The General Electric skyscraper in New York is the best example of the synthesis of art déco and neo-gothic. Almost no one in the 1930s opted for a richly ornamented neo-Gothic style, but the Cross brothers’ studio showed that the old could complement the new. The incredible Art Dec building soars 196m and features a spectacular Gothic ‘crown’ at the top. It is one of the most photogenic roofs in the world.
A chance for originality
The GE building at 570 Lexington Avenue is not only a beautiful high-rise, but also a significant sign of the times. The art déco style, which had been around since the late 1920s, provided an opportunity for originality in American architecture. The fascination with historicising styles such as Neo-Gothic, Neo-Renaissance and Neo-Byzantinism dominated the minds of American architects, and pioneering breakouts from this fashion were moderately successful. Already at the end of the 19th century, the most prominent architect in US history, Louis Sullivan, experimented with the new style, but his genius was only recognised a few decades later. After Sullivan, neo-Gothic returned, this time in the form of skyscrapers such as the Woolworth Building, and it was not until the late 1920s that the idea of breaking with European patterns emerged.
The ornate, original style actually originated in France, but the Americans did something completely different with it. The General Electric Building is the very symbol of the transition from direct imitation of Gothic cathedrals to a more pioneering style. The building at 570 Lexington Ave. was built for the Radio Corporation of America (RCA), a company founded by US giant General Electric. In the late 1920s, GE began looking for a new headquarters for RCA. The thing is, after construction began on a high-rise building on Lexington Ave. Billionaire John D. Rockefeller made GE his offer. Thus, RCA’s headquarters went to the famous Rockefeller Center, and GE was left with the skyscraper on Lexington Ave.
Temple of electricity
Cross&Cross architects opted for red brick, which is mixed with red granite. This mix is meant to relate the colours and materials to St Bartholomew’s Church, which stands next door. From a distance, the skyscraper appears light brown, although in reality its façade is a combination of Byzantine colours such as orange, yellow or just brown.
The building consists of two volumes: a wide base and a tall tower. Its design is somewhat reminiscent of the defunct Singer Building. The lower part combines brick and granite details, including some that allude to electricity and GE. Zigzagging lightning bolts emerge from the granite pediments, and the ornate side entrance can show off a clock with the General Electric logo and hands holding bundles of electricity. The hands signify the mastery of electricity. In turn, clenched fists shooting lightning bolts are a symbol of the company’s strength. Metal stars and floral ornaments, typical of American art déco, are also common on the façade.
It is worth noting that it is not only marble and metal ornaments that adorn the building. Although most of the brick walls stem straight upwards, in some places the architects have arranged the bricks into arches, curves, coals and servants. Richly decorated sills extend beneath each window, and the various ‘steps’ of the block are crowned with roughly chiseled faces alluding to lightning bolts. Such fine details are indeed numerous and it is difficult to enumerate all the consoles, pilasters and gables.
Altar of lightning
The base steps up to the tower, which softens the contrast between the widths of the volumes. The tower reaches up to 196 m, but it is not the height that is the skyscraper’s main asset. The top storeys of the tower have been decorated with zigzag and floral patterns, while lightning and electricity motifs emphasise the consistency of the ornaments. The top of the tower rises to the top with a dodecahedron, and the decorated slopes down to the spectacular crown of the building. The gable ornamentation is an Art Dec interpretation of the Gothic. The creeping buttresses are reminiscent of tall buildings linked by a golden beam of rays, or radio waves. Interestingly, the gilded elements are somewhat reminiscent of Gothic avestries, or ornaments that resemble tiny branches. The summit is thus an altar to the ‘deities of electricity’. This altar is protected by four 15-metre-high statues. In turn, behind the geometric guardians of electricity is an army of lower figures with equally mysterious faces. The crown is crowned by art dec versions of pinnacles complete with lightning bolts.
The interior is an even stronger display of art déco style, but there is no shortage of signs of passing historicism. The westybul welcoming visitors from Lexington Ave. is drenched in gold and marble. The gleaming steel entrance is adorned by a large overlight with a wrought-iron grille. Quickly catching the eye are the walls lined with red marble and their lower section decorated with granite. This red corridor blends perfectly with the gilded cradle vault known since antiquity. A mosaic with a wave motif and a flamboyant eye of providence stretches from the ceiling. Also worth noting are the metal sconces, reminiscent of those of the palace. Another interesting detail is the metal stars arranged on the ceiling, to which chandeliers with glass resembling flower petals are attached. The stately corridor ends with geometric ventilation grilles and a diamond-shaped clock. Interestingly, the clock face is decorated with metal flowers and red marble.
A sign of the times
Also noteworthy are the lifts with metal frames. Geometric and floral patterns decorate the lintel, while inside the cabin you can admire a wooden interior arranged in rhombuses. There are as many as 10 such lifts in total. The upper floors include offices, dining rooms and, formerly, a sumptuous conference room. The décor on these floors is much simpler, but still not lacking in marble or terrazzo floors. A place with a similar level of decorativeness is the lobby in the basement, which formerly connected to the metro station. This connection was made possible by an agreement between the building’s owner and the operator of this metro line. It is worth mentioning that until 1940, the various underground railway systems were managed by private entrepreneurs.
It is worth mentioning that the office building survived the economic turbulence of the Great Depression, which raged from 1929 onwards. The General Electric skyscraper opened in 1931, and despite this, tenants leased most of the floor space. Over the following decades, the building impressed with its architecture, and in 1985 it was listed as a New York City landmark. Today, the skyscraper houses the headquarters of various companies and one of Cornell University’s faculties. The GE Building at 570 Lexington Avenue is one of New York’s most important examples of art déco. Its pioneering style combines modernity with an interpretation of departing European models. It is a true sign of the times.
Source: NYC Urbanism
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