The Egg Performing Arts Center Reopens Following Six-Month Restoration in Albany, New York
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The Egg Performing Arts Center Reopens Following Six-Month Restoration in Albany, New York
"Surrounded by state government towers set in an open plaza and clad in stone, the building's exposed concrete, its seemingly suspended form, and pronounced curved geometry position it as a late example of modernist Brutalism. The venue is currently undergoing restoration and, after six months of renovations, is set to reopen on January 8, 2026, in what has been described as a "refreshed and reimagined" space. Structurally, The Egg is supported by a central concrete stem that extends six storeys below ground, anchoring the building deep into the site."
"A heavily reinforced concrete beam maintains its distinctive shape, poured as part of the shell, which distributes the building's weight onto the supporting pedestal. This engineering solution allows the structure to appear suspended above the plaza, reinforcing its sculptural presence. The building houses two theatres: the Lewis A. Swyer Theatre and the Kitty Carlisle Hart Theatre. With seating for 450 spectators, the Swyer Theatre is used for chamber music concerts, cabaret, lectures, multimedia presentations, solo performances, and educational programming."
The Egg is a domed, egg-like concrete performing arts centre in Albany's Empire State Plaza, designed by Harrison & Abramovitz and completed in 1978 after construction beginning in 1966. The form draws inspiration from Brazilian modernism and contrasts surrounding rational, stone-clad state government towers. Exposed concrete, pronounced curvature, and a seemingly suspended appearance categorize the building as a late example of modernist Brutalism. A central concrete stem extends six storeys below ground, while a reinforced beam poured with the shell distributes weight to a supporting pedestal. The venue contains two theatres (450 and 982 seats), lounge and reception areas, and is reopening January 8, 2026 following restoration.
Read at ArchDaily
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