The mark consists of a three-dimensional configuration of a building exterior, for hotel services offered within the building, comprising three stories in the front and four stories in the back, the overall appearance showcasing a specific combination and arrangement of fanciful elements that are non-essential to the use and purpose of the building and which do not affect its cost or quality and which, taken together, create a distinct commercial impression which is unique and unusual in the field of building architecture and not a mere refinement of commonly adopted building ornamentation, and that consumers recognize as coming from a single source, namely, the applicant, the combination of elements emphasizing symmetry, repetitive arcades, classical motifs, and arbitrary architectural flourishes that are not strictly necessary for structural integrity, resulting in a true tertium quid, the elements including: 1) a continuous, tiered, bracketed, overhanging cornice caps the façade, providing a strong horizontal termination to the building's nearly 48 foot height and providing a dramatic play of light and shadow; the cornice being punctuated underneath by a repeating pattern of horizontally spaced-apart, cantilevered modillions, each having a proximal end of rectangular cross-section abutting the exterior facade and a horizontally extending span of decreasing rectangular cross-section terminating at a radiused or angled distal end; 2) a continuous decorative frieze parallel to and spaced below the cornice and above the apices of the arched bays, comprising a continuous horizontal non-structural masonry band visually framing the primary spandrels and arches; 3) arched fenestration comprising a repeating sequence of uniform Neo-Renaissance recessed bays with pronounced archivolt bands framing each arch; each bay apex exhibiting a discrete, masonry-appearing Palazzo style lancet, visually differentiated from adjacent decorative voussoirs, adding non-structural texture to the façade and emphasizing the verticality of the bay design; the repetitive arched order comprising alternating bays and piers providing a cohesive, disciplined, rhythmic arcade across the facade projecting a sense of civic permanence; 4) each bay being articulated by an ornamental double window design, thereby enhancing visual symmetry, balance, and aesthetic appeal; 5) a repeating sequence of vertical rectangular pier segments separating adjacent bays below the primary spandrels, each pier segment having a linear section of an ornamental impost band extending between and interrupted by the bays proximate the upper portion of each window, creating the visual effect of interconnecting adjacent bays and providing visual continuity among the bays; the band also contributing to a crisp yet subtle framework for the arched bays and primary spandrels; 6) a repeating sequence of primary spandrels extending horizontally between adjacent lancets and bounded at their tops by the frieze and at their bottoms by the impost band, with the primary spandrels being enriched by decorative medallions (rosettes); 7) a pattern of decorative medallions or paterae centered within each primary spandrel, providing visual focal points and a transition between the vertical arched bays and the linear cornice and adding sculptural depth to the flat masonry surface; there being one medallion on each of a plurality of primary spandrels on the surface of one exterior wall, and two medallions on each of a plurality of primary spandrels on the surface of another exterior wall, providing a visual transition between simplicity and complexity and geometric contrast with the impost band; 8) a repeating sequence of recessed, rectangular secondary spandrels between the top of each second story window and the sill arched (third story) window, providing additional ornamentary, non-structural, three-dimensional depth and perspective to the façade; 9) continuous arch rhythm, window spacing, cornice, and frieze wraps the building corner providing a seamless transition between adjacent exterior walls, maintaining visual continuity and creating a truly complete three-dimensional architectural composition presenting dignity and prestige from all viewpoints; and a vertical cantilevered multistory sign mounted 45 degrees to each facade and supported by horizontal blade brackets projecting from the corner of the building; and 10) the first story (ground level) presents a juxtaposition of character from the dramatic upper floor ornamentation with more traditional, irregularly-spaced squared off windows and doors and two separate tripartite arches on, one with and one without awnings, imparting a fanciful departure from the rigid, ordered sequence of bays on the third story. The ground story is thus distinguished by a reduced and simplified ornamental vocabulary, comprising comparatively planar surfaces with restrained decorative articulation. The simplified lower level provides a visually measured transition between the pedestrian scale of the streetscape and the more exuberant decorative program of the floors above; the juxtaposition of these two ornamental registers being a non-functional aesthetic architectural decision that contributes to the distinct and recognizable visual impression of the building as a whole. All elements other than the foregoing description that are shown in the drawing in solid lines pursuant to TMEP 1202.02(c)(i), and all elements shown in the drawing in dotted lines, including but not limited to storefront windows, the glass portions of windows and doors, the flat roof top area not visible in the drawing, and the second (middle) story of windows, are not claimed as part of the mark and serve only to show the position of the claimed elements relative to the non-claimed elements of the building.