube (2016 – 2017)
Aerial Silk (2012 – 2017)

Acts used in the film Cirque du Soleil: Journey of Man (2000)
Taiko
Aerial cube
Aerial straps

Acts used in the film Cirque du Soleil: Worlds Away (2012)
Aerial cube

Costumes
Dominique Lemieux took inspiration from nature to create the colorful costumes of Mystère  One such costume is the Firebird, which has red feathers and accents that give the impression of embers flying through the air  The odd-looking Spermatos and Spermatites are dressed in elongated costumes which bulge in the center and have a tendril-like feature on the head  To give the characters an organic nature, spandex/lycra was used in conjunction with fringes and borders 

Music
The original score of Mystère was composed by René Dupéré, who had composed all of Cirque du Soleil's earlier shows, including Nouvelle Expérience and Saltimbanco  In 1994 the show's music was released as a studio album featuring the vocals of Canadian singers Élise Gouin (now known as Élise Velle) and Nathalie Gauvin 
In 1995 the show underwent an artistic overhaul, including changes in the lineup of acts  The "Manipulation" act was replaced by the "Aerial Cube", the Flying Trapeze act by the Aerial High Bars (the Flying Trapeze returned in 2012), and the Acro Net setup dance act was excluded from the show  At the same time the musical score was renovated with assistance from Benoît Jutras, a longtime music director and arranger for Cirque who later went on to compose for Quidam and other Cirque shows  The result, captured in the album Mystère: Live in Las Vegas, was a score that reflects the diverse compositional styles of both composers   Mystère: Live in Las Vegas is a live, in-house recording of the new score, featuring Nathalie Gauvin and Wendy Talley on vocals; the album was released on November 12, 1996  After the release of the live album, the music was rearranged and altered once again  While the album resembles the current live music closely, it is not identical  For the celebration of the 25th anniversary of the show in 2018, a vinyl album specifically dedicated to the employees was created in limited quantities, just as it was done for the show Alegria in 1994 and Saltimbanco in 1997 
Below are the track lists for the 1994, 1996 and 2018 Mystère soundtrack albums  Acts are listed next to the songs they have accompanied in the show 

Songs not appearing on either album:

Alice (Ending, 1993 - 1995  Updated version of song right after "Finale," 1995 - present)
Benny (Clown act, 1996 – present)
Mime (Clown act, 1995 - 1996)
Bolero (Clown act, 1995 - 1996)
Benny Le Grand (Clown act, 1993 - 1995)
Cercles (German Wheel, 1995 - 1997)
High Bar II (Dual high bar, 2010 - 2012)
Avos (Bungee, 2022 - Present)
Hell/Angel (Dei ex machina, 1993 – present)
Rampant (Chineses poles Exit)
Nouvel Envol (Aerial cube, 2015 - 2017) (Solo Aerial Straps, 2015–present) (Duo Aerial Straps, 2017 - 2018)
Love Over (Duo Aerial Straps, 2018 - present)Vocalists
Singer 1

Nathalie Gauvin: Dec 1993 - Dec 2005
Jeannette D' Armand: 2000 (temporarily replaced Nathalie Gauvin)
Mirjana Milovanovic: Jan 2006 - Jul 2007
Sarah Boucher: Jul 2007 - Sep 2009
Silje Marie Norderhaugh: Sep 2009 - Jan 2013
Anna Bille: Jan 2013 - Dec 2014, Oct 2017
Kailee Ann: Dec 2014 - Aug 2017
Mackenzie Thomas: April 2018 - PresentSinger 2

Elise "Gouin" Velle: Dec 1993 - Sep 1994
Wendy Talley: Sep 1994 - Dec 1997, 1998 (temporarily replaced Chantal Hamel)
Chantal Hamel: Dec 1997 - Jul 1999
Stacey Beth Sanford: Jul 1999 - Dec 2000
Dina Emerson: Jan 2001 - Jan 2002, Apr 2007 - Jun 2017
Rochelle Collins: Jan 2002 - Jul 2003, Oct 2003 - May 2007
Briana Rossi: Jun 2017 - July 2021
Brittany Mae: July 2021 - PresentSinger 3

Luis Perez: Dec 1993 - Jul 1996

In popular culture
Mystère was a featured guest performance on Lopez Tonight, airing December 20, 2010  The featured acts included the hand-to-hand and aerial cube acts 
In the film Knocked Up, the main characters watched Mystère 
In the webseries Dorm Life, the character Courtney Cloverlock, a huge Cirque du Soleil fan, has posters of both Mystère and Love by her bed 
Yuji Naka, creator of the video game Nights into Dreams…, has cited Mystère as an inspiration for the game 
Mystère did a performance collaboration with alternative rock band Imagine Dragons for the Life is Beautiful Festival 
Passage 5:
O (Cirque du Soleil)
O is a water-themed stage production by Cirque du Soleil, a Canadian circus and entertainment company  The show has been in permanent residence at the Bellagio in Las Vegas, Nevada, United States, since October 1998  O, whose name is pronounced the same way as eau, the French word for "water", takes place around and above a 1 5-million-US-gallon (5,700 m3) pool of water  It features water acts such as synchronized swimming as well as aerial and ground acts   The O theatre, which is designed to resemble a 14th-century European opera house, has 1,800 seats, thus allowing the performance to be watched by 3,600 people a night since the performance usually plays twice in a given day, also designed to meet the special demands of the show O was inspired by the "infinity and elegance of water's pure form," which pays tribute to the beauty of the theatre  A group of 150 stage technicians assist in the production of the show, the cast of which is 85 performers: international acrobats, synchronized swimmers, and divers  Some of them are former Olympic athletes 

History
Since late October 2010, Cirque du Soleil has offered backstage tours of the O theatre  The experience allows visitors to see the backstage wings, training rooms, costume workshop, break area, underwater lighting area, and go up to a catwalk into the sound and lighting booths   Not every experience 
will be the same as the tour is conducted around a "regular day", so performers may or may not be training, rehearsing, or even working out As of early 2011, O has grossed over a billion dollars since the show opened in 1998 O has received many awards, including the following:

