Audience sightlines, accessibility and acoustics all make theater seating a hugely precise art. As part of their set of online resources for architects and designers, the team at Theatre Solutions Inc (TSI) have put together a catalog of 21 examples of theater seating layouts. Each layout is well detailed, with information on the number of seats, the floor seating area and row spacing. These layouts fall under three general forms; to supplement this information, alongside TSI’s diagrams we’ve included the pros and cons of each type, as well as examples of projects which use each format. Read on for more.

1. End Stage

Courtesy of Theatre Solutions Inc.

In the End Stage form, the entire audience faces the stage in the same direction. Sightlines are kept simple, making these layouts perfect for lectures, films and slide-based presentations. They also fit well into conventional rectangular plans.

Courtesy of Theatre Solutions Inc.

However, End Stages are not overly successful at creating a close relationship between performer and spectator. Theatres in this form also can’t be too large due to acoustic limits.

Examples:

The Blyth Perfoming Arts Centre / Stevens Lawson Architects

The Blyth Performing Arts Centre / Stevens Lawson Architects. Image © Mark Smith

Theatre Agora / UNStudio

Theatre Agora / UNStudio. Image © Iwan Baan

Municipal Theatre of Guarda / AVA Architects

Municipal Theater of Guarda / AVA Architects. Image © Fernando Guerra

2. Wide Fan

Courtesy of Theatre Solutions Inc.

In this form, theatre seats are placed within a 130-degree angle of inclusion. This brings in the audience closer to the performer, establishing a more intimate experience.

Courtesy of Theatre Solutions Inc.

This angling also means that the form is better geared towards speech-related performances. Film presentations would be trickier in these spaces, with screens requiring proper positioning – perhaps further back from the stage, to compensate for seats that find their sightlines distorted. 

Courtesy of Theatre Solutions Inc.

Examples:

National Grand Theatre of China / Paul Andreu

National Grand Theater of China / Paul Andreu

Ulumbarra Theatre / Y2 Architecture

Ulumbarra Theatre / Y2 Architecture. Image © Peter Clarke

Limoges Concert Hall / Bernard Tschumi Architects

Limoges Concert Hall. Image Courtesy of Bernard Tschumi Architects

3. ¾ Arena

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¾ arenas see a 180-270-degree angle of inclusion. Hearing and visual contact between spectator and performer is improved, and as audience members can see each other when facing ahead, the sense of inclusion is increased even more.

Courtesy of Theatre Solutions Inc.

However, conventional film presentations are almost impossible and would require an alternative screen layout, such as a number of smaller screens arranged throughout the space.

Courtesy of Theatre Solutions Inc.

Examples:

Han Show Theatre / Stufish Entertainment Architects

Han Show Theatre / Stufish Entertainment Architects. Image Courtesy of Stufish Entertainment Architects

Dee and Charles Wyly Theatre / REX + OMA

Dee and Charles Wyly Theatre / REX + OMA. Image © Iwan Baan

Hardelot Theatre / Studio Andrew Todd

Hardelot Theatre / Studio Andrew Todd. Image © Martin Argyroglo

4. Other Layout Options

While the above three tend to be the most common forms of seating layout, they are by no means the only ones. Further options include Arena seating where the audience wraps around the stage a full 360 degrees, common for extra-large theaters like the Royal Albert Hall, and the Vineyard style where seats are arranged in cascades of mini-blocks of varying levels, including the rear of the stage, as seen in the Hamburg Elbphilharmonie.

Hamburg Elbphilharmonie / Herzog & de Meuron. Image © Iwan Baan

Or even more differently, Bijlmer Park Theatre is a hybrid between End Stage and ¾ Arena, with flexible pull-out seating turning it from one to another, while The Wave’s seating takes after its namesake.

For more detail on designing auditoriums, including info such as seat spacing and the slope of the auditorium, check out TSI’s comprehensive article here.

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This edition of Section D, Monocle 24’s weekly review of design, architecture and craft, explores London’s new Design Museum – a significant expansion for the institution at an entirely new location in West London. The interior spaces of the former Commonwealth Institute Building in Kensington, which is Grade II-listed, have been renovated by John Pawson. Alongside the museum’s Deputy Director, Alice Black, the Monocle team investigate the thinking behind the relaunch and how the spaces are designed to accommodate a shifting audience.

London's new Design Museum. Courtesy OMA. Image © Sebastian van Damme

Find out more about Monocle 24’s Section D here.

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Competition organizers Bee Breeders have just announced the results of their Trans-Siberian Pit Stops Competition.  At 9,289 kilometers, the Trans-Siberian Railway connects Moscow to Russia’s far eastern cities. While it historically attracted many adventurers who would later write about their journeys, the railway is largely used for domestic travel today.  

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First place was awarded to Kamvari Architects, who proposed elegant pit stops inspired by the vernacular traditions and materials. Strong geometric forms become striking objects in the barren Russian landscape, while the building configurations allow stabilized interior conditions during winter and summer climates. 

“The winning project stood out for its unique combination of traditional forms of architecture and the dynamic nature of the railway” – explained the judges.

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The second place entry, by Jacopo Abbate and Matrina Mitrovic, used a wood fire hut as inspiration for their landmark-style project. Centered around a fireplace, the pit-stop creates light and warmth for fellow travelers. Additionally, the fireplace serves as a structural element for the building. 

