the Charles of London Corporation was planning to buy the Central Church building, with plans to redevelop the site with a 30-story skyscraper. Ultimately, the Fuller Construction Company purchased the Central Church building, and the Central Church moved to Park Avenue. Architecture The Fuller Building was designed by Walker & Gillette in the Art Deco style, although in a very conservative fashion. The building is tall and contains 40 stories. The building's design contains relatively little ornament, as much of the design emphasis is on its shape, as well as the contrast of granite and stone on the facade. The Fuller Building contains numerous setbacks to comply with the 1916 Zoning Resolution, and the exterior contains various textures of stone to provide vertical and horizontal emphases on different parts of the facade. The exterior uses Rockwood stone and black Swedish granite. The interior uses gray Tennessee marble, black Belgian marble, golden veined Formosa marble, and Bottocino marble. Christopher Gray wrote in The New York Times in 1995 that the building was "a jazz-age testament to the emerging commercial chic of 57th Street". The AIA Guide to New York City called it "the Brooks Brothers of Art Deco: black, gray and white." Form The six-story base occupies the entire lot, and the setbacks are largely restricted to the fifteen stories above the base. The limestone contains rounded corners at the setbacks, although these corners are generally too small to see from the street. The overall form was intended to be visualized in several vertical sections: a large base, a mass with setbacks, a narrow tower, and a crown. The base was intended for stores and galleries; the set-back midsection was for art dealers; and the narrow tower was for businesses. These differing uses were to be reflected by the differing materials used on the facade, as well as the setbacks themselves. Because of the proximity of other tall buildings, Paul Goldberger wrote for the Times in 1978 that "almost no one ever sees it" as having several vertical sections. The outer sections of the southern elevation on 57th Street, and the southern section of the western elevation on Madison Avenue, contain setbacks on the 11th, 13th, and 15th floors, with black stone highlights at the tops of the setbacks. The eastern elevation has setbacks at the 10th, 13th, and 15th floors, which blend with the setbacks on the eastern section of