If you ever find yourself in New York State, in the city of Albany, take a walk to the Rockefeller Empire State Plaza. There you will find The Egg Theatre - a centre for the performing arts. The Egg's design is the very definition of brutalist architecture. This concrete structure would fit into any secret military base or be a fantastic setting for a James Bond villain's headquarters. There are no windows to be cleaned, just thousands of square feet of reinforced concrete.
The project started construction in 1966, and was completed a mere 12 years later in 1978.
The Egg is now the home of the Ellen Sinopoli Dance Company which has been resident at the theatre for 28 years.
Rockefeller Empire State Plaza
The architect was Wallace Harrison, a partner in the architectural practice of Harrison & Abramovitz, who were known as proponents of modernist design. The company's portfolio includes many iconic buildings in New York City such as The Rockefeller Centre, the United Nations Headquarters and the Exxon Building.
Harrison spent 15 years working on the whole development of the Rockefeller Empire State Plaza, a brutalist architectural development that dominates the skyline of Albany. The city is the capital of New York State and sits on the banks of the Hudson River about 123 miles from New York City. Harrison was close friends with Governor Nelson A.Rockefeller and they sketched out the initial layout for the whole project in Rockefeller's private plane.
The budget for the project was $250 million, but after many delays and cost overruns the final cost was closer to $2 billion, which is almost $18 billion in today's money. Today over 17,000 government employees work in the area.
Unique design of The Egg
Architecturally speaking, The Egg is one of a kind. It is an enormous egg-shaped bowl that is supported by a central pedestal that sinks six floors below ground. It houses two theatres, the 450-seat Lewis A Swyer Theatre and the larger 982-seat Kitty Carlisle Hart Theatre.
The name, The Egg, implies a delicacy that structure does not possess and it can be thought of equally as a sculpture or a building. It sits beside a reflecting pool, and from a distance, the building seems to float above the earth like a grey flying saucer. The building is slightly inclined, and it does, well to me anyway, look like it is about to take off and head towards space where it belongs.
The exterior design of the theatre heavily influences the interior of the building. The external shape does not contain many right angles other than in doorways and inside there are no corners and very few vertical walls. All the structural walls curve towards the concave ceiling.
Both theatres host a wide variety of productions from musical theatre, dance and music concerts to cabaret, lectures and multimedia presentations. Wrapped around the larger Hart Theatre is a lounge area that is used for functions such as seminars and after theatre parties.
Other Architecture Posts
Here we look at every kind of architecture, often including steel and other metals of course, current and historical usually by famous and influential architects but sometimes by names that are surprisingly lesser known.
The conviction of Rafael de La-Hoz Arderius and Gerardo Olivares to build a minimalist sculpture of steel, glass and travertine on an urban scale.
Robin Fisher explores this building, located at the gateway of Los Angeles' famous Museum Row, extensively renovated through the work of Kohn Pedersen Fox and A.Zahner.
Richard Storer-Adam reviews the design and construction of this 64-story skyscraper, built in the 1970’s with Cor-Ten steel, symbolising the triumph of the US Steel industry.
Richard Storer-Adam reviews the background and architecture of this iconic modernist glass and bronze tower by German-American architect Ludwig Mies Van der Rohe and American associate architect Philip Cortelyou Johnson.
Antonio Moll reviews the first work by the Dutch Office in the USA, 16 years after its opening, considering what is probably the most disrupting piece of architecture of the 21st Century.
Richard Storer-Adam dwells on the genesis of NYC’s most iconic skyscraper and ‘quintessential symbol’ of Manhattan, New York City, New York, USA named after the Flatiron district.