Entertainment Design Award, best production show, 1998
Las Vegas Review-Journal, best production show, 1999–2006
THEA, live show category, 1999
Prix Italia, creativity in high definition, 2009, for the documentary FlowO had its 10,000th performance on 1 September 2019 

Set and technical information
The show has a cast of 85 acrobats, synchronized swimmers and divers performing in and above a 1 5 million-gallon pool  When maintenance needs to be performed, the pool is drained in about 12 hours to the Bellagio Lake, causing the lake's water level to rise 1 inch (25 mm)  The pool is kept at 88 °F (31 °C) and has an underwater speaker system and regulators that allow performers to breathe underwater  Every member of the cast is scuba-certified 
The underwater stage lift was produced by Handling Specialty   In order for the platform stage to rise and fall in the water without a wake, the rubber surface of the stage is perforated Cold air vents under each seat help control the theatre temperature for the audience  The goal is to maintain two temperature zones in the theatre: the stage is kept at a higher temperature of 84 °F (29 °C), while the audience area is kept at a lower temperature of 72 °F (22 °C)  A mesh false ceiling allows warm moist air to escape out of the top of the theatre To minimize damage to the musical instruments, the musicians play from glass enclosures in the theatre  Some of the musical instruments used in the show are more than 100 years old  The unique string instrument heard in the soundtrack of O is an erhu, a traditional Chinese bowed string instrument 
To maintain a fresh look on the performers, some performers have multiple sets of costumes so they may reappear dry despite having been in the water   Some of the costumes only have a lifespan of approximately 20 shows due to the bromide and chlorine in the water Additional facts about the show:

Some of the props function as boats, like the umbrella that Le Vieux rides on the water 
There are 15 technicians underwater during the show, performing various tasks such as artist handling and props manipulation 
The horses that the Comets ride in the show weigh 900 pounds (410 kg) 
The clown house weighs over 7,000 pounds (3,200 kg) 
Hanging 49 feet above the stage, the carousel and téléphérique (a conveyor system) carry tons of equipment as well as performers during the show 
Most of the props that are used during the show are actually driven by the Performers who ride them   For instance, the carousel horses have a small propeller underneath their tails; they are controlled by a joystick located on the back of the horse 

Costumes
Costumes for O drew inspiration from many sources: commedia dell'arte, the Baroque, India, the Arabian Nights, as well as Venetian courtly fashions   The costumes' silhouettes are defined by the design and are accentuated by the transparency of the selected materials and fabrics   Many costumes' base design are leotards which are then expounded upon: this includes the Zebras and Flayed Ones, among others   The Flayed Ones' leotards, for example, originally had hand-painted muscles on them, as digital screen-printing was inaccessible at the time of creation   Another special attribute critical to costumes in O is their treatment to help withstand the water and chemicals in it   To achieve this feat, roughly 40% of the costumes have been applied with a specific type of silicon sizing   In addition, the materials chosen are more durable and had to be able to both mould to the performer's body and dry quickly  Over the years the best fabric found for the costumes has been nylon mesh, which performs well either wet or dry Additional facts regarding the costumes:
A separate room was built with timed heaters and fans to air-dry many of the costumes which cannot be tumble-dried 
Sixty loads of laundry are done nightly to wash the costumes which can be machine washed 
The swimmers' costumes are replaced every 3 months 
The Comets' costumes last for a full year 
All wigs and headpieces had to have chinstraps added 

Music
The music of O was composed by Benoit Jutras and features a mix of classical Western and world instrumentation, including Chinese violin (erhu), bagpipes, African guitar and harp (kora), Colombian guitar, cello, ancient woodwinds and a wide variety of percussion instruments  During the show, the score is performed by a live band situated behind glass walls above and to the side of the stage  The glass protects the musicians' equipment from moisture damage 
O's music was recorded at the Bellagio and released on November 24, 1998  (ASIN B00000FDJZ) The album was re-released on September 6, 2005  (ASIN B000A2H9WU) The songs are listed below with their corresponding act in parentheses Album track list (and acts in the show accompanied by each song):

Jeux d'Eau (Solo and duo trapeze)
Mer Noire (Barge)
Tzelma (Interlude from bateau)
Africa (Interlude from clown act 1)
Remous (Bateau)
Svecounia (Interlude from contortion, cerceaux)
Nostalgie (Intro to russian swings)
Simcha (Character parade, Russian swings)
Gamelan (Contortion)
Ephra (Flying man and cadre)
Désert (Opening, nage, solo and duo trapeze)
Terre Aride (Fire)
O (Finale)Additional songs in the show not included on the album:

Danse (Clown act 2) (2001-present)
Debbie (Journey of Man) (Washington/solo trapeze)
Festival (Interlude from Fire)
Sur Terre (Clown act 2) (1998-2000)
Plouf (High dive)
La Glace (Clown act 1) (1998-2000)
Reda Ver 1 (Opening) (1998-2000)
Reda Ver 2 (Opening) (2001-present)
Confluence (Interlude from Cerceaux)
Merou (Washington trapeze) (1998 only)
Nenuphar (Intro to contortion)
Robinet (Clown act 1) (2001–present)
Humoresque No  7 Opus 101 (Opening Interlude) (1998-2000)
Aurora (Opening Interlude) (2001–present)

Filmography
In 2007, Cirque du Soleil released the film Flow (A Tribute to the Artists of "O")   The documentary was filmed in the O theatre and by the Colorado River   The film shows certain artists performing out around the river as well as on stage and provides information on the necessary technical equipment used to produce the performance   Bonus features of Flow include: performance clips, Russian swing act, technical information and film below the surface of the O pool, and information about the creation of O itself In 2009, Flow won the Prix Italia award for the category of Creativity in High Definition The following acts were used in Cirque du Soleil: Worlds Away:

Synchronised swimming
Bateau
Fire
Duo trapeze
Contortion
Aerial hoops
Passage 6:
Le Rêve (show)
Le Rêve ("The Dream") was a stage production in residence at the Wynn Las Vegas casino resort  It was the only Las Vegas show set in an aquatic theater-in-the-round stage (>1 million US gallon (water capacity)  The show featured diving and feats of strength with special effects, including fire effects  No seat is more than 40 feet (12 m) from the stage   The production was originally created by Franco Dragone but has been substantially revised over time  The show featured more than 90 performers and 250 cast and crew members Each member of the cast must become SCUBA-certified before performing in the theater  In January 2018, Le Rêve completed a two-year reimagination of the production  The show now features all-new costumes designed by Suzy Benzinger, choreography by Marguerite Derricks, music by Benoit Jutras and lighting design by Jules Fisher and Peggy Eisenhauer  In April 2019, the show was voted “Best Production Show” by the Southern Nevada Hotel Concierge Association for the ninth consecutive year 

Show
While the show is continually revised over time, the central theme includes a female lead who see-saws back and forth between her dueling desires for love and passion, mind or body, as she finds herself attracted to two men  Put into a dream world to help her decide between the two suitors, she embarks on a mystical journey  The show concludes with what the production calls "a graceful and inspirational scene "The show includes dancing, swimming, gymnastics, diving and stunt performances, aerial performance and trained dove flights  During the production run, two of the athletes playing romantic leads fell in love themselves  Olympic athletes and notable gymnasts have joined the cast over the years 

History
The show had its world premiere on May 6, 2005 All rights to the show are owned by Wynn Las Vegas, so the resort is able to adapt the show at will  Le Rêve celebrated its 3,000th performance in January 2012   The show celebrated its 12th anniversary in the summer of 2017 and has performed approximately 5,700 shows  Le Rêve celebrated its 6,000th performance in May 2018 
The House of Dancing Water, has some similarities to Le Rêve and O by Cirque du Soleil The cast and crew of “Le Reve,” the signature production at Wynn Las Vegas since the hotel opened in 2005, were placed on furlough May 28, 2020  The first large-scale Las Vegas production show to permanently close due to the coronavirus pandemic is one of the most acclaimed performances to ever hit the Strip  Wynn Las Vegas confirmed “Le Rêve” has shuttered for good after more than 6,000 shows over the last 15 years 

Honors and awards
Media history
Six performers from Le Rêve were the models for the season finale of Face Off, aired on SyFy on March 26, 2013   They also performed an act in the make-up, complete with full immersion and dives into the water 
Le Rêve was featured on an episode of the Fine Living series What Makes it Tick, produced by NorthSouth Productions 
Cast members from the show performed on a results episode of NBC's summer hit America's Got Talent in 2010 
Cast members were also featured in the music video for the single "Only the Young", by Brandon Flowers 
32 performers from Le Rêve staged a "surreal, elaborate montage of scenes" from the show as part of the 2010 Latin Grammys at the Mandalay Bay Events Center in Las Vegas  The event was broadcast live on Univision 
Cast members and the show were featured on the first episode of Somebody's Gotta Do It with Mike Rowe on CNN 

Theater and Facilities
The show take places in a unique aquatic theater-in-the-round  The swimming pool has a capacity of more than 1 million US gallons with its deepest point at 27 feet  Performers climb to heights of more than 80 feet above the water before diving straight down  Public estimates of the cost of the theater itself were up to $75 million for the original construction, not including later renovations such as 180-speaker surround sound Two significant curtain effects have been used, including a 24-panel canopy that takes more than an hour to reset for the next show In 2008, a VIP seating area was added to the theater   In 2015, an additional 172 fountains, 120 LED lighting fixtures, and 16 fire-shooting devices were added by WET Design   Current capacity is 1,600 per show, not including an underwater SCUBA viewing area that is sometimes available for VIP guests 



ground_truth: O

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What type of structure does 277 Park Avenue and 126 Madison Avenue have in common?

The following are given passages.
Context 3: 's spiritual principles have come   Sam is one of the great channels, one of the prime sources of influences that have gathered themselves into what is now A A "
In 1976, facing financial difficulty, Calvary parish merged with the nearby parishes of St  George's Church and the Church of the Holy Communion   The Holy Communion buildings were deconsecrated and sold to pay down the debts of the new combined parish, eventually becoming the Limelight disco, and the remaining two churches continued to operate as Calvary-St  George's Parish  Calvary House is now rented out as offices 

Notable people
Notable clergymen, parishioners, and others associated with Calvary Church have included:

