St. Lawrence Centre for the Arts

St. Lawrence Centre for the Arts

Renders provided by Hariri Pontarini Architects


In designing the St. Lawrence Centre for the Arts redevelopment project in Toronto, the team envisions it will transform the area into a cultural hub and a district for the arts. The $400-million, four-storey, 175,000 sf building is located on Front Street near Yonge Street, beside Meridian Hall.

One of the main features of the design is that it creates an open flow between the theatre and the public space. The central axis of the main theatre is rotated 90 degrees to address a new public plaza on Scott Street which can function as an extension of the theatre as well as provide additional public programs.

The main auditorium allows for approximately 950 seats for a seated proscenium performance but features a reconfigurable floor system and large acoustic doors that will allow other configurations including a thrust stage, flat-floor general admission, banquet, conference or festival/block party format that can extend out to the lobby when the doors are open.

The second and third floors would consist of creative spaces with studios, rehearsal rooms and informal performance areas and on the fourth floor, stacked above these maker spaces, would be a second performance space, a 400-seat acoustic hall. It will feature a backdrop of the city skyline and access to a green terrace.

The lobby and other public amenities are aligned in an L-shaped plan across the Front Street façade. The theatre also connects to nearby Berczy Park, with the Scott Street pedestrian zone and Meridian Hall.

The goal is to make the facility the first zero-carbon performing arts center in Canada.

Construction is anticipated to begin by 2026, with completion slated for 2030.


Related

  • Client: TOLive and CreateTO
  • Architect(s): Hariri Pontarini Architects; LMN Architects; Tawaw Architecture Collective; Smoke Architecture; SLA (architecture and public realm)
  • Acoustics: Threshold Acoustics
  • Structural Engineer: Thornton Tomasetti
  • Mechanical & Electrical Engineer: Salas O’Brien
  • Heritage: ERA Architects
  • Architectural Lighting: HLB
  • Sustainability: Atelier Ten
  • Accessibility: Human Space
  • Completion Year: est. 2030
  • Location: Toronto, Canada
  • Building Size: 175,000 s.f.
  • Capacity: 950-seat flexible auditorium; 400-seat acoustic hall

Links


Hudson Valley Shakespeare Festival

Hudson Valley Shakespeare Festival

Photo Credit: Studio Gang


Hudson Valley Shakespeare Festival (HVSF) establishes a permanent home and more versatility for the actors, audience, and back-of-house of one of New York’s most beloved open-air theater companies. The gently curved, timber-framed grid shell improves year-round functionality while evolving HVSF’s tradition of immersive performances, opening directly onto the revitalized landscape designed by Nelson Byrd Woltz Landscape Architects and framing views of the highlands along the Hudson River. Architecture and nature work together to create a transformative new cultural destination for New York and the wider performing arts community.
Since its first season in 1987, HVSF’s productions have been staged in a seasonal tent at Boscobel House and Gardens overlooking the Hudson River. The new design on a nearby site remains open to the elements but elevates the overall theatrical experience for both actors and visitors through improved rehearsal, performance, and amenity spaces; expanded accessibility for more diverse audiences; and technical additions that open up new opportunities for HVSF productions.

Conceived as a single, fluid gesture, like the wing of a bird, the design encompasses the theater’s disparate functions, vastly improving circulation between spaces and across the site and enabling a wider range of cultural and community programming. Supported by exposed timber A-frame columns, the building’s natural material palette and curved form help the design blend into the rolling landscape. Positioning nature at the forefront of the theater’s creative work, the stage’s proscenium arch serves as both an entrance for patrons and actors, and a natural backdrop for the company’s open-air performances. Picnic lawns on the hill around the theater encourage visitors to gather before and after shows to enjoy sweeping views.

Natural ventilation and solar shading around the roof’s perimeter help passively cool the building. They work in tandem with the project’s other green strategies, including low-carbon mass timber, photovoltaic panels, rainwater harvesting and reuse, and increased biodiversity, to target LEED Platinum—the first such certification for a purpose-built US theater. Through its care for the environment, and the planet more broadly, the design aims to ensure the company’s productions and the diversity of the natural world remain center stage for many seasons to come.

The landscape design replaces the site’s water-intensive former golf course with restored native grasses and wetlands that support biodiversity and decrease resource use. The enhanced arrival sequence features an adapted entry road, screened from the primary roadway with native plantings and trees, which leads to a revitalized parking lot that is now lushly planted. The circulation design grants visitors a variety of choices for continued exploration: a universally accessible path to the hilltop picnic lawns and theater provides views of the Hudson River’s Wind Gate geologic formation, trees planted along the lawns bring moments of shade for guests, and mown pathways allow visitors to immerse themselves in the meadow ecology. The result is a partnership between history, nature, community, and theater.

