The Foundry Performing Arts Center

The Foundry Performing Arts Center Erica Stewart

The Foundry Performing Arts Center Erica Stewart

INTD-487-2 Capstone Research and Programming- Donna Daley- Fall 2017

Special thanks to my Capstone Committee: Donna Weaverling Daley, AIA, ASID, IDEC, NCIDQ INTD-487 Capstone Research and Programming Adjunct Professor, CABE Jefferson (Philadelphia University + Thomas Jefferson University) Jon Santos Performer Viva Artists Agency Viva Entertainment, Inc. Manila, Philippines Steven Gegner BA in Architecture Professor, Temple University, course entitled “Spontaneity and Creativity�

Langhorne, PA Susan Seip INTD-488 Capstone Project Interior Design Professor, CABE Jefferson (Philadelphia University + Thomas Jefferson University)

To my mom; for giving me your ambition and drive, and for encouraging my interest in music and the performing arts.

To my dad; for always believing in me, and for introducing me to the world of architecture and design.

To my family and friends; for all your love and support.

Table of Contents: Section 1: Introduction & Goals

9

Section 2: Historiography

19

Section 3: Case Studies

27

Section 4: Qualitative & Technical Criteria

59

Section 5: Topical Exploration

69

Section 6: Existing Site, Context, Climate & Zoning

79

Section 7: Program Development & Documentation

87

Section 8: Building Analysis, Code, Regulations & Standards

97

Section 9: Executive Summary

103

Section 10: Bibliography

109

“All the world’s a stage, and all the men and women merely players” –Shakespeare 8

Section 1:

1

INTRODUCTION & GOALS

fig 1

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Introduction and Context The world is filled with creative people looking for a way to showcase their talents and express their feelings to a receptive audience. The performing arts allow people to express themselves through dance, drama, and music. It is unique from other types of art since performing artists use their voices and bodies to creatively tell a story.

fig 3

fig 2

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This form of art has been in existence for centuries, but with the rise of digital media, live performances were predicted to fail. However, even with film and television becoming the prominent sources of entertainment, the performing arts continue to entice people.1 The arts impact both participants and audience members. Research gathered by Princeton University’s Center for Arts and Cultural Policy Studies demonstrates that when individuals are involved in the arts, it can benefit their mental health. Participants can find an opportunity for self-expression which in turn increases their selfesteem and provides them with a sense of belonging.2 The same study found that audience members can benefit mentally, as well.

Watching people perform can be a source of stress relief for audience members.3 Audiences can enjoy live music or dance performances that evoke emotion. The individual experience of watching a play can become a communal experience as the community shares their involvement with other members of the audience.

Having a performing arts center in a neighborhood is also beneficial to the community, leading to an increase in “diversity, tolerance, and free expression.�4 A theater and performance space can draw the attention of neighboring communities and lead to an increase in tourism; it can also provide a sense of pride for those living in the community it is located in. The performing arts are necessary for their ability to positively influence the mental health and wellbeing of participants, audiences, and communities.

Design Goals

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The goal of this project is to design a performing arts center that encourages self-expression, promotes creativity, and benefits the community. To achieve these goals, the performing arts center will offer a variety of opportunities for creative expression. Aspiring musicians in the community will have a place to learn, improve, and rehearse their songs; dancers will have a studio where they can rehearse and create new choreography; and actors will have a theater to create and practice inspiring plays and musicals for the community. The artists who utilize the building will have the opportunity to perform for the community and visitors. When the building is not being used for a live performance, the artists will be able to use the center as a place to perfect their craft.

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fig 6

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Research Goals & Methods In preparation for this project, two theaters have been visited as case studies. The first case study is the Suzanne Roberts Theatre, which is owned by the Philadelphia Theatre Company, and is located within the Avenue of the Arts in Philadelphia. The second case study is the Arden Theatre which is also located in Philadelphia. Visiting these sites and communicating with a performing arts advisor will provide information about the program requirements for a theater and performance venue.There are many opinion articles about the importance of theater,

but the key sources for the research will consist of academic sources. One relevant source is the research collected by Princeton University entitled How the Arts Impact Communities. This source contains information about the local and global need for theaters. Another source is the book, Unmasking Theatre Design: A Designers Guide to Finding Inspiration and Cultivating Creativity, by Lynne Porter. This book provides information about how to design a theater while also discussing scenery design for specific shows.

The Role of the Designer

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In Unmasking Theatre Design, Lynne Porter wrote, “As designers in the theatre, our overriding goal is to create the environment for the dramatic action of the play.�5 This quote expresses the role of a designer as a facilitator in achieving the goal of the theater director. In other words, it is the responsibility of the designer to create a scene for a performance. To accomplish this goal, the interior designer must create adaptable and transformative spaces which allow the scenography to create unique sets for each performance. Lighting design is particularly important within the theater and auditorium space of a performing arts center since natural light can distract from the intention of the performance.

The stage is the focal point for any performance and lighting can transform the spectators’ experience; however, audience comfort must also be taken into consideration. The viewers should be able to fully focus on the performance and have an enjoyable time. The cast and crew should also be able to enjoy their time in the building. Having ample backstage areas, such as large dressing rooms and green rooms, can enhance the experience for the performers. Considering the health and safety of the client and users is a key role for an interior designer.

Another role is the knowledge of sustainability and creating a space that is energy efficient.

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Sustainability

fig 8

The building selected for this project already exists making the design adaptive reuse. In this case, that means reusing and preserving a historical building to conserve land, resources, and energy. Existing materials will be repurposed whenever possible. Natural light, wherever applicable, will be used to minimalize need for artificial lighting. Eco-friendly materials will be selected for the building for it to be a sustainable project.

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Clients The client is a woman who is highly involved in community activities. Formally a theater actress, she is now interested in mentoring others as they pursue their own interest in the performing arts. This neighborhood is her hometown; she has seen the transformation of the community and wants to further increase the town’s status. The performing arts center will be both privately and publicly funded. Community fundraisers will contribute to the cost of construction since the community is also a client. The neighborhood is upand-coming and locals would want to continue improving the community’s image while also preserving the historic values of the community.

Users

The primary users of the space will be the performers and staff. The performers are all ages—it can range from elementary school age to adults. Aspiring musicians and dancers can take lessons at the center, and recitals will occasionally take place for the public to see. In addition, there will also be a theater where plays and musicals will be produced. The secondary users of the space are the audience members. The public will be able to access only the performance and event venues. There they will be able to purchase tickets for shows or attend private events. fig 10

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Socio-Economic The performing arts center will be in Phoenixville, Pennsylvania. Community members of Phoenixville and surrounding neighborhoods will be the primary users of the building. The median household income for Phoenixville is $55,642 with many being considered middle class.6 The design budget would take that into consideration.

The building is located in downtown Phoenixville where there is an abundance of restaurants and breweries so that people will be able to have dinner and a show. fig 11

fig 12

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Demographics The performing arts center will not target a specific demographic; it will be open to any age group, gender, ethnicity, race, and religion. However, the demographics for Phoenixville, PA are to be considered to further understand who will be utilizing the building. The median age is 34.6 which is lower than in previous years.7 This demonstrates how the area is attracting a younger age group. Data from the most recent census also shows race statistics in the area with most citizens being white followed by black and Hispanic.8 To accommodate all potential users, Universal Design conditions will be implemented. The performing arts center will be a place for members of the community to express their artistic freedom. Musicians, dancers, and actors will learn and grow as performers as they share their talent with the audience. The center will inspire audience members and contribute to the preservation of the performing arts in communities. fig 13

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Image Sources

Fig 1. https://www.cft.org.uk/whats-on/event/late-night-cabaret-1 Fig 2. “Ballet Beautiful” ZsaZsa Bellagio . http://www.zsazsabellagio.com/ballet-beautiful-52/#.WByjW1dlk3E. Fig 3. “UniradioInforma” http://www.uniradioinforma.com/noticias/cultura/401476/ artes-escenicas-fundamental-para-las-personas-comunidad-teatral.html.

Fig 4. MFA in Theatre: Lighting Design. http://www.performingarts.vt.edu/study-withus/theatre-graduate/lighting-design.

Fig 5. http://danmeyerson.com/services Fig 6. http://blog.yamahamusicsoft.com/2015/08/8-tips-for-practicing-piano.html Fig 7. https://lightsonstage.files.wordpress.com/2011/04/dsc_0215.jpg Fig 8. http://inhabitat.com/gorgeous-leed-gold-designed-chicago-theater-recycles-98-of-the-former-building-materials/writers-theater-by-studio-gang-architects-4/ Fig 9. https://ny.curbed.com/2016/9/8/12849518/world-trade-center-performing-artscenter-design Fig 10. http://theatre.arizona.edu/about-art/behind-the-scenes/ Fig 11. “Community” https://www.edmonton.ca/programs_services/programs-community.aspx.

Fig 12. “Community-National Instruments” http://www.ni.com/en-us/community.html.

Fig 13. “Collaborating with Dancers in the Studio as a Photographer.” The Phoblographer. http://www.thephoblographer.com/2016/06/14/the-dancers/ Fig 14. Ibid.

Endnotes 1 AMTA. “3 Reasons Performing Arts are Important for Society.” American Musical Theatre Academy. December 05, 2016. Accessed August 26, 2017. http://theamta. com/gb/3-reasons-performing-arts-important-society/.

2 Guetzkow, Joshua. “How the Arts Impact Communities.” Princeton University, June 2002, 3. https://www.princeton.edu/~artspol/workpap/WP20%20-%20Guetzkow.pdf.

3 Ibid.

4 Ibid.

5 Porter, Lynne. Unmasking Theatre Design: a Designers Guide to Finding Inspiration and Cultivating Creativity. Burlington, MA: Focal Press, 2015, 11.

6 “Phoenixville, PA.” Data USA. Accessed August 27, 2017. https://datausa.io/profile/ geo/phoenixville-pa/.

7 Ibid.

8 “QuickFacts.” U.S. Census Bureau QuickFacts selected: Phoenixville borough, Pennsylvania. Accessed August 27, 2017. https://www.census.gov/quickfacts/fact/ table/phoenixvilleboroughpennsylvania/PST045216.

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Section 2:

2

HISTORIOGRAPHY

fig 1

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History of Ancient Theaters The first documented information about theater design comes from a treatise written by the Roman architect Vitruvius Pollio in 27 B.C.1 Interest in theater and the performing arts has been around for centuries. Roman theaters were heavily influenced by Ancient Greek architecture.

A Classical Greek theater typically had the orchestra, or stage, at the center of the structure with the skene, or scenery, behind it. Surrounding the orchestra is the theatron, or seating area, which was typically arranged within a hill to allow effective viewing and acoustics for spectators (see fig 4 fig 3 fig 2).2 Vitruvius Pollio wrote in his treatise that a hillside site was ideal for the seating area; In Theater Design, a reference book about the history of theaters, however, it was not always necessary.3 author George C. Izenour writes, “a level site posed insuperable engineering problems for the homeland Greeks, who limited their theater building to hollowed out hillsides or bermed earth, but it never did so for the Hellenistic and Roman architects and engineers because their knowledge of barrel and groined vaulting used as superstructure for the seat banks of a theater.�4 The Greeks were limited to building within hillsides, but as theater architecture developed, new building techniques were created to efficiently design in a variety of environments. Greek theaters were also largely open, whereas Roman theaters called for an emphasis on social and political hierarchy. They adapted the classical Greek theater into a structure that would better suit their needs. Roman theaters were supported with concrete vaults, and often these theaters contained multiple levels.5 The levels ensured that citizens of different classes would be separated from one another while fig 2 also providing a respectable view for each of the spectators.