Chester A  Arthur (1829–1886) – The future 21st President of the United States was married to Ellen Lewis Herndon in Calvary Church on October 25, 1859 
John Jacob Astor III (1822–1890) – Astor, a parishioner who married Charlotte Augusta Gibbes in Calvary Church on December 9, 1846, was a financier and philanthropist and the father of William Waldorf Astor, 1st Viscount Astor 
Alva Belmont (1853–1933) – Alva Erskine Smith married William Kissam Vanderbilt at Calvary Church on April 20, 1875, in what was "reported as 'the grandest wedding witnessed in [New York City] for many years '"  Their only daughter was Consuelo Vanderbilt   After the death of her second husband, Oliver Belmont, Alva Belmont became a major figure in the women's suffrage movement 
Charles Loring Brace (1826–1890) – A parishioner and a prominent social reformer, Brace is considered a father of the modern foster care movement and was most renowned for starting the Orphan Train movement of the mid-19th century and for founding The Children's Aid Society; he is commemorated in a window in Calvary's chapel 
Benjamin Brewster (1860–1941) – After serving as a vicar at Calvary (1887–1891), Brewster was consecrated Missionary Bishop of Western Colorado and Bishop of Maine 
Arthur Cleveland Coxe (1818–1896) – Coxe, who became rector of Calvary in 1863, was consecrated as the second bishop of Western New York in 1865 
Rebecca Salome Foster (1848–1902) – missionary/prison relief worker known as the "Tombs Angel" because she attended to criminals incarcerated at the New York Halls of Justice and House of Detention (otherwise known as "The Tombs")  At her February 1902 funeral "All of the court officers of the Courts of General Sessions the Criminal Branch of the Supreme Court and the Court of Special Sessions attended "
Archibald Gracie IV (1858–1912) – American Army Officer and Titanic Survivor  Calvary was the scene of both his marriage and his funeral 
Henry Wellington Greatorex (1816–1853) – English-born organist at Calvary whose setting for the "Gloria Patri" is widely used to this day in Protestant denominations for the singing of the doxology 
Calvin Hampton (1938–1984) – Calvin Hampton, a leading American organist and sacred music composer, served as Calvary's organist and choirmaster from 1963 to 1983 
Childe Hassam (1859–1935) – Calvary Church was depicted by the American Impressionist artist Childe Hassam  Works featuring the church include "Calvary Church in the Snow," painted in 1893 
Francis Lister Hawks (1798–1866) – Rector from 1850 until 1862, Dr  Hawks was a scholar, the Historiographer of the Protestant Episcopal Church, and editor of Appletons' Cyclopædia of Biography (1856) 
Philip Kearny (1815–1862) – Parishioner who was a major general in the United States Army, notable for his leadership in the Mexican–American War and American Civil War; killed in action in the Battle of Chantilly 
James Kent (1763–1847) – Jurist, legal scholar, chief justice of the New York Supreme Court, and Chancellor of New York who attended Calvary, lastly for his funeral in 1847 
General George B  McClellan (1826–1885) – General McClellan, the major general during the American Civil War who organized the Army of the Potomac, was married in Calvary Church on May 22, 1860 
James Renwick Jr  (1818–1895) – Architect of the present building 
Eleanor Roosevelt (1884–1962) – Like several members of the Roosevelt family, the future First Lady of the United States was a Calvary Church parishioner   Her parents, Elliott Bulloch Roosevelt and Anna Rebecca Hall, were married in Calvary Church on December 1, 1883   Eleanor Roosevelt was baptized at Calvary Church in 1885 with her uncle, the future President of the United States Theodore Roosevelt, standing godfather 
Henry Yates Satterlee (1843–1908) – Satterlee was rector of Calvary from 1882 to 1896 before becoming first Episcopal Bishop of Washington 
Samuel Moor Shoemaker (1893–1963) – The Reverend Dr  Samuel Moor Shoemaker, Calvary's rector from 1925 to 1952, is remembered as a co-founder and spiritual leader of Alcoholics Anonymous 
Jonathan Mayhew Wainwright (1792–1854) – Dr  Wainwright was elected rector in 1850; he was instrumental in the founding of New York University and was later a bishop 
Edith Wharton (1862–1937) – The George Frederick Jones family, including young Edith Newbold Jones, lived in the parish and worshipped at Calvary   The rector's daughter, Emelyn Washburn, introduced Edith to Goethe, who became her favorite writer  Calvary was used as the setting for Mrs  Wharton’s 1920 Pulitzer Prize-winning novel, The Age of Innocence, and Dr  Ashmore, a character in the novel, was modeled after the Rev  Edward Washburn (rector, 1865–81) 

See also
Calvary-St George's Parish
St  George's Episcopal Church (Manhattan)
Church of the Holy Communion and Buildings, a deconsecrated church
Grace Church (Manhattan)
Passage 6:
277 Park Avenue
277 Park Avenue is an office building in the Midtown Manhattan neighborhood of New York City  It stands on the east side of Park Avenue between East 47th and 48th Streets, and is 687 feet (209 m) tall, with 50 floors  It is tied with two other buildings, 55 Water Street and 5 Beekman Street, as the 73rd tallest building in New York  The building is assigned its own ZIP Code, 10172; it was one of 41 buildings in Manhattan that had their own ZIP Codes as of 2019 The building currently houses parts of JPMorgan Chase's Investment Bank, Commercial Bank, and other corporate functions  JP Morgan's takeover of Bear Stearns in 2008 resulted in most investment banking employees moving to 383 Madison Avenue to reduce the leased real estate footprint in Midtown  277 Park Avenue remains under the ownership of the family-owned Stahl Organization, the building's original developer  Previous tenants have included Penthouse Magazine, Schlumberger, Donaldson, Lufkin & Jenrette, and Chemical Bank (predecessor to JPMorgan Chase) 
The office building opened on July 13, 1964  An apartment building designed by McKim, Mead, and White previously occupied the site  One tenant of that building was the presidential campaign of John F  Kennedy  Prior to the construction of the McKim, Mead and White building, the block was among the landholdings of Elizabeth Goelet Kip and her son George Goelet Kip  In the 1870s, as part of the expansion of nearby Grand Central Depot, the land was subject to a protracted legal battle which resulted in Elizabeth Kip being forced by eminent domain to sell the land to the New York and Harlem Railroad for $212,500 

Tenants
Academy Securities
Australia and New Zealand Banking Group
Bregal Investments
Bregal Partners
Bregal Sagemount
Cassidy Turley
CCMP Capital
Cozen O’Connor
The Hartford
JPMorgan Chase
Sumitomo Mitsui Banking Corporation
Continental Grain Company
MHP Real Estate Services
Agricultural Bank of China
Bank of India, US Operations
Raymond James & Associates
Ladenburg Thalmann & Co  Inc 

See also
List of tallest buildings in New York City
Passage 7:
55 Water Street
55 Water Street is a 687-foot-tall (209 m) skyscraper on the East River in the Financial District of Lower Manhattan, New York City  The 53-story, 3 5-million-square-foot (325,000 m2) structure was completed in 1972  Designed by Emery Roth and Sons, the building was developed by the Uris brothers  At the time of completion, it was the world's largest privately owned office building by floor area  55 Water Street is built on a superblock bounded by Coenties Slip to the southwest, Water Street to the northwest, Old Slip to the northeast, and South Street and FDR Drive to the southeast  It is owned by the pension fund Retirement Systems of Alabama (RSA) 
55 Water Street is composed of two sections: a 53-story tower to the south and a 15-story wing to the north  The building's facade is made of masonry and glass  The south building is rectangular, while the north building contains sloped walls and runs parallel to the northwestern boundary of the site  The foundations are made of reinforced concrete-slab walls and the superstructure is made of steel  The upper stories each contain 55,000 sq ft (5,100 m2) of space, while the lower stories are almost double that size  There is an elevated public plaza on the eastern part of the site, known as Elevated Acre  Another public space to the southwest, Jeannette Park (now Vietnam Veterans Plaza), was expanded when 55 Water Street was constructed 
The Uris Buildings Corporation proposed erecting a 53-story building on the site in October 1968, and work began the next year  The building was topped out with a ceremony on June 18, 1971, and tenants began moving into the structure at the beginning of 1972  Initially, the space was taken by several financial firms, including the Chemical Bank of New York, which leased roughly a third of the space and owned 15 percent of the building  National Kinney Corporation bought a majority stake in the Uris properties by late 1973, and it sold 55 Water Street to Olympia and York in 1976  RSA bought the building in 1993 after Olympia and York had difficulties paying off the mortgage  The building was renovated in the 1990s and again in the 2010s 