  • Client: Hudson Valley Shakespeare Festival
  • Architect: Studio Gang
  • Structural Engineer: Thornton Tomasetti
  • Civil Engineer: Badey & Watson Surveying & Engineering PC
  • Geotechnical Engineer: Tectonic Engineering Consultants, Geologists & Land Surveyors, D.P.C
  • MEP, IT, Security, Sustainability Consultant: Buro Happold
  • Lighting Design Consultant: Tillotson Design Associates
  • Landscape Architect: Nelson Byrd Woltz Landscape Architects
  • Acoustic Consultant: Threshold Acoustics LLC
  • Graphic Design Consultant: Flyleaf Creative Inc.
  • Completion Year: TBD
  • Location: Garrison, NY
  • Building Size: 6,800 SF (Theater); 5,000 SF (Back of House); 250 SF (Concessions); 1,800 SF (Public Washrooms)
  • Size:
    • 6,800 SF Theater
    • 5,000 SF Back of House
    • 250 SF Concessions
    • 1,800 SF Public Washrooms
    • 480 seats

Links


Trinity School | Morse Theater

Trinity School | Morse Theater


Founded in 1709, the Trinity School serves grades K-12. The arts are fundamental to the Lower and Middle School programs, and Upper School students are required to devote at least three semesters to arts curricula.

A full-time professional staff member supervises technical theater, as well as set and lighting design.

The Trinity School’s Morse Theater is located on the top of a New York City Landmark structure — the Annex Building. Formerly known as the Parish House and designed in 1892 by William A. Potter, the top floor space was originally the parish refectory and later served a variety of functions for the Trinity School.

In 1983, the space was redesigned as the Morse Theater, providing an assembly space for the school and a dedicated theater for use by the theater department. After many years of serving the school, the space was ready to be refurbished and the technical systems had reached the end of their useful lives.

Everything had been painted black. Our work with Rogers Partners restores the architectural beauty of the room, including the exposed wooden roof trusses. A tension wire grid replaces narrow catwalks, providing safer and more flexible access — and is better suited to the look of the room. New telescopic seating for audience seating configurations provides additional comfort and better sightlines. New theatrical lighting and AV systems are able to accept, integrate, and incorporate new technologies when they become available to the Trinity School.

  • Client: Trinity School
  • Architect: Rogers Partners
  • Completion Year: 2016
  • Location: New York, NY
  • Building Size: 180,000 s.f.

Links


Joyce Theater

Joyce Theater


Favored by small dance companies for its excellent sightlines and intimate feel, this 472-seat auditorium was built on a modest budget. A major improvement was to completely reconfigure the existing seating along a single graduated rake with slim, flanking side balconies. This change results in a much more intimate relationship between the audience and performers, and is one of the reasons the Joyce is considered New York’s finest small dance space.

Originally built as a movie house, the Elgin, in 1941, the theatre was completely gutted and rebuilt solely as a dance space. A new stage, 42 feet wide by 35 feet deep and 21 feet high, and a sprung wood floor with retractable linoleum covers is perfectly suited for both ballet and modern dancers. In a creative and economic move steel trusses found above the movie house’s dropped ceiling became lighting supports accessible from new catwalks.

The Joyce has long been the resident home of the Eliot Feld Ballet and a frequent presenter of a wide variety of nationally known dance ensembles.

  • Client: Elgin Theater Foundation
  • Architect: Hardy Holzman Pfeiffer Associates
  • Completion Year: 1982
  • Location: New York, New York
  • Building Size: 17,900 s.f.
  • Capacity: 472 seats

Links


Cincinnati Playhouse in the Park

Cincinnati Playhouse in the Park

The Rouse Theatre

Photo Credit: John Kosco, Jaffe Holden Acoustics


Cincinnati Playhouse in the Park has been offering audiences the finest in professional theater for 60 years. The new Rouse Theatre enhances the intimacy their audiences love about the current Marx stage, all while improving accessibility and comfort. By bringing the facility into the 21st century, their artists will have the tools they need to create modern, engaging productions for their community.

Audiences can expect many improvements: greater flexibility due to a new layout for the theater – increased options for set design and more partnerships with other organizations, allowing touring shows from New York and around the country; added comfort and accessibility through new seating configurations with more legroom and accessible seating in every section; and better sightlines and acoustics for unimpaired views and improved sound quality.

  • Client: Cincinnati Playhouse in the Park
  • Architect: BHDP Architecture
  • Acoustician: Jaffe Holden Acoustics
  • Completion Year: 2023
  • Location: Cincinnati, Ohio
  • Building Size: 62,500 s.f.
  • Capacity: 540 seats

Links


Steelhouse Omaha

Steelhouse Omaha

Photo Credit: Joshua Dachs (FDA), Robert Campbell (FDA), and Bruce Damonte


Steelhouse Omaha is a live music venue and flexible space with a standing capacity of up to 3000, managed by Omaha Performing Arts (O-pa). This unique $104.1 million dollar performance space will provide the opportunity to present new and innovative programs in non-traditional layouts.