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History of Modern Theaters Classical theater design began in Ancient Greece and Rome, while modern design began in England with the Late Renaissance.6 It was during this time that Elizabethan playwrights such as William Shakespeare gained popularity.

Elizabethan stages were typically large, square platforms with seating for spectators surrounding it; the theater also contained an inner and upper stage level that allowed flexibility and movement within the space (see fig 5).7

fig 6

fig 5

During the Baroque period, theaters further transitioned to having moveable scenery and there was an emphasis on painted set decorations. The Baroque period began in Italy and soon spread throughout Europe. The later end of the Baroque period marked a return to the ideals of the classical style as it embraced the innovation of electricity and mechanical engineering.8 21

Precedents Ancient Theater: Colosseum

The amphitheater was built with travertine stone and vaults cast with cement; it is elliptical in shape and contained cages and trap doors beneath the arena stage.9 The seats were originally covered in marble (see fig 9) and allowed for more than 45,000 spectators to sit at once.

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The Colosseum in Rome, Italy was built in 70 A.D. and is an example of an Ancient Roman Amphitheatre.

Originally called the Flavian Amphitheatre, the arena was meant to serve as public entertainment for the community. Gladiator fights were commonly held in the arena along with wild animal hunts, but the theater still holds significance today as one of the most iconic symbols of Ancient Roman architecture.

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fig 9

Renaissance: Globe Theater

fig 10

The Globe Theater in London, England, originally built in 1599 and reconstructed after a fire in 1614, was meant to showcase Shakespeare’s plays. The Globe was originally a “20-sided structure, as near to a circle as Elizabethan carpentry could make it,” and was 30 feet high with three level of seating galleries (see fig 11).10 The stage was a 5-foot-high platform with two posts supporting a covered roof. Depending on how much money they had, audience members could watch from the pit or from one of the levels of the gallery. As shown in figure 11, the stage was open on three sides; the galleries above were reserved for “distinguished guests.”11 In Theaters in America, author Craig Morrison describes the environment of the theater as a “spirit of unity and excitement akin to that of the spectators at a parade or college football game today.”12

fig 11

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Culture Documented interest in the performing arts dates back to Ancient Greece where plays were typically performed with one actor, the protagonist, and a chorus of people. For Ancient Greeks, acting was a way to investigate the world in which they lived in; and dramas were typically in the form of comedies or tragedies in order for the audience to ultimately achieve what Aristotle called “catharsis.�14 Aristotle and Ancient Greek philosophers believed that audience could experience cleansing while watching others on stage deal with themes like love and loss.

Demographics

As demonstrated in the precedent of the Colosseum and the Globe Theater, there was not a history of targeting specific demographics. Both buildings, one in Italy and one in England, were built for the public. The Colosseum held entertainment events that included violence such as fighting to the death; whereas. The Globe showcased Elizabethan plays.

Though the purposes of the entertainment venues were different, the goal was the same: to create a public structure where the community could gather and share an experience. Despite both theaters having specific seating arrangements, they were open to people of all social and political classes. The socio-economic conditions did not prevent slaves from seeing a show with royalty, but they would have been seated in separate places. Theaters have always been a place where the entire community could gather together as they sought out entertainment.

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Image Sources Fig 1. “Greek Theater.” http://www.greece.com/info/culture/greek_theater/.

Fig 2. “Ancient Greek Theater.” http://www.reed.edu/humanities/110tech/theater. html.

Fig 3. “Teatro romano.” ArcheoFlegrei. http://www.archeoflegrei.it/il-teatro-di-puteoli/7-2_6/ Fig 4. https://www.britannica.com/art/theater-building/Developments-of-the-Renaissance.

Fig 5. Ibid.

Fig 6. “Quantum Theatre.” http://www.quantumtheatre.com/art-music-in-the-baroque-period/.

Fig 7. “The Colosseum or Flavian Amphitheatre.” http://www.ancient.eu/image/950/.

Fig 8. http://romancolosseum.org/roman-colosseum-architecture/ Fig 9. “Colosseum” by Erica Stewart Fig 10. “The Globe Theatre.” http://shakeprearesworldjb.weebly.com/the-globe-theatre.html Fig 11. Ibid.

Fig 12. “Globe Theatre” https://www.britannica.com/topic/Globe-Theatre#toc248150.

Fig 13. http://taqplayer.info/comedy-tragedy-masks

Endnotes

fig 13

1 Izenour, George C., Vern Oliver Knudsen, and Robert B. Newman. 1996. Theater Design. 2nd ed. New Haven: Yale University Press, 31.

2 “Ancient Greek Theater.” Greek Theater. Accessed September 02, 2017. http:// www.reed.edu/humanities/110tech/theater.html.

3 Izenour, George C., 34.

4 Ibid.

5 Klar, Author: Laura S. “Theater and Amphitheater in the Roman World | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.” The Met’s Heilbrunn Timeline of Art History. Accessed September 02, 2017. http://www.metmuseum.org/toah/hd/tham/hd_tham.htm.

6 Izenour, Georce C., 33.

7 Izenour, George C., and Clive Barker. “Developments of the Renaissance.” Encyclopædia Britannica. August 05, 2016. Accessed September 02, 2017. https://www. britannica.com/art/theater-building/Developments-of-the-Renaissance.

8 Izenour, George C., 33.

9 “Descripto.” The-Colosseum.net:Description. Accessed September 03, 2017. http:// www.the-colosseum.net/architecture/descriptio_en.htm.

10 Gurr, Andrew. “Globe Theatre.” Encyclopædia Britannica. May 20, 2016.

Accessed September 03, 2017. https://www.britannica.com/topic/Globe-Theatre#toc248150.

11 Morrison, Andrew Craig. 2006. Theaters. 1st ed. New York;Washington, D.C;: W.W. Norton & Co, 13-14.

12 Ibid, 14.

13 PBS. Accessed September 03, 2017. https://www.pbs.org/empires/thegreeks/ background/24a.html.

14 Ibid.

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Section 3:

3 CASE STUDIES

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Case Study 1: The Arden Theatre The Arden Theatre, located at 40 N 2nd Street in Old City, Philadelphia, PA, produces five mainstage plays a year and two children’s shows. The building was originally three separate units that the Arden Theatre Company combined, giving them approximately 50,000 square feet, including a basement and three floors.

The Arden Theatre Company was founded in 1988 by Terrence J. Nolen, Amy Murphy and Aaron Posner. In 1995, the company moved to their current location and built their first main performance space, the F. Otto Haas Stage. Later, they added a second performance space, the Arcadia Stage, on the second level.

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The building appears to have a middle to low cost for construction. The property is adaptive reuse, meaning it was originally built for a different purpose, but the interior was renovated to suit the needs of the Arden Theatre Company. The public spaces of the performing arts center are the lobby, box office, event space, and two performance spaces. They are the most visually appealing aspects of the building. The private spaces of the center are the backstage areas which includes offices, storage, control booths, and dressing rooms.

Relevance

Site and Context

This case study is relevant to a community performing arts center because of the variety of programs The Arden Theatre Company offers. Having more than one stage allows two productions to occur simultaneously. The company also offers summer programs and drama school for children ranging from ages 2 to 18. It benefits the community’s youth and functions as a respectable theater for the Philadelphia public.

The Arden Theatre is in an urban setting in Old City, Philadelphia.

Residents of this area have a median income of about $81,000 while the average for Philadelphia is approximately $41,000.4 The theater has had a positive impact on the community’s economic growth.

Clients and Users The primary users of the space are the theater staff which includes the cast and crew for each performance. The secondary users are audience members and children who attend the drama programs. Audience members are typically well-educated and wealthy with most of them being over the age 45.1 The children’s theater demographic is similar, but with adults ranging in age from 25-49 with young children.2 Most patrons live in Philadelphia, the Main Line, or South Jersey.3 When a show is not in production, spaces can also be rented out to corporations for events.

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Design Concept and Style There are three floors and a basement. The building is organized from public to private spaces. The public spaces are located at the East side of the building while the private spaces are in the West. There is no direct path between the private and public spaces unless one was to walk through the main stage. Specific adjacencies include the lobby and box office, the event space and performance spaces, and the backstage areas such as the dressing rooms and green rooms. The lobby is somewhat angular, but there is a clear path towards the main stage, box office, and stairs. This allows users to easily navigate to the area of their choosing. The private, back of house spaces do not have a clear path; the hallways are narrow and the rooms are small. The HVAC system throughout the auditoriums and other public spaces is central air to ensure that visitors are always comfortable in the space. The building is adaptive reuse, but other than that, sustainability was not a main consideration in the design process.

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Interior Design Notable materials and finishes in the theater include wood floors in the lobby along with wood and steel stairs. This makes the lobby appear modern and clean. The performance areas are black box theaters which allow unique scenery for each show. The stage is built specifically for each performance which works well to create an immersive experience for viewers. The materials are durable to accommodate the large amount of people that frequent the theater. The furniture in the auditoriums are rearrangeable so that seats can be added or removed depending on the show’s needs. The color scheme in the main lobby is brown, black, red, and white.

The brown wood floors create a natural and comfortable environment. The wall to enter the main theater is black and the doors are red which draws one’s attention toward them. The remaining walls of the lobby are white. That, along with the windows providing natural light, create a bright and clean space. The natural lighting is best utilized in the lobby spaces. The auditoriums rely solely on artificial lighting to create an atmosphere for each play. The offices and backstage areas have very little natural light. The backstage areas typically used 2x4 lighting fixtures. There were posters throughout the public spaces showcasing their current plays.

Along the walls, there are also historical images of past theater performances.

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Post Occupancy Survey The survey found that what works best is the adaptability of the theater spaces. For each show a new stage is built, and the seats can be rearranged to best accommodate the play. Another benefit was the amount of storage space in the building. The entire basement level is storage and that allows them to reuse many of their props and sets and even rent them out to other theaters. Something users found as a weakness would be the navigation of the backstage areas and the clearance levels of the control booths which one must bend down to enter.

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Evaluation I think the lobby and public spaces work well in the building. The comfort and adaptability of the theaters are useful, as well. This allows the set designer to create an experience that is personal for each performance. I found that the main weakness of the building was the unfinished back of house. The dressing rooms were small and cots and equipment lined the narrow hallways. The clearance height for the control booths left a claustrophobic feel Circulation Diagram and felt unsafe despite the clearance warnings.

Also, the private spaces are separated from the public spaces by the main theater space. This means that to leave the office and enter the lobby, one must first go outside. There is no direct path throughout each floor and wayfinding is difficult.

