ABQ Warehouse District

February 17, 2011


Filed under: Theatre Precedents, Uncategorized — hilarynoll @ 12:21 am

Hi Team,

Here’s the final SWOT diagram that we created as a class today.  Feel free to add comments or let me know I missed or misrepresented anything. 🙂


February 15, 2011

Traverse Theater

Filed under: Theatre Precedents — celladdition @ 5:26 am

Traverse Theater (E.Chinana)

Architect: Groves-Raines Architects

Location: Cambridge Street, Cambridge, Scotland

Completed: 1992

Cost: £3.3 million

The Traverse Theatre is a two theater space with an award winning bar and café created as part of Saltire Court.  It is an adaptive reuse project.

Traverse 1 is the larger space with flexible seating that can be moved to create many different configurations (e.g. transverse, end on, in the round, etc.). The most common configuration is ‘end on’ and has 216 seats.

Traverse 2 is the smaller studio space and is considered the black box theater. New flexible seating was installed in September 2005 to allow for 5 different staging configurations and the average capacity is approximately 100 seats.  Seating arrangement can be be

either the acting area is down the middle of the space, audience sits facing acting area from two sides, Cross Traverse: the stage is similar, but in the shape of a cross. To maintain a flexible space the designers created an intricate grid of beams and girders to support a building above, lighting and mechanical.

Program in Section

February 14, 2011

Antoine Hatfield Hall | Dolores Winngstad Theater

Filed under: Theatre Precedents — celladdition @ 9:26 pm

Dolores Winngstad Theater (E. Chinana)


Client: Portland Center for Performing Arts

Architect: ELS Architects, Barton Myers and Associates and Boora Architects

Location: Portland Oregon

Seating: 292 seats in Black Box Theater

Size: 127,000 square foot in the whole complex

Cost: 28.4 million

Awards: 1994 USITT Architecture Merit Award
1984 Architectural Design Award by Progressive Architecture

The Dolores Winningstad theater was opened in 1987 and is adjoined with  a rotunda lobby and a glittering dome, one part of the lobby is a multi-storey rotunda lined with balcony fronts designed to resemble a traditional Italian opera house. Performances could be held in the rotunda space, with the audience lining the various level of the rotunda.

The theater allows flexible stage which could be lifted above or below grade level, creating an orchestra pit for 18 musicians. The seating configuration consists of three tightly stacked tiers with loose seating run around three sides of the room, containing one row of movable seats, one rows fixed seats in the back, and one row of fixed stoole height stats. The ceiling is made up of exposed lattice grid of red stained cedar that acts as an acoustical baffle and exposed light bridge. The walls behind the tiers have fixed absorption at their widest point but are otherwise an open wood grille with adjustable surfaces behind. The dressing room can house 28 people.

Bengt Sjostrom Starlight Theatre (wensong)

Filed under: Theatre Precedents — celladdition @ 9:17 pm

Bengt Sjostrom Starlight Theatre (wensong)

Forest Town Long House (wensong)

Filed under: Theatre Precedents — celladdition @ 9:04 pm

Forest Town Long House (wensong)


Filed under: Theatre Precedents — celladdition @ 8:54 pm


CLIENT: Princeton University

LOCATION: Princeton, NJ, United States, 2007

PROGRAM: Lewis Center of the Arts, performance and teaching spaces for the Program in Theater and Dance, the Department of  Music and the society of Fellows in the Creative and Performing Arts

BUILDING AREA: 130,000 sf

STATUS: Design Phase

“In architecture the relationship between plan, section, proportions, and space is a much deeper connection than emulation. The Princeton Arts Building thin in section as many of the ther buildings on campus, forms a  quadrangle of space with a gathering forum that connects the different programs bleoe a water landsape.  More transparent it its architecture than the typical stone walled quadrangles on campus, the arts quadrangle forms a catalyst with visual connections throughout.” -STEVEN HOLL

The University’s Lewis Center for the Arts will house performance arts, with a black box theater, dance studio, music studio, gallery, and outdoor reception area, that is 89′ x 89′.

Sustainability is accomplished in the courtyard with filled with recycled  and filtered storm water the shallow  water would be allowed to freeze in the winter so in all seasons the pool is translucent and a piece of art itself. The pool would have skylights that would provide natural light o the large reception space below. Covered with green roofs made of sedum. Geothermal wells beneath the site are planned to provide all of the energy necessary to heat and cool the complex, as well as the new Dinky station proposed nearby. The buildings also would house faculty and administrative offices, smaller acting and dance studios, music practice rooms, a 200-seat, arced corner lecture hall, a box office and a café.

The building foot print apart of the Arts Plaza on the Princeton University Campus. Although the geometry of  the building is different from its surrounding context, the building manages to engage with its surroundings.

In the design phase, the program of the building is relatively simple.  The black box theater is the center of the building with circulation encompassing it. The circulation carries the user to the gathering space of the outdoor courtyard connecting the building to the outside.