“This new venue is a significant investment expanding O-pa’s downtown presence and reinforcing the board’s commitment to offer outstanding venues attracting artists from all over the world,” said Omaha Performing Arts Board Vice Chair Jack Koraleski. “Steelhouse Omaha fits in perfectly with the many other exciting changes taking place along our riverfront and couldn’t come at a better time for our community. We are grateful to our donors who made this possible, and can’t wait for the grand opening in 2023.”

  • Client: O-pa (Omaha Performing Arts)
  • Architect: Ennead Architects
  • Acoustician: Threshold Acoustics
  • Completion Year: 2023
  • Location: Omaha, Nebraska
  • Capacity: 1500-3000

Links


The New School University Center

The New School University Center


When The New School projected its growth over the coming decades, it became clear that its enrollment would outpace its current facilities. The largest building project in The New School’s history, the 16-story University Center stands as a new landmark on the border of the Union Square and Greenwich Village neighborhoods. A truly multipurpose building, the Center includes a suite of design studios and laboratories, dormitories, wired classrooms, and a versatile auditorium seating up to 800.

With various configurations seating 600 to 800 patrons, the auditorium is used for everything from lectures to film screenings to drama to fashion shows. FDA designed a system of stage lifts and seating wagons, which create a convertible runway for fashion shows, or additional seating for performances. A sliding partition can divide the last eight rows from the rest of the auditorium; the seats in those rows are telescopic and retract to create two 75-student classrooms at the rear of the room. Using the wagons and lifts, the stage can extend for more movement-intensive performances.

New York Magazine’s Justin Davidson wrote that the building “brings the school’s brand of sensitive boldness to the corner of Fifth Avenue and 14th Street” and called it a “distinctly urban building, respectful but not obsequious.”

  • Client: The New School
  • Architect: SOM – New York
  • Completion Year: 2014
  • Location: New York, New York
  • Acoustician: Shen Milsom & Wilke
  • Capacity: 800 seats

Links


Detroit Opera House

Detroit Opera House


When the Michigan Opera Theatre needed to expand, it acquired the historic Grand Circus Theatre (built in 1922), along with two adjacent office buildings and three parking lots. Its plan was to restore the auditorium and expand audience and performer amenities to assure the future of the highly successful Midwestern opera company.

To achieve all this, a new 12,000-square-foot stagehouse and lobby were constructed, and adjoining towers incorporated into the complex as dressing rooms, patron service areas, and offices for the opera staff. The interior of the Grand Circus Theatre was carefully restored to its original decorative grandeur.

Renovation was completed in phases. The existing stagehouse, was rebuilt with an ample 65-foot stage depth and 110-foot proscenium opening (wing to wing). Now, MOT has a world-class, 2,700-seat opera house which boasts the largest stage and the most comprehensive technical capability of any theatre in the region; it can mount grand productions with ease. As part of its work, FDA designed and specified new rigging and stage lighting systems and controls that will serve the opera well into the future.

  • Client: Michigan Opera Theatre
  • Architect: The Albert Khan Collective
  • Arch. of Record: James P. Ryan & Partners
  • Completion Year: 1997
  • Location: Detroit, Michigan
  • Acoustician: Jaffe Holden Acoustics
  • Capacity: 2,700 seats

Links


John A. Paulson Center at NYU

John A. Paulson Center at NYU

Photo Credit: Connie Zhou / JBSA | (Courtesy of Davis Brody Bond)


The Building

The John A. Paulson Center is a 735,000-square-foot mixed-use academic building that graciously accommodates NYU’s academic needs, embodies its character and vibrancy, and offers new ways for the University to engage with its community and the city of New York.

Designed to optimize interactions between diverse student groups and academic disciplines, the building includes classrooms, informal study spaces, performing arts theaters, rehearsal and practice rooms, varsity sports facilities, a recreational gymnasium, and a café, as well as faculty and first-year student housing. Each of these spaces is organized into a unique “neighborhood” that is connected to an open and expansive commons area for collaborative study, meeting and gathering.

Designed in support of NYU’s Climate Action Plan, the building incorporates sustainable design features to reduce greenhouse gas emissions, water consumption, and the amount of waste generated during construction and everyday use. The building is connected to NYU’s existing Co-Gen plant that simultaneously produces electricity, heat, and chilled water. In contrast to conventional energy sources, the CoGen plant substantially reduces the number of resources used, as well as greenhouse gas emissions and air pollutants.

By bringing together a diverse mix of spaces into a single building designed to encourage connection and community engagement, the Paulson Center builds a multidisciplinary community commensurate with the University’s reputation, along with its creative and academic diversity.

