Completed in 1975 at the height of Grand Apartheid-era ambition, Ponte City is a hollow, high-modernist cylindrical tower looming over Johannesburg, South Africa, northeast of its central business district. The racialized utopian imaginaries underpinning Ponte's design and construction represent a concrete manifestation of the most panoptic ideologies of white-minority rule: paranoid regulation and control of space, ethno-racial homogeneity, and complete social stratification. Yet in practice, Ponte was outmoded as soon as it was completed: its speculative vision aligned merely with residue of an earlier historical moment. Drawing on a seminal 1975 Planning & Building Development report from the building's architects, contractors, and management team, I problematize Ponte's formal structure and its design team's aspirations and place the dynamic ambitions of Ponte within 20 th-century social theory and South African history, attending to inflection points, disjunctures, and revelations. Then, attending to historic remnants, I examine the building's multiple subsequent re-appropriations since the pacted transition from apartheid governance to contemporary post-apartheid democracy. In so doing, I consider global governance struggles against hegemony and apartheid, arguing that Ponte City represents both a key public site of apartheid-era ambition, of racial paranoia in the post-apartheid era, and of counter-conduct and resistance both during and after apartheid. I pair a review of audio, visual, and cinematic media engaging Ponte from the 1970s with insights from conversations with artists Mikhael Subotzky and Stephen Hobbs; these media enliven the ways that Ponte residents have repurposed the building since its modernist origins, with new and layered aspirations. I conclude by situating Ponte in a contemporary Johannesburg context laden with inequality, eviction, urban dispossession, and renewed postmodern dreams of high-density residential living. In complex and often paradoxical ways, and across distinct institutional arrangements, Ponte reflects, absorbs, and renders meaningful struggles for power, dignity and livelihood in the City of Gold.