Public vs Private

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Parti

Location

Adjacencies

Function

Sq ft

Lobby

waiting area

1500

Public Restrooms

Tickets, Main Theater, Event Space Lobby, Kitchen/Prep Room, Theater

restrooms for secondary users

300

Tickets

Lobby

sell tickets to shows

150

Kitchen/ Prep Room Cafe/Event Space

prepare food for events

60

Cafe/ Event Space

Kitchen/Prep Room

rented out for events

300

Main Theater

Dressing Rooms, Green Room, Lobby

stage and seating

3800

Private Restrooms

Tickets, Main Theater, Event Space

cast and crew- has showers

Dressing Rooms

Main Theater, Green Room, Private RR

where cast prepares for shows

120 80 each

Utility/ Wardrobe

Dressing Rooms

laundry room

50

Green Room

Main Theater, Dressing Rooms, Private RR cast waiting area/ emp. lounge 100 33

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Location

Adjacencies

Function

Sq ft

Lobby

waiting area

1500

Second Theater

Second Theater Lobby, Dressing rooms

stage and seating

1800

Dressing Rooms

Lobby

where cast prepares for show

80

Admin Offices

None

staff work area

2000

Location Control Rooms

Adjacencies

Function lighting and sound control

Wardrobe

View to Theater below Rehearsal Space and Storage

Sq ft 60 each

costume sewing, storage

250

Rehearsal/Stg

Wardrobe

storage, practice space

1000

Image Sources

Fig 1. https://www.timeout.com/newyork/dance/the-best-dance-classes-foradults Fig 2. Figure 2 by Erica Stewart Fig 3. Figure 3 by Joshua Pellecchia Fig 4. maps.google.com Fig 5. Figure 5 by Erica Stewart Fig 6. Figure 6 by Erica Stewart Fig 7. Figure 7 by Erica Stewart Fig 8. Figure 8 by Erica Stewart Fig 9. Figure 9 by Joshua Pellecchia

Endnotes

1 Company, Arden Theatre. Arden Theatre Company: About : Program Advertising. Accessed September 11, 2017. https://www.ardentheatre.org/about/ advertising.html.

2 Ibid.

3 Ibid.

4 “Philadelphia, Pennsylvania Neighborhood Map - Income, House Prices, Occupations, Boundaries.” Philadelphia, PA Neighborhood Map - Income, House Prices, Occupations - list of neighborhoods. Accessed September 11, 2017. http://www.city-data.com/nbmaps/neigh-Philadelphia-Pennsylvania. html#N152.

Floor plans provided by the Arden Theatre.

Diagrams by Erica Stewart

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Case Study 2: Suzanne Roberts Theatre The Suzanne Roberts Theatre, located at 480 South Broad Street in Philadelphia, PA, is owned by the Philadelphia Theatre Company. The building was designed by Kieran Timberlake in 2007. There are three floors totaling in 35,000 square feet of space. It appears to have had a middle to high cost for construction.

Relevance This case study is relevant to a performing arts center because it is a prominent theater in the Philadelphia community. Multiple Philadelphia media outlets have named them the “Best Theater Company.�1 In addition to showing several productions a year, the company does community outreach. They support performing arts education in public schools facing budget cuts. They also offer workshops and summer programs to children and have a performance program for children in the community.

Clients and Users The client is the Philadelphia Theatre Company which was founded in 1974 by Robert Hedley and Jean Harrison. Primary users include staff, talented actors, and the crew for each production. They use the space to put on performances each year by rehearsing, creating sets, and designing costumes.

The secondary users are the Philadelphia public. This includes audiences who attend the shows each year and people who rent the event spaces of the center.

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Site and Context The Suzanne Roberts Theatre is located within Broad Street’s Avenue of the Arts in Philadelphia. It is in close proximity to other prominent Philadelphia Theaters such as The Kimmel Center, The Academy of Music, Merriam Theater, and more. The Avenue of the Arts is a tourist destination and spurs economic growth for the community and encourages a culture of the arts.

fig 3

fig 2

Kieran Timberlake stated that “the three-story glass facade spans more than half the length of the block, offering unprecedented street presence for a regional theater of this size. Its transparency allows the public to engage with the vibrancy of the theater and the life of the street, and the architecture celebrates the notion of theater as both performance art and civic event.”2 The building is located in an urban area with the immediate neighborhood being in an affluent community. The climate has a wide range with winter being cold, summer being hot, and fall and spring being mild.

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Design Concept and Style The architects stated that their concept was to create “an intimate theater where audience and actor are in close proximity, and the natural voice can be clearly heard.â€?3 The main design concept was comfort for both primary and secondary users. The intimate theater is ADA accessible and has larger seating sizes than many of the older Philadelphia theaters. The dressing rooms are also larger than most existing theaters and this is to ensure that actors are comfortable and enjoy working with the theater. The glass façade on the exterior connects the neighborhood and visitors to the interior. The ideals of the Avenue of the Arts and echoed within the interior of the building and it draws people inside. The building is three floors high and contains one main performance space that continues through each level. On the second floor, there is mezzanine seating within the performance space and the third floor contains the catwalk and control booths.

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fig 4 The catwalk is located above the stage for the crew to adjust the full height fly.

The fly system allows the crew to pull ropes that control the curtains, lighting, scenery, and more. Specific adjacencies include the vestibule and ticket booth, the lobby and auditorium, and the back of house rooms which include dressing rooms and green rooms. The public and private spaces of the building are separated distinctly and there are clear paths connecting the two types of spaces. Circulation and wayfinding are straightforward and signage is used to direct guests throughout the building.

The building contains an independent steel structure with a glass faรงade on the east exterior wall at the main entrance. There are also glass and steel stairs located in the lobby and directing audience members to the double height mezzanine level. Within the auditorium, there are glass reinforced gypsum panels along the wall for acoustical purposes.

The building appears to have central air to allow for comfortable temperatures year-round. Natural light is ample in the lobby spaces and minimizes the need for artificial lighting at certain times of day which is a sustainable practice for lighting.

fig 6

fig 7

Interior Design All interior materials and finishes are durable to accommodate the large amount of people that pass through the theater on a regular basis. There is carpeting throughout the public spaces of the building.

Common furniture includes auditorium seating, lounge seating, and cots for the dressing rooms. Relevant equipment in the green room includes the television that allows actors to watch the stage for their queue to enter. There is also a kitchen area within the green room for both actors and employees. Equipment in the control booths are used to adjust lighting and sound during the performances. The survey found that what works best is the adaptability of the theater spaces.

For each show a new stage is built, and the seats can be rearranged to best accommodate the play. Another benefit was the amount of storage space in the building. The entire basement level is storage and that allows them to reuse many of their props and sets and even rent them out to other theaters. Something users found as a weakness would be the navigation of the backstage areas and the clearance levels of the control booths which one must bend down to enter.

39

There is also a prop shop within the building where the crew can build set materials and furniture, and this space contains typical wood shop equipment.

There is an analogous color scheme in the lobby of blue-violet and red-violet which can be seen on the carpeting and lounge seating. The glass reinforced gypsum in the auditoriums are also in the red- color family while the seating upholstery is an analogous shade of yellow. The walls are mainly white in the public and private spaces. In the private spaces, this is effective in making the dressing rooms and hallways feel more spacious. In the public spaces, the white walls allow for projectors to display video art.

Post Occupancy Survey The survey found that the glass faรงade facing the Avenue of the Arts works best for the building since it allows ample natural light to flow through the lobby and it connects the street to the interior. The open lobby and event spaces also work well to allow the company to rent the spaces to a wide variety of clients. Weaknesses of the theater were the small offices and narrow hallways that are often used for additional storage.

Evaluation I think the architects successfully reached their goal of creating a comfortable and intimate space. The auditorium seating allows ample room between patrons so they are more comfortable through the duration of the performance. The emphasis on universal design is clear and ensures that a wide variety of people feel comfortable in the space.

The backstage areas are clearly labeled and easy to navigate, as well, and this benefits the actors.

fig 8 40

Circulation Diagram

Public vs Private

Parti

41

42

Location

Adjacencies

Function

Sq ft

Lobby

waiting area/ event space

1500

Public Restrooms

Tickets, Main Theater, Public Restrooms Lobby

restrooms for secondary users

300

Tickets/ Office (below)

Lobby

sell tickets to shows, offices

600

Event/Reheasal (above)

Lobby

practice and rental room

600

Dressing/Green Room (b)

Stage, Hallways

dressing, waiting area

700

Mech/STG (above)

Hallways

mechanical and storage

700

Auditorium

Lobby, Stage

seating below and on mezz.

3000

Stage

Auditorium, Dressing Room, Green Room performance area

2500

Image Sources

Endnotes

Fig 1. Suzanne Roberts Theatre. http://kierantimberlake.com/pages/view/204 Fig 2. maps.google.com Fig 3. Figure 3 by Erica Stewart Fig 4. Figure 4 by Erica Stewart Fig 5. Figure 5 by Erica Stewart Fig 6. Figure 6 by Erica Steawrt Fig 7. Suzanne Roberts Theatre. http://kierantimberlake.com/pages/view/204 Fig 8. Ibid.

1 “About.” Inspiring. Smart. Entertaining. Accessed September 16, 2017. http:// philadelphiatheatrecompany.org/about/.

2 Suzanne Roberts TheatrePhiladelphia Theatre CompanyPhiladelphia, Pennsylvania35,000 square feet2007Program: New facility for a regional theater company. “Suzanne Roberts Theatre | KieranTimberlake.” KIERAN TIMBERLAKE. Accessed September 16, 2017. http://kierantimberlake.com/pages/view/204.

3 Ibid.

Floor plans provided by Suzanne Roberts Theatre.

Diagrams by Erica Stewart.

43

Case Study 3: East Central Performing Arts Center East Central High School’s Performing Arts Center, located in San Antonio, Texas was designed by LPA. The project is currently in development for the East Central Independent School District which has recently expanded its programs for performing arts education. The budget for the design and construction of the new performing arts center is $13.5 million. The center will have two floors and total 37,500 square feet.

fig 2

Relevance

fig 1

44

This case study is relevant to the proposed community performing arts center because of the curricula offered by the school and the large, multiuse auditorium space. The theater seats 1,000 people and is the centerpiece of the building.1 In addition to the auditorium space, the performing arts center also contains classrooms for music theory and drama. Students can explore various fields within the performing arts including acting, singing, dancing, and musical composition.

Client & Users

Site & Context

In 2016, East Central Independent School District asked residents to approve an $86.1 million bond package for new facilities for the growing number of students in the district.2 The number of students in the school district has been steadily increasing and they were beginning to outgrow their current buildings and resources. The new performing arts center fig 5 was a part of their proposal to build new facilities for the school district. The center is a part of the high school, but can be accessed by members of the community, as well. The primary users of the space are the students and teachers who use the classrooms during school hours, the auditorium for events, and the stage to put on school plays and performances.

The community acts as secondary users, fig 4 fig 6 mainly as guests and audience members The building is in San Antonio, Texas where the average weather who attend their children’s performances. pattern consists of a long hot season and a short cool season with typically high temperatures. The architects completed solar and wind analysis diagrams and considered how the weather would impact their overall design (see fig 5). As previously mentioned, the building is located within the East Central High School campus.