Commons

The central, light-filled, and expansive Commons forms the heart of the building and of student activity and reinforces the building’s openness and accessibility. The Commons features a café, along with flexible study and gathering places for public performances and events. Spanning Mercer to Greene Street, the Commons is visible on both the east and west facades and offers an elevated view of Picasso’s Bust of Sylvette sculpture.

Performing Arts Space

Tisch School of the Arts and Steinhardt School of Music are both housed at the John A. Paulson Center, making performing arts one of the largest components in the multi-use facility with 195,000 square feet between the two schools.

This new facility is home to a wide variety of learning environments for the world-class drama and music programs, with dedicated and collaborative spaces for teaching, learning, rehearsing, and performing. Highlights include:

Iris Cantor Proscenium Theatre. This is the first, professional-level proscenium theater at NYU. It can function as a Broadway-sized stage and fly tower or transform into a music concert hall perfectly sized and tuned to accommodate a wide variety of performances, including musical theater, film, spoken word, drama, and orchestral ensembles. Of note:

  • 350 seats over three levels
  • Features: a fly tower and lighting galleries, stage trap, overhead catwalks, orchestra shell and reflectors, canted throat walls adjacent to the proscenium for acoustic projection, followspot booth, and control booth
  • Large, mechanized orchestra lift that allows for various configurations such as audience seating, extension of the stage, and extension of the orchestra pit
  • Three floors of lobby space that seamlessly connect to the broader NYU community and theatergoers

Warehouse Theatre. This unique, experimental theater provides a flexible space for Tisch graduate students to explore and innovate. It features:

  • 140 seats
  • Use of a Modtruss system to create the inner box, which is a fully demountable wall system made up of modular, reconfigurable elements
  • An overhead catwalk system with moveable catwalk trolleys
  • Fully reconfigurable seating platforms

African Grove Theatre. Named for the nation’s first black theater which was found on this same city block in 1821, the traditional end-stage theater features a range of flexible components that support the Tisch graduate department curriculum, including:

  • 145 seats
  • A flexible seating well that provides opportunities for innovative performances
  • Motorized rigging

Ensemble Rehearsal Room. Sited within the landscape at the top of the podium, the orchestra ensemble room sits between two green roofs. The technologically innovative space is the crown jewel of the Steinhardt School of Music program. It features:

  • A double-glazed wall providing visual connection to the exterior while acoustically separating the spaces from the noisy outside environment
  • Slatted, faceted walls to help control the acoustic quality in the space
  • Acoustic banners along the perimeter of the space to absorb and create different types of acoustic environments
  • An adjacent control booth that can serve as a recording studio

Theater and Music Support Spaces. In addition to the dedicated theater spaces and the orchestra ensemble room, the new building also provides a range of areas for Tisch and Steinhardt graduate and undergraduate students to rehearse, collaborate, and experiment. They include:

  • 2 cabaret studios
  • 3 dance studios
  • 3 general purpose studios
  • 58 music practice rooms
  • Large ensemble music classroom
  • Percussion studio
  • Music instruction rooms
  • Music library
  • Dressing rooms
  • Woodshops and metal shops
  • Wardrobe work rooms
  • Client: New York University
  • Architect: Davis Brody Bond
  • Arch. of Record: KieranTimberlake
  • Constructrion: Turner Construction Company
  • Lighting: Tillotson Design Associates
  • Acoustician: Jaffe Holden
  • Completion Year: 2022
  • Location: New York, New York
  • Building Size: 735,000 s.f.

Links


Yale University – College Arts, Frederick Iseman Theater

Yale University, College Arts

Frederick Iseman Theater


Architect Deborah Berke’s 80,000 sf renovation of and 30,000 sf addition to a 1950s Jewish Community Center originally designed in part by Louis Kahn, is home to the Frederick Iseman Theater (formerly Holcombe T. Green, Jr. Theater) experimental theatre, as well as the School of Art.

At the project’s onset, FDA and the Yale School of Drama faculty sought input from other designers and consultants who are Yale School of Drama alumni. During schematic design, their ideas and suggestions were incorporated into the project. Deborah Berke, FDA, and scenic designer Ming Cho Lee were all instrumental in the planning for this new experimental space, contributing ideas and suggestions about the locations of catwalks, wraparound galleries, and seating plans. Back-of-house planning, along with equipment that includes portable seating riser systems and state of the art stage lighting controls, were among FDA’s contributions to the project.

In 1965, the esteemed Yale School of Drama founded the Yale Repertory Theatre to facilitate a closer relationship between training and practicing professional theatre for students and faculty.

  • Client: Yale School of Drama
  • Architect: Deborah Berke Architects
  • Completion Year: 2000
  • Location: New Haven, Connecticut
  • Acoustician: Jaffe Holden Acoustics
  • Building Size: 112,000 s.f.
  • Capacity: 200 seats

Links


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