city lights theatre

Lonely Mountain PublishingSan Luis Obispo, CA© 2012

Republishing content within this book is permitted for non-commercial and non-profit purposes.

Developed by Sean McFeelyand Professor Sandy StannardStudio Granola

5th year Architecture Thesis Design ProjectCalifornia Polytechnic UniversitySan Luis Obispo

Dedicated to Claire and David McFeely

Thanks for your unwavering support and unending love.

City Lights TheatreBuilding Community through Theatre

19

Once seen as temples of the theatre, standard theaters severely limit the medium in an era of fi lm and cinema. Actors must adapt as movies dominate the world, just as painters developed new ways for canvas to express emotion after the invention of photography. While fi lm struggles to move beyond the picture plane, theatre excels as a spatial medium as actors can walk among, sit with and converse with audience members. Productions can also relate to each individual unique location. Theaters must change to support and capitalize on these elements.

After centuries of increasingly elaborate sets, theatre must return to the past. With limited resources, Greek, Roman and English directors built sets with multiple levels and walls with doors. Actors transformed 2 or 3 feet of elevation change into a complete building story or two, and neighboring doors into castles miles apart. In effect, actors simply need levels and walls to create spaces for them to inhabit and transform into imaginary worlds. These elements can be relabeled as platforms and screens in the context of a permanent venue as these lighter and mobile constructs offer greater fl exibility for future productions. Increased fl exibility even aids rapid transformations during performances as platforms raise and lower on demand and screens move or open as entrances for actors.

Abstract

Greek, Roman and English actors adapted performances for each locality they visited before permanent venues reappeared in Elizabethan England. Other than Ancient Greek amphitheaters, performance venues rarely matched. Actors reworked their staging depending on the amenities and unique circumstances provided. Overturning the professions dependence on generic cookie-cutter stages strengthens the connection with audience members as architects and directors incorporate neighboring buildings, local culture and individual audience members into productions. Doing so also makes each performance a unique experience not seen in other cities.

Venues that connect with their community can even help heal many of the soulless American cities developed through suburban sprawl. American cities such as San Jose, California transformed during the baby boom and demographic migrations and population expansion encouraged mass tracts of cookie cutter houses and boring offi ce buildings. As a medium of art, theatre can help identify and illuminate the special qualities and elements of a locality. While fi lm presents and encourages a single universal culture, theatre should celebrate the differences that make every community interesting.

2020Plan: Standard Theater Audience and Stage

Section: Standard Theater Audience and Stage

Plan: New Theater Audience and Stage

Section: New Theater Audience and Stage

23

500 400 300 200 100323 BC

490 BC

Western theatre traces its roots to festivals in Ancient Greece. Orators and actors performed dramas and comedies within public amphitheaters in the city center. Actors and chorus members rarely interacted with sets or audience members and delivered lines from the fl at orchestra pit in the center of the amphitheater. Heavy stone made sets expensive and infl exible to adaptation. Poor cities even forwent the expensive skene and utilized the natural landscape and a background instead. Greeks relied on imagination to paint the scene and animate the actors. Multiple plays could be performed at a single venue in the same night with no transition time in between.

24

100 200 300 400074

Romans continued theatre in the tradition of the Greeks. Permanent theatre venues disappeared after the fall of Rome. Actors traveled between cities and performed mostly in noble residences or royal courts. For special occasions and festivals, actors performed on fl at stages in market places or church yards. Some traveling troupes built mobile stages on wheels and performed wherever a crowd gathered.

25

1300 1400 1500 16001564

1599

1637

Theatre changed in England during the 16th century as populations in cities grew and theatre found favor with Queen Elizabeth. Permanent theatre venues reappeared starting with The Theatre, The Curtain , The Rose, The Swan and The Globe. Including multiple levels/platforms, and walls/screens, these theaters transformed theatre into a temporal and visual experience. Great writers like Christopher Marlow and William Shakespeare found potential for expressing love, betrayal and other human experiences. Tongue or thrust stages, extending the stage into the audience, even added a spatial element to performances as audience members surrounded the stage and actors incorporated the entire venue into the play.

