The fifth and sixth stories are treated like a loggia, with windows separated by pilasters, while the roof is made of Spanish tile.

The rectangular banking room next to Amsterdam Avenue has sandstone walls, a marble floor, large niches, and a coffered, barrel-vaulted ceiling.

[2][3] Directly south of 2100 Broadway is Verdi Square and an entrance for the New York City Subway's 72nd Street station.

[21] The bottoms of the arches contain wrought-iron grilles with gargoyle heads, manufactured by Samuel Yellin of Philadelphia.

[27] A panel with the inscription "Central Savings Bank 1859–1928", with shields on either side flanked by garlands, is placed above the center arch on both Broadway and Amsterdam Avenue.

[33] The north wall is wider and contains an inscription relating to the building's construction, a gift from the Broadway Association.

[35] The metal double doors facing Broadway are flanked by sidelights, which are held in place by iron mullions.

[36] The north and south walls of the banking room are made of smooth sandstone blocks with black-slate baseboards.

The west and east sides of the banking room each contain six massive piers, which are also designed in sandstone and black slate and flank five arches on either wall.

The west wall's outermost arches are blind openings, with inscriptions commemorating the Central Savings Bank's trustees.

[22] The ceiling surface is covered with gilded octagonal and square coffers throughout, separated by ribs with foliate decoration.

[40] Each medallion is decorated with three acanthus leaf wreaths, a frieze, and a border of rosettes and Greek key motifs.

The upper flight of each stair has walls made of rusticated sandstone ashlar, as well as a canted ceiling with a segmental-arched cross-section and small coffers.

[38] On the mezzanine's east wall, there are travertine balustrades underneath each of the three arches overlook the banking room.

The meeting rooms of the executive offices had double-height beamed ceilings, as well as wood-paneled walls and ornate imitations of paintings.

[17][18] The residential section of the building is accessed by its own entrance at 2112 Broadway, with a concierge area designed by Beyer Blinder Belle.

[17] The German Savings Bank was founded in 1859 and was originally housed in the Cooper Union Building in the East Village of Manhattan.

[4] The original headquarters was relocated in 1864 to the Napier House at Union Square, which itself was replaced in 1872 by a four-story bank building.

[12] The Central Savings Bank planned to restart its land acquisitions in July 1925, but the process was delayed by Cellis's death the next month.

The two men led a new-building committee, which released a detailed report of the new building in March 1926, including a 70-to-80-foot-tall (21 to 24 m) banking room, which had been envisioned for three years.

[12] After Koppel died in August 1926,[56] Zinsser became the bank's president and continued to oversee the development of the new building.

[59][60] The Central Savings Bank gave craftsmanship awards to 15 mechanics involved in the building's construction in March 1928.

[61][62] By that July, the National Park Bank had opened a branch in the building,[63][64] and Wood, Dolson & Co. were renting out the completed upper floors as offices.

[42][43] The Broadway Association placed a commemorative tablet on the Central Savings Bank Building's facade upon the structure's completion.

[79] Also in 1959, the bank's basement was flooded when a water main in the adjacent IRT Broadway–Seventh Avenue Line subway tunnel broke.

[89] The Harlem Savings Bank retained headquarters at 205 East 42nd Street, and 2100 Broadway became a neighborhood branch.

[46] The office tenants included real-estate firms Brown Harris Stevens (which occupied most of the mezzanine[22]), Douglas Elliman, and Corcoran Group.

[22] Brown Harris Stevens, one of the tenants that had been forced to relocate,[99] was placed in charge of leasing the building's residential condominiums.

[37][b] When the Central Savings Bank Building was completed, The New York Times described it as one of Broadway's "finest commercial structures".

[14] Conversely, George S. Chappell wrote in The New Yorker that he found the southern elevation to be "rather distressing", saying: "I had the feeling that it was intended to be square but had been pushed out of alignment".