Site
55 Water Street is in the Financial District of Lower Manhattan in New York City  The land lot covers an entire city block bounded by Coenties Slip to the southwest, Water Street to the northwest, Old Slip to the northeast, and South Street and the FDR Drive to the southeast  The site covers 160,692 sq ft (14,928 8 m2), with a frontage of 415 ft (126 m) on Water and South Streets and a depth of 355 ft (108 m)  The Fraunces Tavern block is to the northwest; the New York City Police Museum and 32 Old Slip are directly to the northeast; and 2 New York Plaza is to the west  Two blocks west of the building is the South Ferry transportation hub, consisting of the New York City Subway's South Ferry/Whitehall Street station and the Staten Island Ferry's Whitehall Terminal  In addition, the building is directly across FDR Drive from the Downtown Manhattan Heliport  The building is assigned its own ZIP Code, 10041; it was one of 41 buildings in Manhattan that had their own ZIP Codes as of 2019 55 Water Street occupies a superblock, which was created by combining four small city blocks  Prior to the construction of the current office building, the site had contained the headquarters of the Seamen's Church Institute of New York and New Jersey, designed by Warren and Wetmore  Cuylers Alley crossed the site from northwest to southeast, while Front Street bisected the site from southwest to northeast  Both streets were closed to make way for the building's construction  The entire site is reclaimed land; prior to the expansion of Lower Manhattan in the 18th and 19th centuries, the site was part of the East River 

Architecture
The building was designed by the firm of Emery Roth & Sons for Uris Buildings Corporation  It is one of six buildings that Emery Roth and Sons designed in the immediate area  55 Water Street is composed of two sections: a 53-story "south building" to the southwest (next to Jeannette Park) and a 15-story "north building" to the north (next to Water Street and Old Slip)  There is an elevated plaza near the eastern section of the site, adjacent to Old Slip and South Street 

Form and facade
The building's facade is made of masonry and glass  The south building is rectangular, with its longer axis running parallel to the southwestern boundary of the site  This was done to avoid obstructing views of the East River (next to 55 Water Street's southeastern boundary) from nearby buildings  The north building contains sloped walls and runs parallel to the northwestern boundary of the site  This gives the building an "L"-shape as seen from above  Between floors 2 and 14, the bronze glass windows are inset within the masonry curtain wall  The mullions of the windows are spaced 4 ft (1 2 m) apart The 53-story section is 687 ft (209 m) tall to its roof  Including rooftop dormers, the building measures 751 ft (229 m) tall to its pinnacle  The roof is made of a waterproof membrane finished with a layer of slag  Jaros, Baum & Bolles designed LED lighting for the parapet just below the building's roof 

Interior
When 55 Water Street was completed, it was the largest building in New York City, with 3,200,000 sq ft (297,000 m2) of rentable space  Including non-rentable space, the structure had a total area of 3,500,000 sq ft (330,000 m2)  At the time, this made 55 Water Street the world's largest privately owned office building  The Merchandise Mart and the Pentagon both had more office space, but they were owned by a governmental entity  The next largest buildings in New York City were the MetLife Building (originally the Pan Am building), with 2,400,000 sq ft (220,000 m2); One New York Plaza, with 2,100,000 sq ft (200,000 m2); and the Empire State Building, with 1,800,000 sq ft (170,000 m2)  The main tower and its shorter wing are connected at each of the lowest 15 stories  The upper stories each contain 55,000 sq ft (5,100 m2) of space, while the lower stories are almost double that size  55 Water Street has remained New York City's largest office building into the 21st century In exchange for constructing public plazas next to the building, Uris was allowed to build an additional 485,640 sq ft (45,117 m2)  Uris built an underground concourse with provisions for a connection to an unbuilt New York City Subway station  The concourse was built as part of a master plan for transportation in New York City The main lobby was originally clad in travertine  In the 1990s, this was replaced with Italian and French marble, with stainless-steel decorative fixtures and aluminum-leaf ceilings  In addition, an onyx panel measuring 10 by 50 ft (3 0 by 15 2 m) was installed behind the reception counter  Following another renovation in 2018, The main lobby contains a video wall, which is composed of two LED displays with 42 tiles each  The displays collectively measure 8 ft (2 4 m) high by 42 ft (13 m) wide, with each display being 21 feet (6 4 m) wide  The lobby also contains a pair of reception desks, a shoeshine stand, coffee bar, and lounge  There are also turnstiles through which tenants and guests must pass through 

Structural features
The foundations are made of reinforced concrete-slab walls  The foundation of the building includes a concrete cofferdam, which surrounds the site and descends to the underlying layer of bedrock  Workers first placed a retaining wall of corrugated sheet-metal panels, which were sunken 40 ft (12 m) below ground, then scooped out the entire site  The cofferdam was then poured behind the retaining wall, and a layer of earth was placed between the cofferdam and retaining wall  This contrasted with the foundations of other skyscrapers in Manhattan, which were typically sunken directly to the bedrock, but it provided space for underground offices, a parking lot, and a 25,000 sq ft (2,300 m2) bank vault for Chemical Bank The superstructure is made of steel, with "Q"-deck floor slabs  The office stories can carry live loads of 50 to 100 psf (2 4 to 4 8 kPa)  The retail, plaza, basement, and mechanical spaces have higher live-load capacities, ranging up to 300 psf (14 kPa) for the plaza level  The building contains 3 5 million square feet (330,000 m2) of modular galvanized steel flooring  Generally, the office floors have a slab-to-slab height of 12 25 ft (3 73 m), although the height of the finished office space could be as small as 8 5 ft (2 6 m)  The sub-levels, concourse, and plaza level have a slab-to-slab height of 13 5 ft (4 1 m) as measured between the floor and ceiling, while the retail and mechanical spaces have a slab-to-slab height of 30 ft (9 1 m) 

