above the roof of the atrium. Each of the tower stories covers and contains ceilings. The floors were designed to contain many of Hearst's publications and communications companies, including Cosmopolitan, Esquire, Marie Claire, Harper's Bazaar, Good Housekeeping, and Seventeen. Besides Hearst offices, the tower contains a fitness center for staff on the 14th floor. There are also executive rooms on the 44th floor. The tower has several design features that are intended to meet green building standards as part of the Leadership in Energy and Environmental Design (LEED) program. The limestone-clad floor slabs of the atrium and office floors contain polyethylene tubes that can carry heated or chilled water to regulate temperature and humidity. A tank in the basement collects rainwater from the building's roof, some of which is pumped through Icefall in the lobby. The furniture and lights were also designed to be energy-efficient. Two executive stories have daylight dimming systems, which dim when there is sunlight, while the other office stories have daylight switching systems, which turn off when there is sunlight. Furthermore, about 85 percent of the material from the old building's interior was recycled for use in the tower's construction. History W. R. Hearst moved to New York City in 1895 and became a successful magazine magnate over the following three decades. Almost immediately upon moving to the city, Hearst had envisioned the creation of a large Midtown headquarters around Columbus Circle, in the belief that the area would become the city's next large entertainment district. From 1895 to the mid-1920s, Hearst bought several large plots around the circle for his headquarters. Hearst had also envisioned that Manhattan's Theater District would be extended to Columbus Circle, having become interested in theater in part because of his mistress, actress Marion Davies. During the early 20th century, Hearst had hired Joseph Urban for several theater projects, and the two men became close friends. Original development By early 1924, Hearst had obtained an option to acquire a 200-by-200-foot site along Eighth Avenue from 56th to 57th Street, close to the 57th Street art hub. That April, he acquired the property title to the site. Hearst gradually acquired large amounts of land around the intersection of Eighth Avenue and 57th Street, though none of the other sites were developed. Simultaneously with Hearst's purchases, Metropolitan Opera director Otto Hermann Kahn had started planning a new opera house to replace an existing