In a way, setting the work of edgy young firms within the staid structure of Henry Cobb’s design isn’t a bad analogy for the contemporary investment bank, in which an outward appearance of sobriety conceals the risky activities of autonomous units, busily devising complicated financial products poorly understood by outsiders. It’s unfortunate that almost all the daring touches at 200 West Street are inside, hidden from view. Then again, perhaps that’s the achievement: Goldman managed to pull off what it wasn’t able to do in the rest of its business—keep its risk-taking entirely out of sight.

— Paul Goldberger


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