Mechanical features
Jaros, Baum & Bolles was the mechanical, engineering, and plumbing engineer for the building  Floor 14 contains the building's primary mechanical rooms, ventilation units, and electrical equipment  There is additional mechanical equipment in the basement, on the roof, and on floors 2 and 52  Electricity from the New York City power supply system flows to distribution boards on the concourse, the first sub-level, and floor 14  There are also six electrical closets on each story  In the 1990s, eleven electrical generators were installed on the roof, each with a capacity of 1,750 kW (2,350 hp); these were powered by pumps in the basement levels  As of 2018, there are 14 electrical generators and the emergency power system can run for up to three days There are 71 passenger elevators throughout the building  The 60 passenger elevators in the south building are divided into ten banks of six cars; each elevator bank connects the lobby with five to eight stories  The north building has nine passenger elevators, all connecting the subterranean levels to floors 1–13; five descend to the basement while the other four descend to the sub-basement  The interiors of the elevator cabs were originally decorated in brown burlap but, during a 1990s renovation, the elevator cabs were redecorated in stainless steel and green marble  55 Water Street also has six freight elevators: four in the south building and two in the north building  Each freight elevator travels from the basement to the highest level in that section of the building, except for a single elevator in the south building, which travels only from the basement to floor 18  None of the elevators travels above floor 52 in the south building The building's heating, ventilation, and air conditioning (HVAC) system is divided into several zones, each serving a different group of floors  55 Water Street's chiller system was replaced in the 2010s  The new system consists of three chillers, which collectively emit 32 5 million fewer pounds of CO2 per year compared to the old system  The chillers each weighed 53 short tons (48 t) and were so heavy that they had to be lifted into the building's facade at night  There is also a thermal-energy storage plant with 134 ice tanks, which collectively can store 16,800 ton-hours of heat  There are eight water tanks, which are spread across the roofs of both structures and the 14th and 40th stories of the south building; in addition, the concourse level contains a surge tank  These water tanks are also split into several zones, each spanning multiple floors  The tanks are fed by two water mains that connect to the New York City water supply system, the building's domestic water service is also fed by these mains  Two drainage pipes connect with the New York City sewer system 

Plazas
Ground-level plazas
When 55 Water Street was built, Coenties Slip (which abutted the site to the southwest) was converted into a pedestrian plaza known as Jeannette Park  The space covers 33,307 sq ft (3,094 3 m2)  The park had existed adjacent to Coenties Slip since 1884, when it was dedicated to the exploration vessel USS Jeannette, but Paul Friedberg expanded the park in 1971 as part of 55 Water Street's construction  Initially, 55 Water Street's owners were responsible for maintaining the park, which was paved in brick similar to the Elevated Acre plaza next to the building  Plans to redevelop the land into a memorial for Vietnam War veterans were announced in 1982, and it was rededicated as Vietnam Veterans Plaza in 1985  The plaza was renovated and redesigned by Lee S  Jablin of Harman Jablin Architects starting in 2000, and it was rededicated in 2001 There is also an 10,254 sq ft (952 6 m2) pedestrian arcade adjacent to Water Street and Vietnam Veterans Plaza  It effectively functions as an extension of the adjacent sidewalk  A sloped canopy was added in the 1990s 

Elevated Acre
The elevated plaza is a privately owned public space (POPS) known as the Elevated Acre  It is about 30 ft (9 1 m) above street level and accessible via escalators and stairs from Water Street, between the building's two wings  The plaza covers approximately 40,000 sq ft (3,700 m2; 0 92 acres)  The space is one of a few elevated POPS in New York City; similar plazas exist at One Bankers Trust Plaza, 300 East 59th Street, 622 Third Avenue, Murray Hill Mews, and Trump Tower  The creation of public space allowed the developers to increase the total square footage of 55 Water Street beyond what zoning regulations would otherwise have allowed on the site  Beneath the plaza is a parking garage The Elevated Acre was originally proposed as part of an unbuilt network of elevated walkways and plazas next to the East River  Lawrence Halprin had devised the original plans for the plaza, but M  Paul Friedberg & Associates carried out the final design  The Elevated Acre was originally paved in the same red brick tiles as Jeannette Park  The plaza had very little ornamentation except for a set of curved brick walls, as well as some benches and trees  There were also fountains and pools in the original design  During the 1980s, the Elevated Acre was often closed because, according to the building's owners at the time, the elevator and escalators were frequently being repaired  Furthermore, the plaza was isolated, making it unattractive to pedestrians In the 2000s, the Elevated Acre was renovated to designs by Rogers Marvel Architects and Ken Smith, reopening in 2005  The two escalators and elevator on Water Street were replaced with four shorter escalators and a set of stairs  The new design contains a variety of plantings, grasses, and dunes, as well as a multi-tiered terrace  Inside the plaza is a lantern known as the Beacon of Progress, a reference to the former Seamen's Institute building on the site  The Elevated Acre also includes an amphitheater with seven levels and a boardwalk made of Brazilian hardwood  There is a restaurant named Sky55 adjacent to the plaza  The original plans for the redesign had called for a 100-person capacity elevator and an ice rink, which were canceled for lack of funds  The Elevated Acre is available for rental as a venue for special events  Under an agreement with the New York City government, the Elevated Acre may be closed up to six times a year for community or non-profit events and six times a year for private events 

