“The threat to the UK’s cultural landscape is stark, from freelance producers who are ‘falling through the cracks’ of the Government’s support for the self-employed and Arts Council England’s emergency funding, to world-renowned institutions such as Shakespeare’s Globe warning of insolvency and closure. Moreover, the loss of cultural institutions will be felt hardest by those places and communities with the lowest levels of cultural provision from the outset.”While the Arts Council England (a government body tasked with promoting the arts) was allocated nearly $200 million in relief funds to distribute, the Globe theater is ineligible to receive any of those funds due to its status as a charity. Instead, it must rely on ticket sales, donations, and events fees to raise money rather than government funding. available on the theater’s website, had already accrued nearly two million views, demonstrating the public’s continued demand for their content.
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Per Reuters, demolition work at the site started on May 17 after authorities began “dragging away two dozen actors and activists protecting the site, drawing a large crowd chanting ‘shame’ and ‘dictatorship.’” As of earlier this week, the protests have reportedly yielded 37 arrests. One police officer was hospitalized following a skirmish with activists, who claim that authorities have been employing “unjustified violence and verbal abuse” to control the crowds. As reported by Reuters, authorities have disputed any claims of aggressive action on the part of the police. “This is no longer about the theatre’s demolition but the downfall of democracy and freedom. We are in a dictatorship,” Reuters reported one member of the Alliance to Protect the Theatre, the organization leading the charge against the demolition, as saying in a Facebook video. Now that the theater has been demolished, protestors are calling for current mayor Erion Veliaj to resign and for the Albanian people to start a civil disobedience campaign until Rama’s center-left government is overthrown, according to the Associated Press. The opposition party, the center-right Democratic Party, has referred to the demolition as a “macabre crime and flagrant violation of the constitution and the law.”
The demolition of the National Theatre came at a time when we called for dialogue between authorities and civil society before an irreversible decision is taken. We regret that this call has not been followed up by the relevant national and local institutions. 1/2— EU in Albania (@EUinAlbania) May 17, 2020
THEVERYMANY first developed its idea with a similar, but smaller, installation in France. That project, Pleated Inflation, was installed at a school in Argeles, near the border with Spain.
The LPC is working with the owner to make sure plaster gets put back in place. The two parties agreed to $10 million bond for storage and periodic inspection of the plaster, though the commission said those details still being hammered out. One major requirement of interior landmarks is that they remain open to the public. Patrick Waldo of preservation advocacy group Historic Districts Council (HDC), as well as Christabel Gough of the Society for the Architecture of the City, raised concerns about the accessibility of a space that fronts a future (private) apartment lobby. HDC "strongly" suggested the street entrance be re-examined to expose the interior more fully; at the very least, the group recommended strong wayfinding signage to alert the public to the presence of the landmark.
To get more insight into the theater's place in New York history, Gunts reached out to Anthony Robins, a former senior preservation specialist at the agency who wrote the original designation report, for more on RKO Keith's. Here's what he had to say:
The recent history of the RKO Keith’s—once a mainstay of Flushing—has been dismal. Designed by Thomas Lamb—perhaps New York’s most prolific theater designer—it was planned originally as a vaudeville theater, with movies more or less an afterthought. Lamb designed it as a so-called “atmospheric” theater, attempting to create the illusion that the theater’s customers were seated outside, under the stars, in a picturesque Spanish village. The Spanish-inspired ornament ran throughout the theater into all its major spaces. Located at the major intersection of Main Street and Northern Boulevard, the Keith’s became a very visible institution in the neighborhood.By 1984, the Keith’s, still in use as a movie theater, was one of only three major “atmospheric” theaters surviving in New York City (the others being the Loew’s Paradise in the Bronx and the Valencia in Queens, both now official landmarks). The Landmarks Preservation Commission’s designation of the Keith’s entire interior that year was cut back at the Board of Estimate to include just the grand foyer—apparently because a politically connected developer wanted to include the site in a proposed new shopping mall. That plan evaporated, as did the plans of a subsequent developer, but the Keith’s remained shuttered; for 30 years it has sat vacant, decaying and crumbling, its interiors long since vandalized, even as other grand movie palaces have been lovingly restored. Now comes the ultimate indignity of the proposed demolition of the theater shell, and the grand foyer’s disassembly and reconstruction, all by itself, as an odd relic of a vanished theater from another era. There can be no happy ending for this story.
For the past four years, Ragdale, an artist residency in Chicago’s North Shore, has asked young architects to reimagine a historic garden stage that was once a focal point of its property. In these short years, the Ragdale Ring competition, and the accompanying Adrian Smith Prize, have proven to be architecturally adventurous, and often playfully eccentric.
This year’s iteration will be built by the Ann Arbor, Michigan–based T+E+A+M, a collaboration among young designers Thom Moran, Ellie Abrons, Adam Fure, and Meredith Miller. Their proposal, entitled LIVING PICTURE, superimposes images of the original 1912 Ragdale Ring onto a set of lightweight objects spread throughout the grounds. The scene of the original ring will be an immersive, if not surreal, space for the audience to become part of the theatrical setting. The varied scale of the objects also allows for the audience to position itself in relation to the stage, either sitting on or standing among the installation. The shapes, which make up the stage itself, will blend historic imagery with the lush surroundings of the property.
While the imagery on the installation will mostly be seen as disparate yet related images, audience members approaching from the Ragdale House will see the entire original Ring snap into view. Watching from the other approaches, viewers will discover the scene as a series of separate vignettes of the original.
“At the beginning of this year we suspended our individual practices and committed fully to T+E+A+M, but the fact that the four of us have practiced individually is one of the unique strengths of our collaboration,” Fure explained. “Each of us has different audiences through our previous work’s engagement with conversations inside and outside the discipline.
The objects will range in form, making up seating areas and platforms for performances. Arranged in seven clusters, most of the objects will also be hollow to provide storage. Their arrangement centralizes the audience while providing masked areas where performers can enter from stage-side.
The project will be built in late May, to be ready for four performances starting in mid-July. T+E+A+M, along with a group of workers, will live at Ragdale for 18 days to build the installation. The Adrian Smith Prize, sponsored by Adrian Smith + Gordon Gill Architecture, provides $15,000 for the construction.
The members of T+E+A+M are not strangers to exhibition and installation building. Between the four members, their work has been shown in multiple Venice biennales and at the Beijing International Art Biennale, the Shenzhen and Hong Kong Biennale, the Storefront for Art and Architecture, and the Graham Foundation, to name just a few.
T+E+A+M will join the ranks of past Ragdale Ring designers SPORTS Collaborative, Bittertang, Design With Company, and Stephen Dietrich Lee. Last year’s iteration by SPORTS, entitled Rounds, won The Architect’s Newspaper’s 2016 Best of Design Award for Temporary Installation.