Escolar Documentos
Profissional Documentos
Cultura Documentos
REX | OMA
Location
Dallas, USA
Executive Architect
Kendall/Heaton Associates
Theatre Design
Key Personnel
Consultants
Ada
Furniture
Lighting
Client
Acoustics
Dorsserblesgraaf, Netherlands
Construction Management
McCarthy Construction
Cost
Graphics/Wayfinding
2 x 4, New York
Life Safety
Vertical Transport
HKA, California
Area
7700.0 sqm
Project Year
2009
Photographs
Iwan Baan
Manufacturers
A. Zahner, B-K Lighting, Bartco Lighting, Bega, Custom Metal Craft, DalTile,
Designplan Lighting, Garaventa Lift, Industrial Acoustics, Ives, Kawneer,
LCN, Lucifer Lighting, McKeon Door, Mid-American Elevator Company, Mobley
Speed, Modernfold, Moroso, PPG IdeaScapes, PPG Pittsburgh Paints, Piper
Weatherford Company, Soprema, Special-Lite, Strand Lighting, TISI, TXI, Tate
Access Flooring, Tremco, Tretford, Trimco, Von Duprin, W&W Steel, WE-EF,
Woodhaus
+20
From the architect. The Dallas Theater Center (DTC) is known for its
innovative work, the result of its leaderships 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 thrustcenium.
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Iwan
Baan
Imagining a replacement for DTCs 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.
Iwan Baan
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 floorfreeing 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 Theatres ancillary facilities above- and below-house also
liberates the performance chambers entire perimeter, allowing fantasy and
reality to mix when and where desired. Directors can incorporate
Iwan Baan
By investing in infrastructure that allows ready transformation and liberating
the performance chambers 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
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Iwan Baan
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Iwan Baan
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Iwan Baan
Location to be used only as a reference. It could indicate city/country but not exact
address.
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See more:
Cite:
2011.
ArchDaily
. Accessed
29 Jun 2016
<http://www.archdaily.com/37736/dee-and-charles-wyly-theatre-rexoma/>
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