History
Development
The Uris Buildings Corporation proposed erecting a 53-story building between Coenties Slip, Water Street, Old Slip, and South Street in October 1968  It was the first project to be proposed as part of the Lower Manhattan Plan, a New York City governmental initiative to guide development along the Lower Manhattan waterfront  The New York Stock Exchange had considered leasing space at the building before it was officially announced, but the NYSE ultimately decided against doing so  In exchange for permission to close Cuylers Alley and Front Street for the construction of the new building, Uris proposed improving the adjacent Jeannette Park and erecting a raised public plaza within the new development  The proposal required that the New York City Planning Commission enact a zoning amendment in 1968, since elevated plazas could not rise more than 5 ft (1 5 m) above the curb  In January 1969, the Board of Estimate approved Uris's proposal to construct an elevated pedestrian plaza alongside its building When construction started in 1969, developers estimated that the building's annual rents would range from $8 to $10/sq ft ($86 to $108/m2)  The Chemical Bank of New York agreed in principle to lease 1 1×10^6 sq ft (100,000 m2) in January 1969, in exchange for a 15 percent stake in the building  When the lease was finalized in late 1969 at a price of $250 million, it was the largest commercial lease ever executed  Brokerage firm Dominick & Dominick leased 275,000 sq ft (25,500 m2) across five floors in March 1969, becoming the first tenant to finalize a lease at 55 Water Street  Two weeks later, Bear Stearns leased 200,000 sq ft (19,000 m2) on four floors  During the building's construction, the chief engineers met every Monday to discuss the engineering difficulties of the site  Goldman Sachs and Halle & Stieglitz collectively leased 165,000 sq ft (15,300 m2) in May 1970, and the Interstate United Corporation subsequently leased space for a restaurant at the base of the building Workers raised a 1,000 lb (450 kg) girder to the 53rd story of the tower section at a topping-out ceremony on June 18, 1971  The same day, Uris announced that Prudential Insurance had agreed to place a $150 million loan on the building; it was the largest mortgage ever placed on a privately-developed structure  In exchange, Prudential would acquire a 25 percent stake in the building's equity  At the time, 70 percent of the office space had been leased  The Whitney Museum announced it would open a satellite location at 55 Water Street by the end of 1971  According to Uris Buildings chairman Percy Uris, the branch "would contribute nicely to the feel of the building and the amenities it offers to people who work there"  A  G  Becker & Co  and NYSE subsidiary Stock Clearing Corporation leased additional space that November  Other early tenants included financial services firms White Weld & Co , which took two floors, and G  H  Walker & Co , which leased one floor and part of another  Prudential granted a $130 million mortgage at the end of 1972  The building's construction was chronicled in 55 Water Street, a collection of short stories by Marjorie Iseman, which was published in 1982 

Opening and early years
55 Water Street was completed in 1972 with 3,268,000 sq ft (303,600 m2) of rentable space, and tenants began moving into the structure at the beginning of that year  55 Water Street was the largest speculative office development in Lower Manhattan for a decade, until 52 Broadway was developed in the 1980s  The building's completion coincided with a decline in demand for office space in New York City  Meanwhile, after Percy Uris had died in 1971, his brother Harold began negotiating to sell off all his company's assets, including 55 Water Street  National Kinney Corporation had bought a majority stake in the Uris properties by late 1973, upon which a large portion of the office space was still vacant  National Kinney then sold a 25 percent stake in the building's ownership to the PIC Corporation; at the time, three-quarters of the building had been leased The Whitney Museum opened a branch museum on the third floor of the building in September 1973  The branch occupied 4,800 sq ft (450 m2) of sparsely designed gallery space  The Whitney paid $1 a year; the operating cost was covered by 29 institutions or companies with offices in the Financial District  The building's owners continued to experience financial issues, and National Kinney placed 55 Water Street and ten other Uris properties for sale shortly after acquiring these buildings  The creditors and mortgagee agreed in 1975 to postpone the collection of their claims until the building had more tenants and its cash flow improved  Samuel J  LeFrak expressed interest in buying 55 Water Street and most of the other Uris structures in 1976, as the buildings collectively contained four percent of Manhattan's office space  Simultaneously, Manufacturers Hanover planned to lease two additional floors and a mezzanine, provided that the city government approve a tunnel between 55 Water Street and the company's operations headquarters at the neighboring 4 New York Plaza  LF Rothschild leased two floors in mid-1976 

Olympia & York ownership
National Kinney decided to sell off 55 Water Street and eight other Uris buildings in November 1976; at the time, the firm owned 51 percent of the building  Olympia and York bought 55 Water Street in 1977 as part of a $50 million transaction involving several Uris properties  The transactions made the firm the largest commercial landlord in Manhattan  Of the properties Olympia & York bought from National Kinney, only 55 Water Street still had a significant amount of vacant space, with 50,000 sq ft (4,600 m2) still available for lease  By the late 1970s, the vacancies at 55 Water Street and other nearby buildings in Lower Manhattan were being filled  During that time, the remaining space was leased by companies such as securities firm Lehman Brothers  By 1979, the building was fully leased; payment-services company American Express had leased the last large block of vacant space, covering 191,000 sq ft (17,700 m2) across four stories By 1980, the valuation of 55 Water Street had increased drastically  Consequently, Whitney Museum was forced to relocate from its space in the building that year, since the owners wanted to rent out the museum space  At the time, the building housed the headquarters or offices of several large financial companies, including Lehman Brothers, L F  Rothschild, Goldman Sachs, and Bear Stearns; some of these firms had their own dining rooms  In addition, the third story contained a restaurant called the Harbor Club  During this decade, Olympia and York obtained a $550 million mortgage loan in the form of a bond offering  Tenants such as L F  Rothschild were subleasing their space by the late 1980s, although there were few potential lessees  The building had significant amounts of asbestos which, under an anti-asbestos regulation passed in 1985, had to be removed before the space in the building could be subleased  Other firms, such as Morgan Stanley, moved out of the building entirely  The building was refinanced with two bond issues in 1986, and pension fund Retirement Systems of Alabama (RSA) purchased 19 5 percent of the bonds for $100 million  The financing included $435 million in interest-paying bonds and $113 million in zero-coupon bonds The 1990s recession affected Olympia and York's finances, causing vacancy rates to increase  The building was still the city's most valuable privately-owned office building, with an assessed valuation of about $280 million in 1990  By the next year, the leases on two-fifths of the building's office space were scheduled to expire within two years  Credit rating agencies had downgraded their ratings of 55 Water Street's mortgage loan, which Olympia and York was having trouble paying off  Olympia and York met with its bondholders in May 1992 in an attempt to retain control of the building  Olympia and York indicated that it would not be able to pay for asbestos removal, which would cost at least $20/sq ft ($220/m2)  The building already had 620,000 sq ft (58,000 m2) of vacant space at the time, but the vacancy rate was to reach 50 percent by the end of the year  One financial executive said the building rapidly "went from being a premier financial services tower to bankrupt" 