Surrounding buildings include the gym, band hall, fine arts building, and cafeteria (see fig 6). East Central High School is in an urban-rural fringe setting and is the only high school in a 296-mile radius; therefore, fig 3 it must meet the needs of students from both urban and rural areas.3 45

Design Concept & Style The architecture firm, LPA, has stated that their concept for the design was to create a timeline of the theatrical process so that it functions both as a performing arts center and as a teaching tool.4 LPA states that the “organizational diagram culminates in the theater, where the round geometry reinforces the idea by ‘closing the loop’ and providing a dynamic geometry at the gateway to the campus.” 5 The use of windows and doors act as transition spaces between each phase of the building which provides users a glimpse into the theater production process. The exterior materials were thoughtfully selected with the harsh South Texas climate taken into consideration. The center has East and West vertical fins, a shading device which lowers solar glare while still allowing natural light to enter the building, and deep roof overhangs which lessen heat gain.6

fig 7

46

fig 8

Floor Plan The building consists of one main floor and a mezzanine level. The first floor has two entrances; one for students and one for the community. The public entrance, located on the west side of the building, contains its own lobby and has immediate entrance to the auditorium. The student entrance is located on the east side so they can easily enter from other buildings on campus. The student lobby is somewhat smaller than the main lobby and immediate adjacencies include classrooms, dressing rooms, and the rehearsal space. The public and private spaces are clearly separated in the building. The mezzanine level contains additional seating for audience members and learning areas such as a classroom and choir room.

Based on the interior rendering of the main lobby, circulation and wayfinding is straightforward for the public; the theater is clearly labeled and there is a ticket area where visitors could get more information (see fig 7).

The exterior structure mainly consists of storefront, full-height glass and is used throughout the space. Sustainable and cost-saving measures were taken to provide natural and efficient lighting throughout the space wherever possible.

Daylighting in the lobby and rehearsal room is cost effective in the long term and lessens the use of artificial lighting.7

Interior Design

Evaluation I think the plan is effective in showing LPA’s concept of the timeline of the theatrical process. Dividing the spaces into public, creative, and performance gives a clear understanding of each area in the building. Classrooms, although necessary for a school building, would also work well in a community performing arts center. I think having separate places to learn, rehearse, and perform are integral to the effectiveness of the center.

Public Private

LPA researched the science of acoustics to determine how they shaped the auditorium and decided to apply accordion walls along the interior.8 East Central’s Performing Arts Center, set to begin construction in the summer of 2017, has minimal interior images at this time. The renderings show that they have chosen a neutral color theme in the public lobby with white walls and stairs and a wood reception desk. The auditorium seating is most likely a durable material to accommodate many users. The rehearsal room has mirrors and curtains specified for the walls.

47

Location

Adjacencies

Function

Sq ft

Dressing/Green Rooms

prepare for performances

800

Costume/scene shop

Student lobby and stage Student lobby, rehearsal, stage

costume sewing, prop shop

1100

Rehearsal

Costume/scene shop and stage

practice space

3400

Auditorium/ Pit

Stage, Lobby, Storage

audience seating

1100

Stage

Auditorium, dressing/green room, rehearsal

performance area

Student Lobby

Dressing/green room, stage, costume shop

student entrance

3200 600

Support Rooms Drama

Concession, restrooms, storage

Support spaces

variety of support functions acting and drama lessons

2200 800

Theory

Support spaces

music lessons

800

Recording/ Ensemble

Music office, choir room Recording/ensemble, choir room Recording/ensemble, music office

music lessons, practice space teacher office singing practice

530 120 1500

Music Office Choir Room 48

Image Sources Fig 1. “The performing arts center of the future.” https://www.bdcnetwork.com/performing-arts-center-future Fig 2. “East Central High School Performing Arts Center.” https://www.lpainc.com/ work/east-central-high-school-performing-arts-center Fig 3. http://www.scitexas.edu/locations/san-antonio-north/ Fig 4. http://www.ecisd.net/Page/8311 Fig 5. https://www.bdcnetwork.com/performing-arts-center-future Fig 6. Ibid.

Fig 7. https://www.bdcnetwork.com/performing-arts-center-future Fig 8. Ibid.

Circulation

Endnotes

Parti

1 “East Central High School Performing Arts Center.” LPA Inc. Accessed September 19, 2017. https://www.lpainc.com/work/east-central-high-school-performing-artscenter.

2 Writer, Greta Kaul Staff. “East Central to go out for $86.1 million bond.” San Antonio Express-News. March 14, 2016. Accessed September 19, 2017. http://www. expressnews.com/news/education/article/East-Central-to-go-out-for-86-1-millionbond-6889092.php.

3 “East Central High School.” About ECHS / Demographics. Accessed September 21, 2017. http://www.ecisd.net/Page/609.

4 “East Central High School Performing Arts Center.” LPA Inc. 5 Ibid.

6 Ibid.

7 “The performing arts center of the future.” Building Design Construction. May 08, 2017. Accessed September 27, 2017. https://www.bdcnetwork.com/performing-arts-center-future.

8 Ibid.

49

Case Study 4: Marshall Family Performing Arts Center The Marshall Family Performing Arts Center was completed in 2016 for Greenhill School in Addison, Texas.

It was designed by Weiss/Manfredi, a Manhattan based, award-winning architecture firm, and has since won the International Architecture Award from the Chicago Athenaeum and The European Centre for Architecture Art Design and Urban Studies.1 The budget for the design and construction process of the 54,000 square foot space was $26.5 million.2 This high budget suits the needs of the prestigious private school as they worked with a renowned architecture firm. In Texas, it is not uncommon for school districts to allocate millions of dollars to the construction of new football stadiums, but it was unique to have a high budget for a project supporting the arts.3

fig 2

Relevance

fig 1

50

The Marshall Family Performing Arts Center is relevant to the proposed community performing arts center because of the multi-purpose theater and studio spaces. There are three main performance spaces: the auditorium which seats 600, the studio/ black box theater which seats 150, and the choral rehearsal studio which seats 80.4 A variety of programs within the performing arts can be explored in this space and additional classrooms are available for students to learn about music and drama.

Clients and Users The client is Greenhill School in Addison which serves over 1,200 students, Kindergarten through 12th grade, in the greater Dallas area.5 Greenhill School states that they are an “independent, coeducational day school” with curriculum integrating “academic, artistic, athletic and social service in a positive and open atmosphere.”6 Greenhill is a private school with a high tuition cost, but they offer need-based financial aid to 17% of students, and they support diversity with approximately 46% of students being people of color.7 The primary users of the space are the students and faculty, particularly those who are involved in the performing arts curricula. However, the space can also be used for school events involving the entire student body and staff. Secondary users are members of the community such as parents and family friends who visit the space as audience members.

fig 3

fig 4

Site and Context As previously mentioned, the building is in Addison, Texas which is part of the greater Dallas area.

Addison experiences hot and muggy summers, cold and windy winters, and otherwise cool temperatures with partly covered skies and rainfall year-round.8 The performing arts center is located on Greenhill’s campus in the northeast corner where 100 additional parking spaces were added after two athletic fields were relocated from that area to the southeast corner of campus.9 The building is accessible to both students and members of the community and was designed with the existing campus in mind.

51

Design Concept & Style Architecture firm Weiss/Manfredi stated the goal of their design was to connect the new building with the existing campus which is done by creating an outdoor courtyard and framing views of the campus.

The architects used the topography as a chance to create social interactions. The exterior materials also work to connect the land and existing buildings with the performing arts center. Weiss describes the form of the building as being similar to “earthwork� with fritted glass connecting the interior and exterior.10 The glass contains a screen layered system which protects against the harsh Texas sun and lessens heat gain. The fritted glass is meant to resemble a piano key pattern in order to more strongly connect with the performing arts theme.

fig 5

52

fig 6

fig 7

fig 8

Interior Design The performing arts center is two floors and contains a variety of theater spaces and classrooms. The main entrance and lobby are located in the northwest section of the building facing the existing campus buildings in order to allow easy access for students. The main theater is the auditorium space with a proscenium stage which allows audiences to see only what the performers want them to and all scenery is controlled by the fly system installed above. The upholstery in the proscenium theater is multicolored which can create the illusion that the theater is full when it is not.11 Secondary theater spaces include the studio, black box theater, and the dance/ choral space. The studio theater is a flexible space that is smaller than the main theater, and the dance space can be used for both performances and dance rehearsals.

fig 9

fig 10

Immediate adjacencies include the courtyard, main lobby and entry. At the center of the floor plan is the double height proscenium theater with mezzanine seating on the second level, a fly system, and control booths. In the east section of the building are the back of house spaces such as storage, dressing rooms, and the scene shop. There are two classrooms on the first floor and a film/video lab on the second floor. Sustainability has been considered with natural light entering many areas of the building. There is also thermal regulation throughout the building that involves storing ice and using it alongside an air cooler as it melts throughout the day. This lowers the cost of energy prices.12 53

Evaluation The building achieves its goal of connecting to the surrounding buildings on campus as well as fitting in effortlessly with the landscape. I think the building effectively suits the needs of its climate and site.

Accessibility to both students and the community is important to have a variety of events within the space.

I like that there are three separate performance spaces that are designed with the specific needs of each space in mind. The classroom spaces are also important for students to learn as much information they can about the performing arts. I like that they have added a gallery space, as well, so that as people are navigating around the theater, they are able to see artwork done by the students.

Public vs Private 54

Circulation

Concept Parti by Weiss/Manfredi fig11

Location

Adjacencies

Function

Courtyard

Main lobby, entry lobby Courtyard, entry lobby, gallery

outdoor area student and community waiting area

Courtyard, main lobby Entry lobby, control booth Main lobby, storage, classrooms

theater entry space auditorium and main stage

Main Lobby Entry Lobby Main Theater Studio Theater Gallery Control Booth Concession and tickets Offices Classroom Scene Shop Dressing Room Storage Mechanical Dance/Choral Film/video lab

Main theater, offices Entry lobby, main theater Main lobby, offices Gallery, ticket booth, storage Storage, studio theater

small, flexible theater space artwork display lighting and sound control for main stage food and ticket purchasing teacher and administrative offices learning spaces

Storage Storage, main stage back of house back of house storage, upper lobby upper lobby, upper gallery

prop and stage building dressing and makeup before going on stage supply, prop, wardrobe, and general storage buidling mechanical dance and singing rehearsal/ performance film and video production and studio space

55

fig 12

56

Image Sources

Fig 1. http://www.architectmagazine.com/project-gallery/marshall-family-performing-arts-center_o Fig 2. “Gallery of The Marshall Family Performing Arts Center / Weiss/Manfredi - 9.” ArchDaily http://www.archdaily.com/788399/the-marshall-family-performing-arts-center-weiss-manfredi/5748c338e58ecec3e500003a-the-marshall-family-performing-arts-center-weiss-manfredi-image.

Fig 3. “Gallery of The Marshall Family Performing Arts Center / Weiss/Manfredi - 1.” ArchDaily http://www.archdaily.com/788399/the-marshall-family-performing-arts-center-weiss-manfredi/5748ce7ce58ecec3e500004e-the-marshall-family-performing-arts-center-weiss-manfredi-image.

Fig 4. “Gallery of The Marshall Family Performing Arts Center / Weiss/Manfredi - 18.” ArchDaily http://www.archdaily.com/788399/the-marshall-family-performing-arts-center-weiss-manfredi/5748d0d1e58ecec3e500005a-the-marshall-family-performing-arts-center-weiss-manfredi-site-plan.