Theatre Precedent (J Grijalva)

Filed under: Theatre Precedents — celladdition @ 8:45 pm

Dee and Charles Wyly Theatre

AT&T Performing Arts Center: Winspear Opera House | Wyly Theatre | Strauss Square | Sammons Park
2403 Flora Street, Dallas, TX 75201









Owner: AT&T Performing Arts Center
Architect:  REX|OMA http://www.rex-ny.com
Completion Date:  2009
Gross Square Footage:  80,300 – 12 stories
Total Construction Cost:  $354 million (includes Winspear Opera House, Strauss Square, and Sammons Park)
Seating Capacity:  Up to 600 (depending on configuration)

When architects from REX/OMA conceived Dallas’s Dee and Charles Wyly Theatre, they envisioned the ultimate flexible performance space. The building is designed so that the theater’s interior can be radically reconfigured by a small crew of stagehands from a proscenium layout to a thrust-stage arrangement or a flat-floor room in just a few hours. Blackout shades can be pulled up to reveal its three facades of glass and to open the chameleonlike, 109-by-94-foot hall to the city. Auxiliary programmatic elements are piled above and below (but mostly above) the ground-level performance chamber to create a 132-foot-tall tower. Instead of the horizontal layout more typical of theaters, functions are stacked “like a giant game of Jenga,” says John Coyne, a principal of Theatre Projects, the Wyly’s theater consultant.

An unconventional structure, with no interior or corner columns, allows for the theater’s flexibility, as well as its transparency and verticality. The tower rests on six perimeter super columns, four of which incline dramatically, and a perimeter shear wall. A belt truss that spans from levels 4 through 7, augmented by a series of smaller interior trusses, completes the building’s frame.

Below are the various ground floor configurations possible:

The AT&T Performing Arts Center

The Dee and Charles Wyly Theatre is only one venue in the AT&T Perfroming Arts Center that is located in the Arts District of downtown Dallas. Other venues include the 2,200 seat Margot and Bill Winspear Opera House, the 5,000 outdoor performance space Annette Strauss Square, and the 10 acre urban park Elaine and Charles Sammon’s Park. The advantages of clustering the venues within a tight geographic area are: to reap the maximum economic, educational, and cultural benefits for each arts entity and for the city of Dallas. The venues host a variety of programs that include contemporary dance and music, touring and community performances, and performance space for local performing arts organizations.

Since its inception on January 26, 2009, the Downtown Arts District has operated under the umbrella of Downtown Dallas Inc. Similar to Albuquerque’s Downtown Action Team, this organization has been a steward of downtown by affecting change by developing strategies, setting targets and mobilizing resources that:

– Stimulate a virbrant and sustainable Downtown
– Improve infrastructure
– Enhance economic competiveness
– Create a culturally inclusive urban center
– Position the area as a global desitination


Theatre Precedent (J Grijalva)

Filed under: Theatre Precedents — celladdition @ 6:57 pm

Cedar Lake Dance Ensemble

547 W 26 St.
NY NY 10001







Owner:  The Cedar Lake Dance Ensemble
Architect:  Platt Byard Dovell White Architects LLP

Completion Date:  January 2006
Gross Square Footage:  16,200 sq. ft.
Total Construction Cost:  $3.4 million
Seating Capacity:  215

The Cedar Lake Dance Ensemble is located in the historical West Chelsea District. It is a mix of tenements, apartment blocks, city housing projects, townhouses, industrial factories, warehouses and its many businesses reflect the ethnic and social diversity of the population. Since the 1990’s the visual arts community has gradually migrated from SoHo to Cheslea to transform it into the predominant center for contemporary art in New York. With a zoning change resolution in conjunction with the development of the High Line, a former elevated rail line transformed into an urban park, the Chelsea District is now home to 370 art galleries, theatres, museums that are located in both new buildings and rehabilitated warehouses.

The zoning resolution provided new and innovative methods in which it could be tailored to the unique conditions of the city and adjacent neighborhoods. It created  opportunities for new residential and commercial development, facilitated the reuse of the High Line elevated rail as a unique open space, and encouraged the adaptive reuse of existing buildings in the area.

West Chelsea District

Chelsea District Land Use


The design scheme for the Cedar Lake Dance Ensemble was to create a technologically advanced black box theatre that utilized two 1920’s brick garages, one for rehearsal space and one for performance, as they were found. The architect remodeled the western half of the building containing the offices, rehearsal hall, lounge, and lockers by reworking existing walls to create new locker rooms and lounge. For the eastern half, the program for the theatre required flexible seating and a number of new rooms: patron toilets, dressing rooms, lighting and audio closets, and wardrobe. The new spaces were created by erecting a new recycled brick wall on the northern end of the shed’s open space which allowed for the separation of functions. The material palette was limited to the application of new finishes where needed in neutral colors and simplicity sympathetic to the original exposed structure and materials.

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