RSA ownership
1990s
Olympia and York agreed in September 1992 to transfer ownership of the building to its bondholders in exchange for wiping out about $548 million in debt  Each of the bondholders could swap their bonds for equity stakes in 55 Water Street or sell their bonds to RSA for cash  To ensure that the building would be free of debt, RSA and the other creditors consented to a consensual bankruptcy filing if creditors chose to keep their bonds  The proposed sale valued the building at only $149 million, even though the city had appraised the building as being worth $540 million  A subsidiary of Olympia and York filed for Chapter 11 bankruptcy protection in May 1993, allowing the buyers to perform an equity swap  The purchase was finalized that October, essentially erasing all the building's debt  RSA bought out most of the other creditors for about $120 million  Following this purchase, RSA owned an 88 percent stake in the building, and there was $60 million on hand to pay for renovations  At the time, the building was 65 percent occupied RSA created a subsidiary, the New Water Street Corporation, to operate and manage the building  The new owners immediately appointed Jones Lang Wootton as the building's leasing agent  After acquiring the building, RSA planned to remove asbestos, upgrade the elevators, and add sprinklers to each floor  RSA hired Kohn Pedersen Fox to design cosmetic remodeling plans, and the pension fund spent over $20 million to remove asbestos from the building and install a back-up electrical system  The cost of renovations had increased to $125 million or $140 million by the mid-1990s  The building still had large amounts of vacant office space at the time, despite offering relatively low rents of around $20/sq ft ($220/m2)  During this time, major tenants at 55 Water Street included the Depository Trust Company and the Securities Industry Automation Corporation In the years after RSA acquired the building, annual income frequently increased by more than 10 percent from year to year  RSA upgraded 55 Water Street's communication and electrical systems to attract tenants, advertising the building as the "Tower of Power"  Much of the office space had been filled by 1997, when Standard & Poor's leased 937,000 sq ft (87,100 m2)  In addition, several other financial firms such as Royal Bank of Canada and Goldman Sachs had expressed interest leasing space in the building  The renovation of 55 Water Street was completed in 1999 at a cost of $156 million  At that point, the building was 100 percent occupied  About a third of the space was still occupied by Chemical Bank successor Chase Bank, whose lease expired in 2003; the bank planned to move out after its lease expired  Additionally, the owners were planning a renovation for the building's elevated plaza, as well as the public space next to Vietnam Veterans Plaza, both of which were underused 

2000s
In early 2001, Goldman Sachs considered constructing a 13-story, 240 ft (73 m) annex on the site of the Elevated Acre  The annex would have included seven large trading floors, each covering 56,000 sq ft (5,200 m2)  In addition, the height of the north tower would have been increased by 35 ft (11 m)  The entire project would have cost $850 million and would have been completed in 2004  To compensate for the loss of public space, Goldman Sachs proposed paying for various improvements of public space nearby  The plans were dropped shortly after they were presented  Goldman Sachs cited economic conditions, but some neighborhood residents had expressed opposition to the plan  Following the cancellation of Goldman Sach's plans, RSA hired Mary Ann Tighe as the building's broker  RSA and the Municipal Art Society sponsored a design competition for a renovation of the elevated plaza  In September 2002, RSA hired a joint venture of Ken Smith and Rogers Marvel Architects to redesign the plaza Following the September 11 attacks in 2001, the building's managers implemented security checkpoints in the lobby, resulting in rent increases for all tenants  To fill the empty space, the owners offered two years of free rent to new tenants  HIP Health Plan of New York (later part of EmblemHealth) leased the entire north building and part of the south building in 2003  At the time, it was the largest corporate relocation to Lower Manhattan since the September 11 attacks  Simultaneously, the Teachers' Retirement System of New York City also rented 150,000 sq ft (14,000 m2) at the building  The Elevated Acre plaza was rededicated in 2005 following a renovation  The New York City Department of Transportation leased more than 400,000 sq ft (37,000 m2) in 2006, and publishing company Bowne & Co  also leased space 

2010s to present
During the early 21st century, CBRE Group became the leasing agent  On October 29, 2012, the building sustained damage related to Hurricane Sandy when a 14-foot-high (4 3 m) storm surge flooded the area  The basement levels were severely damaged, and the emergency generators on the roof could not operate because they were powered by pumps in the basement  The building remained closed for several weeks due to flooding  While repairs were being conducted, a fire broke out on November 23, causing injuries to 27 people  To prepare for future storms, the building's owner planned to relocate electrical equipment from the basement to the third floor  In 2014, Plaza Construction installed a flood barrier system around the building; when activated, the flood walls could protect against an 8 ft (2 4 m) surge McGraw Hill Financial moved its headquarters to 55 Water Street in June 2015, and Hugo Boss moved its North American headquarters there the same year  By 2018, RSA earned $155 million in rental income annually, and the building was worth an estimated $1 5 billion  In 2019, software company Justworks announced it would be moving into 270,000 sq ft (25,000 m2) on four floors, and the Teachers' Retirement System of New York City subleased a portion of one floor  MJHS Health System leased 138,000 sq ft (12,800 m2) in March 2022, the largest lease to be finalized in lower Manhattan in 18 months 

Reception
When the building was completed, architectural critic Ada Louise Huxtable called the building "a significant demonstration of how to stop worrying and love the boom" in office development  Huxtable also wrote that the building's elevated plaza was "a skillful job in urban design"  By contrast, in 1981, Paul Goldberger described 55 Water Street, along with many skyscrapers on Sixth Avenue in Midtown Manhattan, as having been "designed by commercial architectural firms which admitted to few interests beyond the quick and efficient creation of rentable space"  According to Goldberger, these types of buildings used common materials such as concrete and glass, creating edifices that "added little either visually or socially to the life of the city"  The AIA Guide to New York City described the north building as resembling "a complicated cell phone tower"  In addition, the New York-New York Hotel and Casino in Paradise, Nevada, contains a 36-story replica of 55 Water Street 

See also
List of tallest buildings in New York City

Notes



ground_truth: building