Fig 5. http://www.weissmanfredi.com/project/marshall-family-performing-arts-center.

Fig 6. “Gallery of The Marshall Family Performing Arts Center / Weiss/Manfredi - 3.” ArchDaily http://www.archdaily.com/788399/the-marshall-family-performing-arts-center-weiss-manfredi/5748c248e58ecec3e5000036-the-marshall-family-performing-arts-center-weiss-manfredi-image.

Fig 7. “Gallery of The Marshall Family Performing Arts Center / Weiss/Manfredi - 4.” ArchDaily. http://www.archdaily.com/788399/the-marshall-family-performing-arts-center-weiss-manfredi/5748c384e58ecec3e500003b-the-marshall-family-performing-arts-center-weiss-manfredi-image.

Fig 8. “Gallery of The Marshall Family Performing Arts Center / Weiss/Manfredi - 2.” ArchDaily. http://www.archdaily.com/788399/the-marshall-family-performing-arts-center-weiss-manfredi/5748ce46e58ecec3e500004d-the-marshall-family-performing-arts-center-weiss-manfredi-image.

Fig 9. “Gallery of The Marshall Family Performing Arts Center / Weiss/Manfredi 12.” ArchDaily. http://www.archdaily.com/788399/the-marshall-family-performing-arts-center-weiss-manfredi/5748cef5e58ecec3e5000050-the-marshall-family-performing-arts-center-weiss-manfredi-image.

Fig 10. “Gallery of The Marshall Family Performing Arts Center / Weiss/Manfredi 14.” ArchDaily. http://www.archdaily.com/788399/the-marshall-family-performing-arts-center-weiss-manfredi/5748cebfe58ecec3e500004f-the-marshall-family-performing-arts-center-weiss-manfredi-image.

Fig 11. http://www.weissmanfredi.com/project/marshall-family-performing-arts-center.

Fig 12. “Gallery of The Marshall Family Performing Arts Center / Weiss/Manfredi - 5.” ArchDaily. http://www.archdaily.com/788399/the-marshall-family-performing-arts-center-weiss-manfredi/5748cedae58eceea7900001e-the-marshall-family-performing-arts-center-weiss-manfredi-image.

Endnotes

1 Weiss/Manfredi: Awards. Accessed October 03, 2017. http://www.weissmanfredi.com/awards/.

2 Fisher Dachs Associates - News - Greenhill School Celebrates Grand Opening of Marshall Family Performing Arts Center. Accessed October 04, 2017. http://www.fda-online.com/news_detail/77931/greenhill-school-celebrates-grand-opening-of-marshall-family-performing-arts-center/DESC. 3 Lamster, Mark. “Marshall Family Performing Arts Center.” Architectmagazine. com. Accessed October 04, 2017. http://www.architectmagazine.com/project-gallery/marshall-family-performing-arts-center_o.

4 “The Marshall Family Performing Arts Center / Weiss/Manfredi.” ArchDaily.

June 02, 2016. Accessed October 03, 2017. http://www.archdaily.com/788399/ the-marshall-family-performing-arts-center-weiss-manfredi.

5 “Quick Facts.” Greenhill School | Quick Facts. Accessed October 03, 2017. https://www.greenhill.org/page/about/quick-facts.

6 Ibid.

7 Ibid.

8 “WeatherSpark.com.” Average Weather in Addison, Texas, United States, Year Round - Weather Spark. Accessed October 04, 2017. https://weatherspark.com/y/8805/Average-Weather-in-Addison-Texas-United-States-YearRound.

9 Fisher Dachs Associates 10 Lamster, Mark 11 Ibid.

12 Sayer, Jason. “Ice cools the Marshall Family Performing Arts Center.”

Archpaper.com. November 21, 2016. Accessed October 04, 2017. https:// archpaper.com/2016/11/in-detail-marshall-family-performing-arts-center/#gallery-0-slide-0.

57

58

Section 4:

4

QUALITATIVE & TECHNICAL CRITERIA

fig 1

59

Introduction Performing Arts Centers require flexibility and a variety of spaces. Standards and ergonomics for classrooms, studios, and auditorium spaces will be considered to ensure that universal design requirements are met. The classrooms will be for music lessons and must meet the spatial requirements for instruments and comfortability of students and teachers. The dance studio and rehearsal spaces require certain materials and lighting standards while a recording studio needs acoustic standards and room for equipment. The main space of the theater is the auditorium and that requires certain seating standards.

The viewing distance and angle of seating from the stage is a consideration since all audience members should have viewing access to the performance on stage.

fig 3

fig 4

Interior Considerations

fig 2

60

Furniture in the main theater space consists of auditorium seating.

The size and layout of the auditorium seating should meet universal design standards and ensure that people of varied sizes can sit comfortably. The materials used throughout all public spaces of the center should be durable and easy to clean.

Auditorium seating should be easy to get in and out of so they do not disrupt other audience members. Flooring throughout the space should be durable to accommodate heavy foot traffic.

fig 5

fig 6

fig 7

fig 8

61

Ergonomic Design Ergonomic design is essential in theaters to provide comfortable environments for the audience members and general public. It is also necessary to have ergonomic design implemented in music classroom spaces and administrative offices. The primary users require ergonomic design elements in order for them to be efficient within a space. The seating arrangement, size, and spatial accommodations ensure that all audience members have visibility to the stage.1 Two popular methods for arranging theaters are in the form of either multi-aisle (see fig 7) or continental (see fig 8) arrangements. Another consideration is if the seats will be arranged on a level floor, a slope, or steps (see fig 9).2 Auditorium spaces should also have open areas for wheelchairs in order to be ADA accessible.

fig 9

fig 10

62

Lighting

Sustainability

Lighting in the performing arts center will vary depending on the activity performed in each room. The classroom spaces where people learn and practice music and singing should have adequate lighting for reading sheet music. The typical lighting for a classroom setting is between 2,000 and 5,000 lumens and daylighting can be implemented to save energy.3 Theaters do not require as much lighting in the auditorium area, but specific stage lights are used during performances to create a mood or environment specific to each show.

It is critical to consider how the environment could be impacted by certain design methods and sustainability is a relevant consideration for this project. The building was originally constructed over a century ago making the project adaptive reuse. Daylighting will be implemented wherever possible to ensure that people have access to views of nature and natural light while also reducing the amount of artificial lighting needed in a space. The materials throughout will be environmentally friendly and other methods will be in place to reduce the environmental impact and consume less energy.

fig 11

63

fig 12

Acoustical Control The main theater space will be a multi-purpose auditorium and the acoustics must be considered for every type of performance taking place in the space.

The theater would ideally show musical recitals, dance recitals, plays, and more. The requirements for acoustics in drama are different than the requirements for music and acoustic adjustability is necessary. 4 The direction of the balcony, acoustical panels, and even drapes can have a significant impact on the acoustics in a theater and allow for adjustability in a multi-purpose space.5

64

Visual Control

In the auditorium space, it is crucial that the audience is able to view the stage. Lighting and seating arrangements work together to ensure that audiences are able to see the performances. During shows, it is not always necessary for the performers to see much of the crowd. In control booths and backstage areas, cast and crew often need to have views of the stage, and this can be done with cameras and monitors.

The recording studio would need a glass partition separating recording equipment from the instruments and musicians so that both have a view of one another while ensuring acoustic privacy for recordings.

Security

In the auditorium space, it is crucial that the audience is able to view the stage. Lighting and seating arrangements work together to ensure that audiences are able to see the performances. During shows, it is not always necessary for the performers to see much of the crowd. In control booths and backstage areas, cast and crew often need to have views of the stage, and this can be done with cameras and monitors.

The recording studio would need a glass partition separating recording equipment from the instruments and musicians so that both have a view of one another while ensuring acoustic privacy for recordings.

fig 14

Wayfinding

fig 13

Wayfinding and signage will be implemented throughout the space at a level that is ADA accessible and easily recognizable to everyone so that it meets universal design requirements. The layout of the building will be organized in a way that public and private areas are semi-separated so that the public will be able to easily navigate throughout the spaces.

65

fig 15

66

Image Sources

Fig 1. http://www.architectmagazine.com/project-gallery/mortensen-hall-mason-gross-performing-arts-center.

Fig 2. “Soka University of America, Performing Arts Center and Wangari Maathai Hall.” https://www.zgf.com/project/soka-pac-wmh/.

Fig 3. “Added Functionality in Rehearsal Room.” Smith System. https://smithsystem.com/designs/music-room-uxl-foldaway/.

Fig 4. http://blog.onstage.io/post/134979397143/is-music-for-the-rich.

Fig 5-10. Chiara, Joseph De, Julius Panero, and Martin Zelnik. Time Saver Standards for Interior Design and Space Planning. New York: McGraw Hill, 1991.

Fig 11. http://www.hmfh.com/what-we-create/case-studies/sustainability/.

Fig 12. https://www.constructioncanada.net/no-shell-game-ensuring-auditorium-acoustics/.

Fig 13. http://newyork.sonicsearch.sonicscoop.com/view/subcatstudios.

Fig 14. http://moderni.co/modern-wayfinding-moderni/.

Fig 15. “Bing Concert Hall | Ennead Architects.” Arch2O.com. https://www. arch2o.com/bing-concert-hall-ennead-architects/.

Endnotes

1 Chiara, Joseph De, Julius Panero, and Martin Zelnik. Time Saver Standards for Interior Design and Space Planning. New York: McGraw Hill, 1991.

2 Ibid.

3 Benya, James R. “Lighting for Schools.” December 2001. http://www.ncef. org/pubs/lighting.pdf.

4 Cavanaugh, William J., and Joseph A. Wilkes. Architectural acoustics: principles and practice. New York: John Wiley & Sons, 2010.

5 Ibid.

67

68

Section 5:

5

TOPICAL EXPLORATION

fig 1

69

Introduction and Context When creating a public space such as a performing arts center, considering how people will feel and act in the building is critical. The designer is responsible for creating an environment where people are physically and mentally at ease. Design can have a positive impact on health and well-being if done properly. In order to have a better understanding of human needs in a performing arts center, this section will focus on human-centered design, light, color, and the impact performing arts have on individuals and communities. fig 3

Human Centered Design

fig 2

70

“Design thinking� is a term used to describe the process of humancentered design. It involves empathy or understanding the needs of a space’s main users.1 In a performing arts center, there is a range of demographics to consider. While the primary students will be children and young adults, people of all ages can enroll in music and drama lessons. Likewise, the audience members can be any age. Some shows may be tailored toward children while others might be aimed at general audiences. The theater should be designed to accommodate a variety of demographics.

The classroom spaces in a community performing arts center are different from the typical classrooms one might see at a school. The classrooms in a performing arts center should be flexible and interactive. The International Interior Design Association (IIDA) wrote about collaboration in educational settings and discussed the idea of breakout spaces within larger rooms to encourage communication among smaller groups of individuals.2 This idea can be applied to performing arts classrooms. Music rooms can be used for larger classes, band practices, or one on one lessons. Drama classrooms could have breakout spaces for small groups to rehearse together.

fig 4

fig 5

Research conducted by Judith Heerwagen for Herman Miller focused on how a person’s wellbeing influences productivity and creativity.3 If a person is comfortable in a space, they can learn better. Productivity and creativity are important in educational settings and performance settings. For a performance to be successful, the artists on stage must feel comfortable.

