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

Courtesy of Theatre Solutions Inc.

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.

http://ift.tt/2f3Obri

http://ift.tt/2fg24QM

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.

http://ift.tt/2fWLvNE

Courtesy of Bee Breeders

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.  

Courtesy of Bee Breeders

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.

Courtesy of Bee Breeders

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 

http://ift.tt/2f3GYHH

© 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.

© Kim Zwarts

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

http://ift.tt/2f3zODC

© André Cepeda

• Architects: Nuno Brandão Costa
• Location: 4960 Parada do Monte, Portugal
• Area: 349.0 sqm
• Project Year: 2016
• Photographs: André Cepeda

• Collaborators: Filipa Júlio, Joanna Katherine Guimarães,
• Structure : Ana Isabel Vale (ABprojectos)
• Hydraulic: Ana Isabel Vale (ABprojectos)
• Electrical: Maria da Luz Santiago (RS Associados)
• Mechanical : Raul Bessa (GET)

© André Cepeda

From the architect. The house to be extended, a very small rural stone building, formerly inhabited by a family of 11 members, fits into the rough terrain of a large plot of land in Melgaço, in the interior of Minho, in Northern Portugal.

The powerful landscape and the character of the existing ruin suggested an extension to the house like a timeless construction, with no defined boundaries, but limited by the local materials.

© André Cepeda

The extension to the house, which accommodates the lounge and three bedrooms, is an underground body which lets in natural light through the opening of a courtyard to the east, cut out from the land, and the west extension of the original façade: a granite wall made of stones from another local building since demolished.

Ground Floor

The small house contains the dining and cooking areas on two floors, connected by an interior staircase against the north façade.

© André Cepeda

To complete domestic life, three small bodies are built which are independent of the main construction in terms of volume:

To the east, a concrete canopy for car parking and protection and to store firewood, and a glazed body for a small kitchen garden, and to the west a swimming pool, enclosed by a dressed stone wall to accommodate the tank.

© André Cepeda

The house has two distinct sides in shape and function:

To the east, the organic arrangement of the bodies and walls built into the terrain, and their routine function, confer a homely informality on the construction.

1st Floor Plan

To the west, the relationship between the façades and the swimming pool tank creates an organic setting which eludes the period of each building and stabilises the relationship between the house and the landscape. 

© André Cepeda

http://ift.tt/2fU1Ikd

© Lina Pilibaviciute

• Architects: Marco Casagrande
• Location: Lithuania
• Project Year: 2016
• Photographs: Lina Pilibaviciute, Juozas Masiulis, Lidija Kaleninikovaite, Berta Tilmantaite, Gabriele Stravinskaite

© Juozas Masiulis

Forest Temple is a result of the Constructive Shamanism workshop in Lithuania, 2016. A multi-disciplinary tribe of artists, artisans, architects, writers, photographers, yogis and children of forest gathered in the ancient lands of Vytautas V Landsbergis to perform architectural rituals connecting the modern man with nature. 

© Lidija Kaleninikovaite

Sketch

© Gabriele Stravinskaite

Living in tents and teepees and eating from the nature, the tribe started to do a circular meditative movement to connect a handful of pine trees with natural linen rope. The result is insect architecture, a man-made semi-transparent cocoon swinging together with the trees. Architecture is the art of reality. There is no other reality than nature. 

© Juozas Masiulis

http://ift.tt/2eEzcFO

© Xia Zhi

• Architects: SUP Atelier
• Location: Gui’an, Guizhou Province, China
• Architects In Charge: SONG Yehao, SUN Qingfen, CHEN Xiaojuan, LIN Zhenghao
• Architecture Design : SUP Atelier, THUPDI
• Area: 701.0 sqm
• Project Year: 2015
• Photographs: Xia Zhi

© Xia Zhi

From the architect. Project statement

THE-Studio is both a practical demonstration case which deeply integrates sustainable design strategies with ecological technologies, and an experimental platform for sustainable architecture based on the Moderate Zone in southwest China, aiming to examine whether the detailed design methods and building technologies can truly suit to the local conditions of climate, culture and even economy.

© Xia Zhi

Oriented to the specific project positioning, the design team has developed the multi-system integrated design strategy from the very early design phase to minimize the negative impacts to local ecological system while maximizing the indoor comfort and energy efficiency.

© Xia Zhi

Multi-system integration

The multi-system integration includes three levels: the paralleled construction systems, the integration of vernacular culture with sustainable technology and the BIM platform.

Diagram. Site Section

Four building systems are implemented in parallel to accelerate whole construction process thus reducing negative interference to the site. Timber frameworks are employed in the large-space exhibition hall, while the prefab light-steel modules are used to shape functional space at both sides. All these structural components and joints are produced off-site and swiftly assembled on site, leading to a significant saving of time and energy. Sustainable service systems (air through tunnel, biomass heating, PVT system, rainwater collecting, control and monitoring, etc.) are mostly plugged into the cavity of façades, which can save installation time, increase indoor flexibility and provide potential space for additional equipment in future experiments. The modular double-skin façade system is a unique integration of vernacular rattan-weaving craftsmanship with industrial prefabrication technology, highly expressing site-specific characteristics while promoting local traditional industry and economy. BIM is also adopted as integrating platform throughout building’s whole life span, especially for coordination of construction, operation and maintenance phases.

