Posts tagged with "Performance Space":
Bestor Architecture completed work late last year on new facilities for the Silverlake Conservatory of Music in Los Angeles, a music education organization started by Michael “Flea” Balzary of the Red Hot Chili Peppers, music educator Keith Barry, and producer-engineer-mixer-musician Pete Weiss in 2001. The organization helps fill the growing lack of arts education and offers paid classes for the community’s youth as well as fully subsidized scholarships for public school students who qualify for their free lunch program.
The conservatory is located in a 1931 warehouse that has been carefully restored by the architects. An extant wood bowstring truss roof caps the expansive and well-lit interior, while new construction is distributed via faceted volumes that contain 12 practice rooms. These rooms are insulated for sound, featuring double walls and gaskets around windows and doors. Surrounding surfaces made of plywood, cork, and carpeted in certain areas, have also been calibrated to absorb sound.
A mezzanine platform overlooks new volumes that create what Barbara Bestor, principal at Bestor Architecture, has described as an “urban village.” The remaining nooks and crannies created by the resulting geometries are populated by hang-out spaces and can be utilized as a concert hall that holds up to 150 guests.
The Berkeley Carroll School, Performing Arts Center—located on the northern ridge of Park Slope in Brooklyn—was once a church. Originally built in 1936, the structure has been transformed by New York firm 1100 Architect into a flexible theater and performance space.
The former 80-year-old church can now provide the pre-K Berkeley Carroll School with seating for 396 through a staggered seating arrangement that uses space freed up by the removal of the existing raised stage. Subsequently, the space can be reconfigured to serve as a lecture hall or venue for music, theater, events, and multi-media audio-visual performances.
After 1100 Architect responded to an RFP in 2014, construction began in March 2015. The center has now been open since September. "Both the faculty of the school and the student's parents are very impressed with the space that they now have," said associate principal Gwendolyn Conners, talking to The Architect's Newspaper.
Mechanical, Electrical, Plumbing Engineers: EME Group
Structural Engineering: Hage Engineering
Theater Consultants: Fisher Dachs Associates
Acoustical Consultants: Lally Acoustical consulting
Audio Visual Consultant: Boyce Nemec Designs
Code and Expediting Consultant: William Vitacco Associates Ltd.
General Contractor: Shawmut Design and Construction
Owners Representation: Seamus Henchy and Associates Inc.
Products and Vendors:
Acoustic panels at Ceiling: Fabric: Guilford of Maine Acoustic panel: Kinetics Noise Control HardSide
Acoustic panels at wall: Pani-Sorb modular Acoustical Wall Panels
Fixed seating: Seating: Steeldeck Tip Up Bench Seating Fabric: Knoll Hourglass
Loose seating: Chairs: Knoll Spark Chairs Fabric: Knoll Hourglass
Theatrical fixings Lighting: Barbizon Electric Theatrical Lighting boards: Barbizon Electric Rigging and Lighting Pipe Grid: I Weiss
Curtains: Fabricator: I Weiss Fabric: KM Fabrics, Seattle Fabrics Athletic Mesh
Flooring: Stage Flooring: Oil-Tempered Hardboard on Robbins Flooring BioChannel Linoleum Flooring: Forbo Carpet: J&J Flooring Group, Broken Slate, Modular
Paint: Benjamin Moore
Signage: ASI New York
Keeping your cool onstage is no mean feat, but one that students and performers at the Marshall Family Performing Arts Center needn’t worry about, thanks to the implementation of the ice cooling system that Manhattan firm Weiss/Manfredi oversaw. The $26.5 million center, part of the Greenhill School in Addison, Texas, opened this past February. Page designed and installed the system, which involves storing ice and using it in conjunction with an air-cooled chiller as ice melts throughout the day, cold water is pumped through cooling coils in an air-handling unit.
“The system—even in a place like Texas—makes sense,” said Michael Manfredi, partner alongside Marion Weiss at the firm. “At night, when the outside temperature drops, the system can be replenished.” Weiss noted that the production of ice at night is more cost effective due to energy prices being lower at that time. “It’s a hybrid in some ways,” she said.
Thermal regulation for the performing arts center, which includes an expansive triple-height lobby, a 2,600-square-foot studio theater, a 2,500-square-foot rehearsal space, and a 21,000-square-foot proscenium theater, requires careful planning. Each space has its own schedule and has to be calibrated, with adjustments made in advance. “The building is designed with a high level of flexibility,” said Manfredi. “Each space can experience surges of 200 to 300 people at a time, and then just 20 at another.”
Weiss explained that “in performance spaces such as the proscenium theater, thermal ducts are located at lower levels so that they can be insulated by the earth and emerge around people's feet. Here, air is released very slowly so as to avoid noise pollution during production.” The proscenium theater seats 600 people: 450 at orchestra level and 150 in the balcony. Underneath these seats, an under-slab air plenum and diffuser grilles form a displacement ventilation system,which releases cool air as needed. Meanwhile, multicolored upholstery creates the illusion of a full venue, even when crowd numbers are low, ensuring that the performers never break a sweat.Resources — Ice Cooling System: Mechanical Electrical Plumbing and Fire Protection: Page Resources: Glazing System: YKK AP Glass Supplier: Viracon Structural Engineer: Magnusson Klemencic Associates Acoustical/Audio-Visual Consultant: Jaffe Holden Lighting Designer: Tillotson Design Associates Civil Engineer / Landscape: Pacheco Koch Consulting Engineers
Theatre Consultant: Fisher Dachs Associates
Associate Architect: Page