The ideal space for one person could be different for another; people learn differently and flexible spaces in a performing arts center allow everyone the opportunity to succeed. Other elements to consider in a learning environment are materials and textures. Certain colors and textures can strengthen retention depending on how they are applied.4 The shapes created when spaces are laid out can also affect how people interpret a building. For example, desks in a circular pattern can suggest communication and collaboration by symbolically and subtly reminding people of sitting around a campfire.5 Color, light, and spatial layout can have an immense effect on people’s comfortability.

71

Research conducted by the firm, BNIM, took student suggestions into consideration to find how they learn best. The researchers’ discussions with the students were primarily about learning in a safe environment, using the environment as a teaching tool, encouraging creativity, and creating a destination that is a source of community pride.6 A performing arts center should foster creativity and be enjoyed by the entire community. In addition to the educational aspect of a community performing arts center, the stage and back of house areas must also be considered. To better understand the needs of performers, an interview was conducted with advisor and performer, Jon Santos. He primarily works in black box theaters, but also performs in conventional theaters with fixed seats for a larger audience. In his interview, he stated that black box theaters allow for more flexibility and a more intimate experience with the audience. The stage usually has a backdrop and multiple screens and projectors are used to create an atmosphere for each show. Neutral colors such as black and white can be beneficial since it allows the artificial, colorful light to be visible during each performance.

Knowing that the audience is comfortable and able to see and hear him clearly is also important to him since it makes the audience’s experience more enjoyable. The backstage areas are most successful when they have comfortable areas to rest and prepare for the show.

Uniform lighting and comfortable seating in the dressing rooms help the performer prepare and are important to consider when designing a performing arts center.

72

fig 6

A performing arts center is a public building that must suit the needs of a variety of users. There are three main aspects of the center to consider when designing: the educational spaces, the back of house and stage, and the audience seating area.

Separately researching the three distinct spaces ensure that all users of the performing arts center will be at ease and enjoy their time in the building.

Light & Color Performing arts centers must rely primarily on artificial lighting so the stage is always the focal point. Lighting typically consists of spotlights which light the stage in a variety of hues. The theater space may also have downlights and ambient lighting, but when there is a performance, the stage is what is most visible. In Dak Kopec’s, Environmental Psychology for Design, light and color are discussed in detail. Kopec states that, “color can be described according to three main attributes: hue, saturation, and brightness.”

Hue describes the color family, saturation measures a color’s depth or intensity, and brightness described the shade of the color. According to Kopec’s research, a color’s brilliance or brightness can alter people’s psychological reactions to a space. Rooms with lighter colors can be perceived as more spacious than a fig 8 room of equal size in a darker shade. Similarly, a room with objects which are considered cool tones, such as metal or glass, can make people feel cooler in a room. Neutral color schemes are often used in theaters since each show is so unique and requires a clean background for each performance. Theaters also often act as spaces for events during the off season of theater production and neutral colors allow event planners to design a space to their needs. Back of house areas should remain bright in the dressing rooms, wardrobe, and prop shop. In these areas, people need to see clearly and effectively with bright hues and efficient lighting. The green rooms and lounge areas where people can relax should be in warmer fig 7 tones to allow comfort and warmth to performers.

73

Natural lighting can provide health benefits, but is not always ideal for every space. The sun changes throughout the day and light must be supplemented with artificial light.10 In classroom spaces, lighting is needed for people to comprehend material. Adequate lighting can help people learn better and is ideal for music lesson rooms. A well-lit room can affect the color of the space, as well.11 Classrooms and back of house areas can have access to natural light whenever applicable and can be supplemented with artificial lighting as needed. In the auditorium space, lighting creates the scenery for the show. Projectors and spotlights can shine light and color on performers and background scenery. Light and color transform a white, blank screen into the set for a show and are crucial for a successful design. There are control booths where someone operates the lights throughout the performance.

Impact of Performing Arts As previously discussed in section one, performing arts centers offer economic, social, and cultural benefits to communities and individuals. In this section the benefits will be addressed in more detail to showcase the importance of the performing arts in those three categories. In a research study conducted by Princeton University, Joshua Guetzkow discusses the benefits of the arts. Guetzkow wrote that performing arts centers create a venue for everyone in the community to come together and engage in “constructive social activity� where they can meet new people.12 It can become an attraction for people in the community and it benefits both active and passive participants.

The active participants are the performers while the passive participants are audience members. On an individual basis, both types of participants benefit in their own way. A performing arts center may also benefit the community by attracting tourist attention.

Economic Benefits

fig 9

74

The Princeton University study discussed how the arts can revitalize neighborhoods and cities while also promoting economic prosperity.13 Tourists and visitors from outside communities will go to areas where there are well-respected theaters which benefits the economy for that neighborhood. Visitors attending events at performing arts centers may also visit restaurants, local shops, and hotels in the area. Phoenixville has experienced a revitalization in recent years due, in part, to the many local restaurants, bars, and breweries.

In the past decade, the Phoenixville community has seen a “movement that has turned the borough of 17,000 into a destination for eaters and drinkers.”14 An article for the Philadelphia Inquirer also stated that “Phoenixville’s assessed valuation has increased by almost $200 million” since the year 2004. Home values are rising, more restaurants, shops, and businesses are opening, and the population is rapidly increasing.15 These factors make it the prime location for a performing arts center which will contribute to the neighborhood’s economic growth and tourism while also enhancing the community’s image and pride in itself.16 Along with tourism, the economy may also benefit when community performing arts centers partner with local businesses. Food for events could be supplied and catered by local restaurants and strengthen the bond for business in the community.17

fig 10

Individual Benefits The Princeton University research also discussed the benefits individuals receive by engaging in or attending artistic events. It can improve physical health, relieve stress, and create social bonds.18 For performers, dancing and acting requires physical movement. Even singing requires performers to be in physical shape to utilize their lung capacity.19 Active participation in the performing arts can improve the “sense of control over one’s life,” particularly for atrisk youth.20 It allows them to feel they have more power over their lives by becoming characters or expressing themselves through song and dance.

Participation in the arts can also improve selfesteem and self-image in individuals.21 In an article for Scholastic, Julia Savacool wrote, “One of the wonderful things about being in a play is that for a short period of time, you get to become someone else.

For a child who struggles to talk about her feelings, there is a tremendous relief in disappearing behind a character and using it as an intermediary through which to open up.”22 She also discussed the benefits of being able to teach children at a young age, that anxiety and nervousness is okay and that even adults experience it.23 Teaching younger children how to cope with nervousness can help their self-esteem, selfconfidence, and ability to cope with stress in the future. 24 75

Performing allows people to express themselves in ways they may not have been able to previously, and this can enhance creative thinking.25 In particular, creativity can be seen through non-verbal communication.

Someone who may have had trouble expressing themselves through words can be given an outlet through music or dance where they can share how they feel. In a Washington Post article, Valerie Strauss discussed how people demonstrate problem-solving skills without even realizing it every time they consider how their character would react or how to convey emotions through dance.26 Performing arts education does more than develop creative thinking. Studies show that children involved in the arts are more skillful in math, reading, and writing.27 In the United States art programs are often the first subjects to be eliminated with budget cuts; however, in some countries like The Netherlands and Japan, art education is mandatory.28 Learning to play a musical instrument requires patience, perseverance, and multiple other skill sets. Studies have shown that “children involved in music have larger growth of neural activity than people not in music training.�29 Acting is also linked with improvement of verbal skills and reading comprehension.30 Performing arts centers benefit both communities and individuals within those communities. It can be a source of revenue and help the economy as it attracts tourists.

Active participants can increase their self-esteem and improve cognitive skills in math and reading. Audience members can experience stress relief while momentarily escaping their daily lives while watching a performance.

76

fig 11

There are many factors to consider when designing a performing arts center. Considering the psychological needs of primary clients and users can lead to a better design. Light and color are also prominent factors in a building, especially a performing arts center, since they are critical in transforming a space.

Image Sources

Endnotes

Fig 1. http://aaronjorbin.github.io/wcchi2014/#0 Fig 2. https://www.skillshare.com/projects/Color-Psychology/76302 Fig 3. https://medium.com/@uctgsbsolutionspace/design-thinking-vslean-startup-if-you-build-it-will-they-come-1ad929e619b5 Fig 4. http://www.flowsolutionsblog.com/blog/emersons-human-centered-design-driven-by-challenges-creating-innovative-products/ Fig 5. http://www.hollywoodreporter.com/news/oscars-2015-greenroom-776254 Fig 6. http://jsfarchs.com/project/la-jolla-playhouse-play-development-and-education-center-2/ Fig 7. http://www.fulltextnews.com/equip-dressing-room-mirror/modern-dressing-room-mirror/ Fig 8. http://extrawall.net/?option=wallpaper&id=383 Fig 9. http://gtechdesign.net/es/blog/psicologia-de-los-colores-y-suuso-en-diseno-y-branding Fiig 10. https://www.architonic.com/fr/product/hay-j107chair/1188751 Fig 11. https://www.pinterest.com/pin/440789882248467276/?lp=true

1 Sutton, David and Hoyt, Robert I. “What Design Thinking Is Doing for the San Francisco Opera.” Harvard Business Review. June 07, 2016. Accessed October 18, 2017. https://hbr.org/2016/06/what-design-thinking-is-doing-for-the-san-francisco-opera.

2 Bowles, Michelle. “The Power to COLLABORATE.” International Interior Design Association. Accessed October 18, 2017. http://www.iida.org/content.cfm/the-power-to-collaborate.

3 Gee, Lori. “Chapter 10. Human-Centered Design Guidelines.” Educause.edu. Accessed October 18, 2017. https://www.educause.edu/research-and-publications/books/learning-spaces/chapter-10-human-centered-design-guidelines.

4 Ibid.

5 Ibid.

6 Ramsey, Jonathan. “Human-Centered Design for Community Youth Concepts.” BNIM. July 20, 2015. Accessed October 19, 2017. https://www.bnim.com/blog/human-centered-design-community-youth-concepts.

7 Kopec, David Alan. Environmental psychology for design. New York: Fairchild Books, An imprint of Bloomsbury Publishing Inc, 2018.

8 Ibid.

9 Ibid.

10 Ibid.

11 Ibid.

12 Guetzkow, Joshua. “How the Arts Impact Communities.” Princeton University, June 2002, 3. https:// www.princeton.edu/~artspol/workpap/WP20%20-%20Guetzkow.pdf 13 Ibid.

14 Steele, Allison. “With a food and booze revolution, Phoenixville rises again.” Philly.com. October 14, 2017. Accessed October 24, 2017. http://www.philly.com/philly/food/phoenixville-root-down-breweryiron-hill-foodery-bluebird-distillery-20171016.html.

15 Ibid.

16 Guetzkow, Joshua.

17 Hiemstra, Marie. “Why do we need a Performing Arts Center?” Arts Center Task Force. Accessed October 24, 2017. https://www.artscentertaskforce.com/index.php/about/why-do-we-need-a-performing-arts-center.