© Xia Zhi

Passive design methods

The passive design methods responding to local climatic factors of natural wind, solar radiation and daylight are further contrived by the design team.

Diagram

Diagram. Double-glazed façade system

Diagram

Firstly, the large-space central exhibition hall with extra-raised ventilating skylights can truly act as a venting chimney to promote both wind and thermal pressure ventilations while providing adequate and colorful light for the interior.Secondly, the double-skin façades consisting of double-glazed façade at the first floor and the rattan-weaving double skin at the second floor are typical climate responsive design. The double-glazed façade can adapt to the seasonal and daily changes of the outdoor environment, through different operative modes of vents and windows to reach the expected thermal and ventilation performance. Four module patterns for the rattan-weaving double skin are also developed and arranged according to local solar radiation and wind pressure on each façade through software simulation, aiming to comprehensively integrate environmental performance, structural stability and material durability together.Thirdly, the building also adopts the underground air through tunnel as the passive air-conditioning system, which can largely reduce the energy consumption particularly in summer and winter. Its vertical venting ducts are further integrated in the air cavity of double-skin façade and distributed into the major working places, providing fresh air while creating indoor comfort. Fourthly, the building highly encourages usage of renewable materials such as timber, steel and wheat-straw board and promote the employment of vernacular materials and craftsmanship such as traditional rattan-weaving, blue-stone floor pavage and rubble wall masonry, which can both decrease the carbon footprint during whole life span and create a unique architectural self-expression.

© Xia Zhi

Detail

Diagram. Four patterns of rattan-weaving unit

After the building was completed, a series of field measuring and monitoring for thermal, humid, ventilation and luminous environments are carried out and further analyzed. The outcomes verify that detailed design methods and building technologies of THE-Studio at the early design phases were both effective and appropriate during the construction and operation processes, which can be the references to the similar sustainable buildings in the Moderate Zone of southwest China.

© Xia Zhi

http://ift.tt/2eDZvMh

© Spaceshift Studio

• Architects: IDIN Architects
• Location: Soi Samran, Tambon Lak Hok, Amphoe Mueang Pathum Thani, Chang Wat Pathum Thani 12130, Thailand
• Architects In Charge: Jeravej Hongsakul, Sethapong Phisitthawanich
• Area: 260.0 sqm
• Project Year: 2016
• Photographs: Spaceshift Studio

• Interior Architect : Thuwanont Ruangkanoksilp
• Structural Engineer: Pakanut Siriprasopsothorn
• Managing Director: Jeravej Hongsakul

© Spaceshift Studio

T House is the vacation house closed by Chao Samran beach. The house is to serve for the big family vacations. The owner has total four siblings and each has own family with two kids, they are altogether more than ten lives if they spend the time here together on their leisure. The main function of this house is for a party, dining and resting. The architects designed under the thinking of sharing space. While everyone is doing their own activity in any corner, each can be seen and talk to each other as if they are at the same space. 

© Spaceshift Studio

Diagrams

© Spaceshift Studio

The design begins with layout enclosed space of three master bedrooms, and happens to be the common area at the center which open view to the sea and to non-heat direction at the North. The bedrooms also act as shading that block sunlight from South and West to the main common area. One bedroom on ground floor serve the continuity of living space and also convenient for the elders not to hiking to upstairs. The wall of the three bedrooms are designed enable for fully opened in which the entire area of the house become a single space where the activity flows throughout the house both upper and lower. The materials applied for the bedrooms are wood which lying continuously from inside to outside. On the exterior view, the bedrooms are apparently standing out as three wooden boxes, and they are divided only by the glass which is to control the air flow. 

© Spaceshift Studio

Sections

© Spaceshift Studio

The interior considered on the owner’s functions and lifestyles. The dining table is adaptable for multiple uses. The bed rooms serve for many persons staying simultaneously. The rope net at the stairs is for the kids to play around. 

© Spaceshift Studio

http://ift.tt/2gf0VNB

© TM Studio

• Architects: Li Yaying
• Location: Dabao, Guangxi, China
• Design Team: Michael Luk, Daniel Wang
• Project Year: 2015
• Photographs: TM Studio, Clapper Production

