Archive for ‘Tillotson Design Associates’

July 13, 2011

Dee and Charles Wyly Theatre by REX | OMA

2599_2_20 Wyly Exterior © Iwan Baan

321_2_Wyly - night view © Tim Hursley

2370_2_Wyly - view from terrace © Tim Hursley

2371_2_Wyly - lobby © Tim Hursley

2372_2_Wyly © Tim Hursley

2373_2_Wyly - dusk view with sign © Tim Hursley

2594_2_19 Wyly Exterior © Iwan Baan

2595_2_27 Wyly - Performance Hall © Iwan Baan

2598_2_18 Wyly Exterior © Iwan Baan

2601_2_24 Wyly - Stair to Performance Hall © Iwan Baan

2602_2_25 Wyly - Performance Hall © Iwan Baan

2603_2_26 Wyly - Performance Hall © Iwan Baan

2604_2_28 Wyly - Conference Room © Iwan Baan

2605_2_30 Wyly - Rooftop Terrace © Iwan Baan

Level 01 THRUST thrust floor plan © REX

Level 01 PROSCENIUM proscenium floor plan © REX

Level 01 FLAT FLOOR flat floor plan © REX

Level 08 eight floor plan © REX

Concept_Diagram-02-SUPERFLY_credit-REX concept diagram © REX

Architects: REX | OMA
Location: Dallas, USA
Key Personnel: Joshua Prince-Ramus (Partner-in-Charge) and Rem Koolhaas, with Erez Ella, Vincent Bandy, Vanessa Kassabian, Tim Archambault
Executive Architect: Kendall/Heaton Associates
Client: The AT&T Performing Arts Center
Consultants: Cosentini, DHV, Donnell, Front, HKA, Magnusson Klemencic, McCarthy, McGuire, Pielow Fair, Plus Group, Quinze & Milan, Theatre Projects, Tillotson Design, Transsolar, 2×4
MEP/FP Design Engineer: Transsolar Energietechnik, Germany
MEP/FP Engineer of Record: Cosentini Associates, 
Structural Engineer of Record: Magnusson Klemencic Associates, Seattle
Theatre Design: Theatre Projects Consultants, Connecticut
Acoustics: Dorsserblesgraaf, Netherlands
ADA: McGuire Associates, Massachusetts
Construction Management: McCarthy Construction
Cost: Donnell Consultants, Florida
Facades: Front, 
Furniture: Quinze & Milan, Kortrijk Belgium
Graphics/Wayfinding: 2 x 4, 
Life Safety: Pielow Fair, Seattle
Lighting: Tillotson Design Associates, 
Vertical Transport: HKA, California
Project Area: 7,700 sqm
Project year: 2006-2009
Photographs: Iwan BaanTim Hursley, Jeffrey Buehner

The Dallas Theater Center (DTC) is known for its innovative work, the result of its leadership’s constant experimentation and the provisional nature of its long-time home. DTC was housed in the Arts District Theater, a dilapidated metal shed that freed its resident companies from the limitations imposed by a fixed-stage configuration and the need to avoid harming expensive interior finishes. The directors who worked there constantly challenged the traditional conventions of theater and often reconfigured the form of the stage to fit their artistic visions. As a result, the Arts District Theater was renowned as the most flexible theater in America. The costs of constantly reconfiguring its stage, however, became a financial burden and eventually DTC permanently fixed its stage into a “thrust-cenium.”

Imagining a replacement for DTC’s old house raised several distinct challenges. First, the new theater needed to engender the same freedoms created by the makeshift nature of its previous home. Second, the new venue needed to be flexible and multi-form while requiring minimal operational costs.

The Dee and Charles Wyly Theatre overcomes these challenges by overturning conventional theater design. Instead of circling front-of-house and back-of-house functions around the auditorium and fly tower, the Wyly Theatre stacks these facilities below-house and above-house. This strategy transforms the building into one big “theater machine.” At the push of a button, the theater can be transformed into a wide array of configurations—including proscenium, thrust, and flat floor—freeing directors and scenic designers to choose the stage-audience configuration that fulfills their artistic desires. Moreover, the performance chamber is intentionally made of materials that are not precious in order to encourage alterations; the stage and auditorium surfaces can be cut, drilled, painted, welded, sawed, nailed, glued and stitched at limited cost.

Stacking the Wyly Theatre’s ancillary facilities above- and below-house also liberates the performance chamber’s entire perimeter, allowing fantasy and reality to mix when and where desired. Directors can incorporate the Dallas skyline and streetscape into performances at will, as the auditorium is enclosed by an acoustic glass façade with hidden black-out blinds that can be opened or closed. Panels of the façade can also be opened to allow patrons or performers to enter into the auditorium or stage directly from outside, bypassing the downstairs lobby.

By investing in infrastructure that allows ready transformation and liberating the performance chamber’s perimeter, the Wyly Theatre grants its artistic directors freedom to determine the entire theater experience, from audience arrival to performance configuration to departure. On consecutive days, the Wyly Theatre can produce Shakespeare on a proscenium stage or Beckett in a flat-floor configuration silhouetted against the Dallas cityscape. Both learning from, and improving upon, DTC’s original Arts District Theater, the Dee and Charles Wyly Theatre will restore Dallas as the home of the most flexible theater in America, if not the world.

http://www.archdaily.com/37736/dee-and-charles-wyly-theatre-rex-oma/