How We Gather

How We Gather

How We Gather

San Francisco Studio July - August 2019

H

aving explored how we experience music from a solitary perspective during the first project this semester, this project challenged us to explore how we come together to listen to music. We began by looking at the different ways in which we gather.I chose to explore what happens when people have a shared interest. For example, there are always hoards of people when you visit places like the Eiffel Tower or Trevi Fountain. There’s a certain anonymity that comes with an experience like that because the attention is elsewhere, and it’s not uncommon for the family next to you to be speaking in a language you don’t understand.

However, what happens at an event such as Oktoberfest or during Fourth of July Fireworks? People gather then for a shared experience, rather than to look at a shared interest. These events are often more interactive. Between food, drinks and activities to partake in, a stronger sense of community is felt when compared to visiting a tourist attraction.

I believe that going to a show falls somewhere between these two ideas. While you are there to watch something take place on stage the theater has traditionally been a place to see and be seen. Additionally, it’s not uncommon to strike up a conversation with the person in front of you in line for the restrooms or run into people you know at an event. In a way, the crowd

is almost comforting. When people in our peripherals laugh, we laugh. When they applaud, we applaud. While we do not know these people, we still feel a connection to them through our shared interests and small nuances in the way the space is designed.

Because of this subtle, yet powerful example of how we feel when we gather, I chose to design around inclusion and flexible space. Many of the spaces have multiple functions. The embodiment of this idea is perhaps the lobby, which can act as a space for parties, a cafe, a bar, a restaurant, or a venue, depending on the needs of the event taking place. The thinking behind this is that the more ways a space can be used, the more types of events can be held there and a greater diversity in the audience can be achieved.

Another way my design promotes diversity is through the sculptural stair. The grand staircase nods to this great tradition in theater design, but is brought to the 21st century through ramps knitted throughout the steps. It allows people of all ages and ability to enjoy the same shows and experience the theater in the same way.

Since we all take cues from each other in spaces like this, it is incredibly important to include everybody.

Rethinking the prompt Our initial prompt outlines that our design intervention should be situated at the northern end of the pier. While there are many positive aspects of this side of the site, including the beautiful, uninterrupted views of the Bay and a certain element of privacy for patrons of the venue, I felt as if this end of the pier was inhospitable, inaccessible and unwelcoming.

After a long progression past repetitive rows of large punctures in the pier’s skin, you are greeted by locked fences protecting the paid portion of the Exploratorium and the water. On the opposite side of the pier, however, the front facade sits right on the Embarcadero. Thousands pass by the entrance each day, and many choose to stop in the Exploratorium’s large public plaza right next door. With so much foot traffic in the immediate vicinity, I decided to think of my project, namely the lobby space, as an extension of this public realm.

Concept Meets Program Once I decided to shift the venue from the Bay side to the Embarcadero side of the pier, the program seemed to arrange itself.

Because I began by thinking of the lobby as an extension of the public realm, it only seemed natural for the entire design to be ADA accessible. Performing arts venues are notorious for presenting challenges relating to accessibility, so I paid special attention to this as I began to design.

Since the water underneath the pier prevents any below grade interventions, I found inspiration in thinking of the ground plane as a sculpture of stairs and ramps.

The staircase gently guides you up into the venue, and then unfolds inside the performance space in a series of terraces. The idea continues through the back of house spaces, where a smaller stair and ramp bring you up onto the stage as well.

The remaining spaces are arranged logically around the resulting landscape. In the lobby, the stair turns at an angle that receives both passers by from the street, as well as those pausing in the Exploratorium’s plaza. A cafe and bar that double as a small stage sits at this corner. The remaining parts of the lobby can be used for performances, parties, coffee dates, or simply a place to sit and eat lunch.

The venue itself has multiple entrances, each supporting its own accessible tier.

There are three total ADA accessible areas in the dedicated performing area. North of the venue is a VIP lounge or cry room, depending on the nature of the performance.

Oversized bathrooms exist at the border between front and back of house.

Backstage, I elected to continue the staircase from stage level. Not only does the stair serve as the connective tissue throughout the entire building, it also can serve as a small rehearsal space or community gathering spot for the people visiting this project to work. The office spaces, green room, dressing rooms, and practice rooms are all arranged around this secondary plaza.

Performing Arts for All The venue space itself is very special. I chose light wood for the walls as a warm welcome to the room. The wood is also useful when perforated for its acoustic properties. These tiny holes in the veneer break up the sound, allowing some to pass through to the absorptive material behind, and reflecting the rest at different angles.

Dark carpet on the floor also acts as sound absorption. Grey chairs with light wood backs provide seating for patrons as well as acoustic treatment when unoccupied.

I decided not to add any extra acoustic shields or sails at in the ceiling, because I wanted to preserve the beauty of the structure and allow natural light from the clerestory windows to enter the otherwise windowless space, if desired. Absorptive panels can be added to the underside of the roof as well if necessary.

A Landscape on the Water The creation of this landscape on the water took several iterations and much input from guest reviewers. It began as a simple appendage on the front of the theater. The stairs were confined to one side of the sculpture and the ramp the other. The second iteration began to integrate the stair with the ramp much more seamlessly.

It also wrapped the corner of the venue to address the adjacent plaza.

Finally, I opted for a scheme that split the ramp with the stair and created a more meandering journey to the venue entrance. I straightened out components of the staircase in order to logically arrange the necessary program around it.