• Construction Management: Project Mingde, Department of Civil Engineering, The University of Hong Kong
• Project Management: Nicolas Shu Yan Yeung, Peter Kai Kwong Lee, Dajiang Guo, Thomas Shiu Tong Ng, Cheuk Pong Wong, Chun Kuen Wong, Ivan Wai Cho Lau
• Site Supervisor: Shing Chan
• Coordinators From Dabao Village: Zhongfu Li, Youming Li, Zhengqin Li, Zhengkun Li, Zhengyuan Li, Qing Li
• Mingde Construction Team: Xian jiajun,Li Xuewen, Hong Jiacheng, He Jinghui, Wang Baiyu,Peng Junnuo
• Landscape Design: Dorothy Shun Wai Tang
• Contractor: Guangxi Shenghe Construction Company Ltd., Zhuhai Newtop Decorate Engineering
• Donation: Shenzhen Cipan Charity
• Sponsor: Lee Hysan Foundation
• Coordination Unit: Kelu Meng, Love Seedling Community Service Centre

© TM Studio

From the architect. Dabao village is remotely situated within the mountain range of Guangxi province in China. The settlement provides home to around 110 families of an ethnic minority group called the ‘Yaos’. The group has its own distinctive dialect and culture. Yao people are often identified by their unique colourful traditional costumes.

© Clapper Production

The Dabao project aims at providing the Yaos with a new primary school and a cultural centre. Dabao villagers were invited to actively participate in the initial planning of the project, and involved in construction until project completion.

© Clapper Production

The school building is situated within the paddy fields on the mountains of Dabao. The project is designed to merge the building harmoniously with the surrounding landscape. Maintaining a balance between the building and the surrounding environment is a prime consideration for the architectural design of this project.

Upper Ground Level Plan

The design concept is structured around the use of layers of walls in addressing the challenges originated from the steep topography of the site. A long bamboo façade along the southern site boundary not only acts as a protective barrier from the road outside, it also regulates the transmission of noise and daylight whilst ensuring privacy of occupants at the same time. The intelligent use of different diameters and lengths of bamboo tubes responds adequately to the different light requirements of the rooms for their respective functions.

© Clapper Production

The main level of the building includes two classrooms, each for 30 students, a library, a staff room, a kitchen, and a storage space. An outdoor playground area with a basketball court is located on the second level whereas the roof of the building is accessible for the children to play and for villagers to rest and enjoy the spectacular panoramic landscape. Besides functioning as a primary school, the center also serves as a cultural space for events, festivals and various celebrations of the Yaos.

© Clapper Production

http://ift.tt/2fU6c9i

© Lorena Darquea

• Architects: ESEcolectivo Arquitectos
• Location: Guayllabamba, Quito, Ecuador
• Architect In Charge: José de la Torre, Belén Argudo, Pablo Silva y Santiago Granda
• Area: 230.0 sqm
• Project Year: 2016
• Photographs: Lorena Darquea

• Contractor: ESEcolectivo Arquitectos, José de la Torre
• Design And Construction Support: Autonomous school of social technology, AL BORDE
• Client: Angie Padilla

© Lorena Darquea

From the architect. Don’t throw anything away. That was the first request the client made for her new house in Guayllabamba, Ecuador. Patchwork and quilting are not only her work, but also her philosophy of life, so she tries to recycle everything she can. The second request was to find solutions for the house on one single level. This would allow comfortable access for her and her mother, who would also be her neighbor in an already existing house just a few steps away from hers. 

© Lorena Darquea

These two requests would become the basis of the design. All decisions were made with the intention of not throwing anything away and taking advantage of all the materials we had on hand.

Exploded Axonometric

To begin, a single-level floor plan involved clearing out a large amount of earth. This earth was then used to build the mud walls that became the main structure of the house. In addition, almost all the windows, doors, and cabinets were recycled from the client’s previous home. Everything was recycled as a patchwork design. Materials that would seemingly be considered useless or not worthy were made to work by means of different systems. The windows were joined together and adapted to the wooden columns and mud walls; restored doors were hung from the concrete beams; restored and rebuilt cabinets were adapted to fit in new spaces, and old gates and fences were used to enclose the new garden.

© Lorena Darquea

The three-meter tall mud walls are arranged in a “C” shape for structural rigidity, which is basic when constructing with rammed earth. The “C” walls shelter the private spaces of the house, which are then closed off with the recycled windows and doors. On one side of the house are the quilting studio, the main bedroom, and the laundry/pet room. These areas allow the owner to withdraw into her own private space even when the house is full of people. This entire side of the house opens out to a private garden through a collage of recycled windows. On the opposite side of the house, three guestrooms are laid out as small yet complete spaces in which to rest.

© Lorena Darquea

Ground Floor

© Lorena Darquea

The large open living space is located between the two private side wings, and constitutes the central and most important space in the house. This area draws one towards the outside view and recreational zone where family activities are closely related to nature. The inside walls of the house are painted white so that the patchwork wall hangings can stand out.

© Lorena Darquea

The roof consists of a system of wooden beams, tensioned trusses and a thin concrete slab. Several skylights provide proper lighting for the guestrooms and the corridor leading to the owner’s private quarters.

© Lorena Darquea

The outdoor area consists of a large avocado and custard apple orchard. The exterior finish of the house is minimal, where the mud walls retain their original aspect, flanked by the recycled windows.

© Lorena Darquea

http://ift.tt/2fDqG6A