18 Guetzkow, Joshua.

19 Sivertsen, Juliette. “5 Great Ways Performing Arts Can Benefit Your Child.” Washington Christian Academy. Accessed October 24, 2017. http://www.washingtonchristian.org/washington/5-great-waysperforming-arts-can-benefit-your-child.

20 Guetzkow, Joshua.

21 Martin, Andrew. “Research shows involvement in the arts has wide-ranging benefits for young people.” Phys.org News and Articles on Science and Technology. Accessed October 24, 2017. https://phys. org/news/2013-09-involvement-arts-wide-ranging-benefits-young.html.

22 Savacool, Julia. “How the Performing Arts Benefit Kids.” Scholastic.com. Accessed October 24, 2017. http://www.scholastic.com/parents/resources/article/parent-child/how-performing-arts-benefit-kids.

23 Ibid.

24 Sivertsen, Juliette.

25 Guetzkow, Joshua.

26 Strauss, Valerie. “Top 10 skills children learn from the arts.” The Washington Post. January 22, 2013.

Accessed October 24, 2017. https://www.washingtonpost.com/news/answer-sheet/wp/2013/01/22/top10-skills-children-learn-from-the-arts/.

27 Ibid.

28 Ibid.

29 Brown, Laura Lewis. “The Benefits of Music Education.” PBS. May 25, 2012. Accessed October 24, 2017. http://www.pbs.org/parents/education/music-arts/the-benefits-of-music-education/.

30 “The Effects of Theatre Education.” Benefits of Theatre Ed. Accessed October 24, 2017. http://www. aate.com/benefits-of-theatre-ed.

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78

Section 6:

6

EXISTING SITE, CONTEXT, CLIMATE & ZONING

fig 1

79

Introduction When choosing a location for a building, it is necessary to research the neighborhood and community. The performing arts center will b e located i n the town o f Phoenixville w ith a community that encourages and appreciates education of the arts. The town’s history and existing buildings, zoning codes, and the building site will be researched i n this s ection. T he proposed design will be located i n an existing building called The Foundry which

Town Phoenixville, Pennsylvania is located 28 miles northwest o f Philadelphia.

Phoenixville was founded in 1732 as Manavon and later became a borough.1 The primary industry was manufacturing iron and steel. Phoenix Iron and Steel Company was such a p rominent part of the town and main j ob s upplier which led to the town changing its name from Manavon to Phoenixville.2 The building selected for t he proposed performing arts center was previously owned by the Phoenix Iron and Steel company which was abandoned a fter the decline of the steel i ndustry. The Phoenix I ron and Steel Company building was commonly 80

referred to as The Foundry and i s called that today. Under new ownership and a recent renovation, The Foundry is primarily used for weddings and other events. Today, Phoenixville is known f or its many events such as Blobfest, the Dogwood Festival, F irebird the blob begins to grow, and moviegoers run from a theatre into historic Colonial Theatre, and since the year 2000, people have been reenacting this scene during Blobfest. This has become a major attraction for the town, drawing in visitors from around the country. Other events in the town include the Dogwood festival which consists of a fair and parade through the town. It began during World War I I to celebrate the beginning of spring and Armed Forces Day and has now become a week-long event. 3

The fair takes place in Reeve’s Park which was named after Samuel Reeve’s, President of The Phoenix Iron Company.4 The park is also the location for the annual Blue’s Festival and other events. Another annual event held i n Phoenixville is the Firebird Festival which is held in honor of the town’s name. A Phoenix bird is said to rise from the ashes and Phoenixville has experienced its own rebirth as historical buildings have been renovated and more events have begun to take place. The town celebrates arts and culture by creating a large wooden festival. This typically draws in a large crowd and supports local businesses, artists, and performers. Events like this make the town an ideal location for a performing arts center.

81

Phoenixville’s population is predominately white with approximately 16,599 residents and an estimated median household income of $58,572.5 Since the year 2000, average median home values have doubled with the average house value being over $200,000.6 The average weather in the area is similar to Philadelphia with four seasons and a wide range of temperatures (see fig 8).

fig 6

Neighborhood

fig 7

82

fig 8

The Foundry is located in the Downtown Historic District neighborhood and is zoned as the Town Center. Many of the historical homes in this neighborhood are Victorian style architecture. Historical buildings have stricter codes and many of the restaurants and shops are in adaptive reuse buildings along Bridge Street. The exteriors are often restored, and the interiors of the building are transformed into local businesses, restaurants, pubs, and more.

Recently, new construction has been built along Bridge Street to create new condos and storefronts. Bridge Street is where most of the local businesses and restaurants are located (see fig 9) and The Foundry is located within close walking distance.

Street

Site Zoning & Analysis

The Foundry is located on Main Street, but it is largely on its own. There are no other buildings within the immediate vicinity.

Instead the historical industrial building is surrounded by nature including the French Creek and Schuylkill River Trail. The trail runs approximately ten miles from Phoenixville to Pottstown that include biking and walking paths with views of the water.7

fig 10

fig 9

fig 11

The Foundry is part of the Town Center zone. Buildings in this zone are primarily for entertainment venues or places to promote public gathering. Automobile and pedestrian traffic are both frequent through this zone, particularly along Bridge Street. Often, Bridge Street is closed to automobile traffic for town events. Noise pollution can be seen on the site analysis plan coming two blocks south on Bridge Street. However, the parking lots and trees provide space and acoustical relief. The building is located on Main Street which runs throughout the town and allows for easy automobile access directly to the parking lot for the building. Pedestrians also have easy access since downtown Phoenixville is a walkable neighborhood with sidewalks and paths. The Foundry can also be accessed from the Schuylkill River Trail. Potential views from inside the building include a steel bridge over French Creek and other scenic views.

83

84

Image Sources

Endnotes

Fig 1. https://www.realtor.com/realestateandhomes-detail/131-Bridge-St_Phoenixville_PA_19460_M36236-11801 Fig 2. http://www.hspa-pa.org/old_phoenixville_photos_part_I. html Fig 3. https://phoenixvillechamber.org/news-events/events/ phoenixville-blues-festival-2016/ Fig 4. https://film.org/events/blobfest-2017-friday-night-the-run-out/ Fig 5. https://geekandsundry.com/ten-conventions-you-probably-didnt-know-existed/ Fig 6. http://www.phoenixville.org/events/100 Fig 7. https://www.phoenixvillerising.com/events/2017/12/9/ phoenixville-firebird-festival Fig 8. http://www.areavibes.com/phoenixville-pa/weather/ Fig 9. maps.google.com Fig 10. http://www.phoenixville.org/uploaded/PDFs/Codes-Zoning/F%20-%20Planning%20Zoning/2014%2011-10%20Amended%20Zoning%20Map.pdf Fig 11. http://www.wikiwand.com/en/Phoenix_Iron_Works_(Phoenixville,_Pennsylvania)

1 “Welcome to the Borough of Phoenixville.” Phoenixville. http://www.phoenixville.org/.

2 Ibid.

3 “Dogwood Festival 2016.” Phoenixville First. 2016. http://www.phoenixvillefirst.org/dogwoodfestival/.

4 “Phoenix Iron Company Historical Marker.” Explore PA History. 2011. http://explorepahistory. com/hmarker.php?markerId=1-A-2BD. 5 “Phoenixville, PA.” City Data. http://www.city-data.com/city/Phoenixville-Pennsylvania.html.

6 Ibid.

7 “Find Trails.” Pennsylvania Trails | TrailLink.com. October 01, 1970. Accessed November 08, 2017. https://www.traillink.com/trail/schuylkill-river-trail---phoenixville-to-pottstown/.

85

86

Section 7:

7

PROGRAM DEVELOPMENT & DOCUMENTATION

fig 1

87

Quantitative Program Number

Room Name

Adjacencies

Privacy (visual or acous�c)

Ligh�ng

Acous�c Criteria (A,B,C)

Finishes/ Materials

Furniture/ Equipment

Qty

S.F Each

Total S.F.

1 Ves�bule

1

200

200

2,3,4

n/a

Natural and Ar�ficial

2 Box Office

1

400

400

1,3,4

Both

Natural and Ar�ficial Computer, phones, glass,lvt

glass

Percep�on

A

modern

A

welcoming

sea�ng, register 3 Coat Check

1

100

100

4 Lobby + Concession

1

2,000

2,000

5 Electrical Room

1

50

50

1,2,4

Visual

Ar�ficial

1,2,3,17, 18

Acous�c

Natural and Ar�ficial Lounge sea�ng,

Coat Racks

6,7,8

Visual

Ar�ficial

hardwood floors A

welcoming

lvt

warm and

A,C

concession stand

invi�ng A

6 Mechanical Systems

1

100

100

5,7,8

Visual

Ar�ficial

A

7 Storage

3

50

150

5,6,8

Visual

Ar�ficial

A

8 Data Closet for servers

1

50

50

5,6,7,9,24

Visual

Ar�ficial

9 Security Office

1

100

100

9, 24

Both

Ar�ficial

Monitors

10 Public Restrooms

3

350

700

4,17,18

Visual

Ar�ficial

Toilets, sinks

stone �le

A

clean

11 Private Restrooms

4

100

400

12, 14, 16, 24

Visual

Ar�ficial

Toilets, sinks

stone �le

A

clean

12 Green Room

1

500

500

13,14,17,18,24

Acous�c

Natural and Ar�ficial Lounge sea�ng,

carpet

A

comfortable

A A

Monitors to stage, small kitchene�e 13 Shared Dressing Room

1

400

400

12, 17,18

Visual

Ar�ficial

Mirrors, cots

mirror, lvt

A,C

spacious

Shared restr

14 Private Dressing Room

2

200

200

12, 17, 18

n/a

Ar�ficial

Mirrors, cots

mirror, lvt

A,C

spacious

Shared restr

15 Wardrobe

1

300

300

12, 13, 14

n/a

Ar�ficial

Sewing Machine,

lvt

A

organized

laundry 16 Classroom

2

500

1,000

24, 25

Acous�c

Natural and Ar�ficial Flexible sea�ng

carpet

A

exci�ng

For small gro

17 Black Box Theater

1

1,500

1,500

4, 19, 20, 21

Both

Ar�ficial

Flexible sea�ng

black mat

A

dark,

Mul�-purpo

18 Main Theater

1

6,000

6,000

19, 20, 21

Both

Ar�ficial

Fixed sea�ng, stage carpet

A

warm

19 Control Booth

2

80

160

17, 18, 20, 21

Both

Ar�ficial

Control system

B

20 Ligh�ng Booth

2

80

160

17, 18, 19, 21

Both

Ar�ficial

Light controls

carpet

B

21 Sound Booth

2

80

160

17, 18, 19, 20

Both

Ar�ficial

Sound system

carpet

B

carpet

C

carpet

B

comfortable

Natural and Ar�ficial instruments, sound carpet

A

exci�ng,

adaptable

22 Janitor Closet

1

50

50

7, 26

n/a

Ar�ficial

Slop sink

23 Vending Area

1

100

100

12, 22

n/a

Ar�ficial

Vending machines

24 Offices

4

120

480

9, 23

Both

Natural and Ar�ficial Desks, chairs,

carpet

Fixed sea�n

A

computers, phones 25 Music Room/ Studio

1

600

16, 26, 27

Both

booth, outboard,

chao�c yet

mixer

organized

26 Instrument Storage

1

300

300

16, 25, 27

n/a

Ar�ficial

27 Dance Studio

1

1,000

1,100

16, 17, 18

Both

Natural and Ar�ficial mirrors, barre

TOTAL:

88

600

15310

17260

instruments hardwood floors A

clean, simple Mul�-purpo

Percep�on

Remarks

modern

welcoming

welcoming

warm and

nvi�ng

fig 2

clean

clean

comfortable

spacious

Shared restroom a�ached to private dressing room

spacious

Shared restroom a�ached to shared dressing room

organized

exci�ng

For small groups or individual lessons

dark,

Mul�-purpose room, can act as a classroom

adaptable

warm

Fixed sea�ng, fixed stage

comfortable

exci�ng,

chao�c yet

organized

clean, simple Mul�-purpose, can be used as rehearsal space

fig 3

89

Qualitative Program Proxemics

Room Name Ves�bule Box Office

Coat Check Lobby + Concession Electrical Room Mechanical Systems Storage Data Closet for servers Security Office Public Restrooms Private Restrooms Green Room Shared Dressing Room Private Dressing Room Wardrobe Classroom Black Box Theater Main Theater Control Booth Ligh�ng Booth Sound Booth Janitor Closet Vending Area Offices Music Room/ Studio Instrument Storage Dance Studio

(1, 2, 3, or 4)

Color

Indoor Air Quality

Thermal Comfort

canopy for shade low v.o.c. materials HVAC-adjustable

protec�on from outside low v.o.c., recycled materials

1 4 1 1 1 1 2 2 1 3 3

low v.o.c. materials low v.o.c. materials low v.o.c. materials low v.o.c. materials low v.o.c. materials low v.o.c. materials indoor plants low v.o.c. materials low v.o.c. materials low v.o.c. materials indoor plants

HVAC HVAC

low v.o.c., recycled materials low v.o.c., recycled materials

HVAC-adjustable HVAC HVAC HVAC-adjustable HVAC-adjustable

low v.o.c., recycled materials

filtered air, natural materials filtered air, natural materials

indoor plants HVAC-adjustable low v.o.c. materials HVAC low v.o.c. materials HVAC-adjustable

filtered air, natural materials low v.o.c., recycled materials low v.o.c., recycled materials

neutral vibrant

cool cool cool vibrant monotone

2 monotone 2 neutral 3 vibrant 4 4 1 1 1 1 3 2 2 2 3

black neutral

low v.o.c. materials low v.o.c. materials low v.o.c. materials low v.o.c. materials low v.o.c. materials low v.o.c. materials low v.o.c. materials cool indoor plants vibrant/warm low v.o.c. materials low v.o.c. materials warm low v.o.c. materials

HVAC-cool HVAC-cool adjustable temp adjustable temp adjustable temp

low v.o.c., recycled materials low v.o.c., recycled materials

HVAC-adjustable adjustable temp

low v.o.c., recycled materials low v.o.c., recycled materials

adjustable temp

low v.o.c., recycled materials

Proximetrics: (1) = in�mate 0 - 1.5 �; (2) = personal 1.5 - 4'; (3) = social 4'-12'; (4) = public 12/+

90

Environmental Quali�es

4 neutral 2 neutral

Ergonomics

ADA adjustable sea�ng room for people to move in the space open, flexible space

adjustable desk ADA ADA variety of sea�ng adjustable cot

signage directory

signage graphics signage signage signage signage signage signage signage direc�on direc�on

adjustable cot ADA ADA, space to move large instruments flexible universal design/ADA adequete space adequete space adequete space

direc�on signage signage

adjustable worksta�ons

signage graphic s signage graphic s

large sig large sig small sig small sig small sig

cs

ng to ce

ace

g

ove ts

/ADA

sta�ons

Wayfinding

Future Trends, Permanence, &/or Growth

signage marking entry directory through space

signage graphics to each space possible event space signage signage signage signage signage signage signage direc�on from behind stage employee lounge direc�on from behind stage adapts to more or less people direc�on from behind stage signage signage adapts to more or less people large sign large sign small signage small signage small signage

signage graphic signage signage graphic signage

rehearsal space, event space

possible recording studio can accommodate more rehearsal space, event space

fig 4

91

92

Vestibule

Main Theater

Lobby/Event Space

Black Box Theater

Box office/ Coat Check

Wardrobe

Classrooms/Instrument Storage

Green Room

Public Restrooms, support spaces

Dressing Rooms

93

Dance Studio Offices Control Booths/ Storage/ Support 94

Image Sources Fig 1. http://jscottcatering.com/venues/phoenixville-foundry/ Fig 2-4 and all architectural drawings provided by DAS Architects.

Diagrams by Erica Stewart

95

96

Section 8:

8

BUILDING ANALYSIS, CODE, REGULATIONS & STANDARDS

fig 1

97

Introduction This section discusses the necessary building codes and standards for a performing arts center. Building codes benefit public health, safety, and wellbeing.

The building selected for the performing arts center is the Phoenixville Foundry. It is a historical building completed in the late 1800s and restored in 2008. The structure of the building along with its industrial style will be a feature of the design. Since the building is part of the national historic registry, the exterior must remain as it was in the late 1800s. There are also certain historic elements of the interior that will be kept and incorporated in the design such as an old wooden crane which will remain in it’s original location.

fig 3

98

fig 2

fig 4

Existing Building Analysis The Phoenixville Foundry, originally Phoenix Iron and Steel Company, was constructed in 1882, but the interior and exterior were renovated by DAS Architects.1 The architectural style is industrial, and it contains Romanesque windows and doors. The structure consists of a double tiered roof with trusses and clerestory windows between them. The floor is poured concrete and the walls supporting the clerestory roof are “rubble-core rough cut stone.�2 The exterior walls are 2 feet thick and made of locally quarried sandstone.3 Since the building is on the historic registry, the exterior will remain the same and many of the interior elements will remain true to its original intent. This can also benefit the building in terms of sustainability. The existing building has a first floor and mezzanine level which will be used in its entirety with the possibility of adding to the mezzanine.

Structure Mezannine Level

99

Code Requirements Project Data: Project Name: The Foundry Center for Perming Arts Address: 2 N Main St, Phoenixville, PA 19460 Date of Original Completion: 1882 Date of Restoration Completion: 2008 Total Gross Sq Ft: 22,000 Floors: 2 Applicable Building Code Information: Zoning Ordinance: Town Center Fire Code: 2009 International Fire Code Building Code: International Building Code 2015 Energy Code: International Energy Conservation Code 2015 Use Group Classification: Mixed-Use Assembly A-1. Business Group B Means of Egress: Sprinklered Dead End Limit: 50’ Assembly with Fixed Seating: Gross Sq Ft: 6,000 Sq Ft/Occupant: 20 Number of Occupants: 300 Assembly without Fixed Seating: Gross Sq Ft: 3,500 Sq Ft/Occupant: 7 Number of Occupants: 500

100

Educational Classroom Area: Gross Sq Ft: 1,000 Sq Ft/Occupant: 20 Number of Occupants: 50 Minimum Corridor Width: 44” Sanitation: Male/Female Split: 50/50 WC Male: 2 WC Female: 4 Urinals Male: 2 Lavatories Male: 2 Lavatories Female: 2 Drinking Fountain: 1 Service Sink: 1 Fire Protection Requirements: Fire Exit Enclosures: 2 hours Shafts and Elevator Hoist Ways: 2 hours Tenant Space Separations: 2 hours Smoke Barrier: 30 minutes Corridor Fire Resistant Rating: 0 Incidental Use Areas (Laundry & Storage): 1 hour Building Limitations: National Registry

Image Sources

Endnotes

Fig 1. http://www.nu-move.co.uk/property/1-bedroom-apartment-for-sale-on-albert-road-lu1/numov-000684/1 Fig 2-4 and all architectural drawings provided by DAS Architects.

1. “Then & Now.� Phoenixville Foundry. January 27, 2017. Accessed November 22, 2017. http://phoenixvillefoundry.com/then-now/.

2. Ibid.

3. Ibid.

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Section 9:

9

EXECUTIVE SUMMARY

fig 1

103

Project Summary Research is a crucial component to designing a successful building. It is imperative to understand the needs of clients and users along with how the building will be useful for the community.

The performing arts center will bring in additional revenue for downtown Phoenixville, Pennsylvania where the site is located. The existing Foundry Building is located near restaurants, breweries, and small shops which makes it an ideal location for a performing arts center. The neighborhood is already established as a supporter of the arts and having a community performing arts center located downtown will strengthen that support.

The history of theaters and performing arts centers demonstrated how these venues have evolved over time. There have been a variety of theaters in the past, but the main purpose of each has been to provide the public with an entertainment venue. Each case study visited and researched gave additional insight into what performing arts centers need. The case studies provided useful information about what spaces are required in a performing arts center. Additionally, the post evaluation surveys with employees and daily users of the visited case studies provided information about what is successful about the building and what could be improved.

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fig 2

Understanding ergonomics, spatial requirements, and human behavior in a performing arts center is critical. Audience members need to be able to see the stage and be comfortable in their seat to enjoy a show. Fixed seating dimensions, distance from the stage, lighting, and more affect the comfortability of audience members. Similarly, the performers must be comfortable on stage and in the back of house areas such as the dressing rooms where they prepare and rest between shows, and the green room, where they wait to go on stage.

Researching the impact of the performing arts on individuals and communities provided insight about the importance of this project. The performing arts allow people to express themselves through music, dance, acting, and more. Live performances are still prevalent in a world of online streaming and digital media. Performing can positively impact people who may have trouble expressing themselves through words. It can also benefit audience members as it is a cultural experience which allows people to come together and enjoy a performance.

This research, along with the case studies, helped in developing the program for the building. The performing arts center will have two theater spaces, a recording studio, dance studio, rehearsal space, and classrooms where people can learn instruments, singing, and music theory.

The history of the performing arts dates back centuries and continues to be relevant today.

The positive impact it has on people has acted as inspiration for conceptual ideas that will be further developed in the design stage of the project.

fig 3

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Image Sources Fig 1. http://clbarchitects.com/projects/performing-arts-pavilion-center-for-thearts/ Fig 2. http://www.ocde.us/ArtsAdvantage/Pages/default.aspx Fig 3. http://www.claytonhighschoolperformingartsboosterclub.com/sponsorships-donations Fig 4. https://www.archdaily.com/160683/jackson-hole-center-for-the-arts-performing-arts-pavilion-stephen-dynia-architects/5015502428ba0d02f0000cf0jackson-hole-center-for-the-arts-performing-arts-pavilion-stephen-dynia-architects-photo

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Section 10:

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Additional Image Sources Cover page: http://gnoo.site/taft-theater-seating/ taft-theater-seating-theatre-seating-theater-seating/ Pg 6: http://www.microtonal.co.uk/have-you-everheard-of-microtonal-music/ Pg 108 fig 1: http://ballerinacaller224.blogspot. com/2014/11/about-me.html

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