Posts tagged with "Theaters":
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.
- The Joyce Theater (New York, NY)
- Brooklyn Academy of Music (New York, NY)
- Lincoln Center Theater (New York, NY)
- Theatre Row (New York, NY)
- New Amsterdam Theatre (New York, NY)
- National Dance Institute (New York, NY)
- Theatre for a New Audience (New York, NY)
- Dance Theatre of Harlem (New York, NY)
- Radio City Music Hall (New York, NY)
- The New Victory Theater (New York, NY)
- Signature Theatre (New York, NY)
- Performing Arts Center at Purchase College (Purchase, NY)
- Royden B. Davis Performing Arts Center, Georgetown University (Washington, D.C.)
- The Glimmerglass Festival (Cooperstown, NY)
- Mahaiwe Performing Arts Center (Great Barrington, MA)
- Hippodrome Theatre at the France
- Merrick Performing Arts Center (Baltimore, MD)
- Wilma Theater (Philadelphia, PA)
- Two River Theater (Red Bank, NJ)
- Orchestra Hall (Minneapolis, MN)
To tell a story, three elements are crucial: setting, plot, and characters. To tell a story well, these three essentials require refinement and time to reveal them. The setting—Houston—provides the context, and the plot—how to design and build a new theater in Midtown—is compelling. The characters—a vibrant mix—complete the challenge that’s been thrown to Lake|Flato Architects and Studio RED.
Located off Main Street at the Ensemble/HCC MetroRail stop, the site was formerly a chain-linked parking lot for the city permit building. After years of planning and fundraising with a strong arts board and consultant and philanthropic pledges, the Midtown Arts and Theater Center Houston (MATCH) came to life as a nimble metal-skinned building with glass-box theaters bisected by a double-height breezeway.
The $25 million community arts complex provides a central home base in Midtown for a spectrum of leading and emerging arts and culture organizations. The 59,000-square-foot facility consists of four dedicated theater spaces, rehearsal classroom spaces, and several gallery spaces, along with back-of-house support and office space.
Ryan Jones, an associate partner at Lake|Flato, knew that the building’s breezeway, with its grandstand and functional connective artery, was key, but it took some convincing that a two-story open-air “street” for media projections would thrive given the heat and humidity that swallow most days in Houston. The solution was to install six Big Ass Fans, which keep outdoor public spaces comfortable by exhausting hot air through the chimney effect.
The building’s agile presence does not overtake its program. For this new Midtown theater and arts center, the soul of the building is internalized, and life illuminates from within the breezeway, theaters, rehearsal spaces, and control booths. The building remains in the background, allowing the exuberance of theater life and the visual arts to stand in the limelight. Its skin and structure have a subdued, protective strength amid the bustle and frenzied transactions of Travis Street traffic that includes Main Street light-rail interruptions, bus stops, church, college, and urban passersby, daily logistics, ticket sales, and cafe pauses. For Lake|Flato and Studio RED, the decision to invite the street into the building is best exemplified by their addition of graffiti art by GONZO2047 where patrons’ names are tagged on the bathroom walls to merge high art and street culture.
Houston, as described by Barrie Scardino, Bill Stern, and Bruce Webb in their book Ephemeral City, was “built around characteristic features of modern life such as rapid change, built-in obsolescence, indeterminacy, media orientation, a culture of style, and instant gratification.” It is indeed an ephemeral city, hard to pin down and understand at large, but perhaps easier to encapsulate in one permeable space.