“The nature of a large fireplace is inviting and welcoming, and its slight peculiarity gives it a unique and symbolic appearance that can be recognized immediately from every station along the Trans-siberian railway route” – commented the jurors. 

Courtesy of Bee Breeders

Anamorphosis, the third place project by Godfathers, integrates itself with its surrounding environment through a mirrored facade. Because of its diverse nature in different environments, the pavilion can be placed throughout the railways, offering various facades. 

“What made this design stand out to the jury panel is the dichotomy of its nature, its impressive design making it stand out while at the same time reflecting on the world around it” – commented the jurors. 

Other honorable mentions include Bee Breeders’ Green Award — presented to Liam Morrow and Elvira Hoxha’s Trans-Siberian pods. Nolan Loh’s Trans-Siberian Pit Stops was also selected as the Student Award. 

Read full details of each design including honorable mentions can be found here. 

News via: Bee Breeders 

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© Kim Zwarts

• Architects: Wiegerinck
• Location: Wageningen, The Netherlands
• Architects In Charge: Bert Muijres, Roy Pype, Tim Loeters
• Area: 7600.0 sqm
• Project Year: 2016
• Photographs: Kim Zwarts

• Other Participants: Kadans Science Partner – Hendriks Bouwbedrijf, Schrijvers Electrotechniek , Archimedes, Van Looy Group, Poelmans Reesink, C2N, Peutz, Goudstikker de Vries, ZRI.

© Kim Zwarts

From the architect. In the design for the new incubator and multi-tenant building on the university campus in Wageningen, start-ups and knowledge-intensive technological businesses in the agro and food sectors will have a place for research and open innovation.

© Kim Zwarts

 ‘Plus Ultra’ means ‘there will always be unchartered territory to be discovered and explored’ (see footnote) and symbolizes the commitment to continuous innovation.

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Kadans Biofacilities develops Plus Ultra in cooperation with Wageningen University & Research Centre on the southern end of the university campus. The building offers more than 7,000 m2 of floor space for offices, laboratories, (partly)) multipurpose techno halls and various spaces for encounters and informal contacts.

Scheme

The design of Wiegerinck architectuur stedenbouw (Wiegerinck architecture and urban planning) aims at synergy, encounters, cooperation and innovation through a maximally sustainable and robust design that aspires a Bream Excellent certificate. The design of Plus Ultra is as compact and transparent as possible with a virtually square floor plan with 5 floors. The bottom two floors offer space to a varied range of functions: entrance, reception, catering facilities, high “techno halls/labs” and office space. The top three floors are the laboratory/office layers.

The floor plans have been realised around a central atrium; on the lab/office levels, the floors between the exterior and interior facades of the atrium have been divided into three “rings”. The outer ring (on the facades) constitutes a flexible-use zone that is equipped for use both as laboratory and office space. The central ring is the circulation area that gives access to the interior and exterior rings. Office, meeting or encounter spaces on the atrium facade open up on the inner ring.

© Kim Zwarts

In the atrium, an elegant wooden staircase spirals upwards from ground level to the atrium facade. On each floor, the stairs lead to a double-height meeting space finished in wood with an open connection to the central atrium. Faced from the atrium, the stairs and the high meeting spaces spiral up into the space. Plus Ultra.

Section

Four building cores have been incorporated at the corners of the interior ring. All “fixed” facilities (vents, ducts, toilets, elevators and technical features) are housed in the building cores so that all other available space is open and suited for a wide range of layout options. The cores also ensure the constructional stability of the building.

© Kim Zwarts

The use of material is quite discreet. The entire construction consists of concrete, wood, glass and metal. Where possible, the structure is the actual finishing. Only the central stairs and the double-height meeting spaces have wood slats cladding. The wood offers warmth and colour to counterbalance the concrete; it creates pleasant acoustics in the meeting areas and the atrium, and offers the option to place installations behind the panels.

© Kim Zwarts

The design is based on a crystal clear methodology. The floor plans have consistently been realised with a modular width of 3,6 metres. This measure is always divided in piers of 0,9 metres with openings of 2,7 metre wide in between. Vertically, the building consists of floors with a height of 4 metres. This measure is subdivided into floors of 40 cm thick with 60 cm space for technical facilities and 3 metres of free height. This harmonic dimensioning methodology stands out in all interior and exteriors facades and has been turned into a defining feature through facade jumps of 5 cm deep to create shadow lines and to ensure proper drainage from the wood elements.

2nd Floor Plan

The facades are realised in treated wood and anodized frames. Elegant wood slat screens limit the access of direct sunlight into the building, naturally reducing the cooling load. The screens that run parallel to the glass, also function as visual filters between (the laboratory set-ups) in and outside the building. The east and west facades are fitted with wood screens perpendicular to the windows. These limit heating up by low sun angles in the morning and evening. The screens on the south facade have been designed as canopies to offer protection from the midday sun for the same purpose. The north facade has been realised more level because of the absence of solar load.

© Kim Zwarts

The facade wood is finished in two wood tones with a subtle difference to emphasize the horizontality of the facade and to make it more dominant than the vertical elements – fitting in with the campus image quality plan. The vertical methodology of floors, technical zones and free space is also reflected in the facades in facade jumps of 5 cm. As a result, the building expands 10 cm on each layer with a vertical widening of the structure. This way, the building – both in outer appearance and through the integrated atrium – refers to its name “Plus Ultra” as well as to the innovation that it will facilitate.

© Kim Zwarts

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