26

1700 18001637 1896

Builders focused on sight lines as permanent venues became more commonplace within Western civilization. Productions once again developed a wall between the audience and the actors: physically (Proscenium Arch) and theatrically (4th wall). Directors constructed elaborate sets that required long transition periods between performances. Set designers attempted to create entire worlds and replace the use of imagination.

27

1900 20001914

1927

1977

2012

As a purely temporal and visual experience, fi lm improved on the many strengths of theatre. As early as 1914 with the movie The Birth of a Nation by D. W. Griffi th, fi lms displayed sets more elaborate than anything possible on stage. The Jazz Singer incorporated sound in 1927 and rendered theatre obsolete. Special effects and editing popularized by Star Wars and the company ILM sealed fi lm’s dominance as a temporal and visual experience reproducible on a global scale. Modern theatre productions must look to their spatial and location unique strengths in order to avoid extinction.

31

Population 177764

Population 179079

Population 1960204,196


Population 1840977




San Jose lacks a common unifying urban identity because city leaders chose to focus primarily on the future. This single-minded focus aided in successfully planning for a large infl ux of new residents while ignoring the existing population. In with the new and out with the old ruled the day. In doing so, leaders not only tore up the existing physical urban framework but also the social culture that lived in that fabric. Focusing too much on the future ignores the great wealth that already exists and dooms us to continually reinvent ourselves without ever taking time to enjoy the present. Recognizing both the past and future, what is and what will be, allows us to appreciate our present moment in history.

Story of San José, California

32

Population 1800117

Population 1810229







Population 1820382

Population 1830536






32


3333

17408,000BC

Archeological evidence places the earliest inhabitants in the San Francisco Bay Area around 8,000 BC. These early inhabitants are collectively referred to as the Ohlone people despite congregating in small independent triblets. Around 10,000 Ohlone people lived in Santa Clara Valley before the arrival of Spanish explorers. The four tribes found in Santa Clara County are referred to more specifi cally as the Tamien Indians. These fi rst people lived a mostly subsistence lifestyle domesticating wild dogs and hunting Chinook Salmon in Guadalupe River and Coyote Creek. Their villages traded jewelry, knives and red cinnabar rocks to people up and down the Pacifi c Coast.


3434

1750 1770 1790178017601777

Chartered in 1777 by Spanish King Carlos III, El Pueblo de San José de Guadalupe became the fi rst urban settlement in the Western United States. San José supplied Forts San Francisco and Monterey while competing with Mission Santa Clara for farm and ranch land.14 families founded the settlement starting with 64 people and growing slowly until American settlers arrived in the 1830s. Built in 1797 as part of the original pueblo, the Peralta Adobe still stands in downtown San Jose. With the Mexican Revolution, San José became part of the new Mexican territory of Alta California.

35

1800 1810 18301820

35

Mexican settlers recognized the local cinnabar desposits as quicksilver ore and opened New Almadén Quicksilver Mine as the world’s second largest mercury mine behind Almadén in Spain. The mine opened up just in time to supply the California Gold Rush in 1848. Mercury from the New Almadén quickened gold extraction and accounted for 90% of mercury used in the gold rush.


36

18501840 1860 18801870

36

1846

1849 1852

1871

San José served as the capitol of California upon independence from Mexico in 1846, and the capitol of California State for a year upon entrance to the United States. After the Gold Rush, Fathers from Mission Santa Clara helped the residents establish orchards of apricots, plums, cherries and oranges to support the newly expanded population of the Bay Area. Fertile soil in Santa Clara Valley made farming relatively easy, while the mild climate and ample sun allowed for year round cultivation. In 1871, the fi rst cannery opened to preserve surplus fruit production for sale in distant markets.

37

By the end of the 19th century, orchards replaced native willow and oak groves to cover the entire valley. Marshes were drained and livestock moved to the hills as Santa Clara became the most productive agricultural region in the world and was nicknamed The Valley of Heart’s Delight. Over 40 canneries were built to process the vast fruit harvest. During WWII, the valley supplied over a quarter of the fruit eaten by the Allied soldiers and resulted in Del Monte and other local companies becoming national brands. Orchards united the farmers as a community with an identity and purpose.

37

1890 19101900 19201922

1901


3838

19571939 1946

1943 19511930 197019601950

Cheap land near higher education institutions of Stanford, Santa Clara University, San José State and UC Berkeley provided the perfect setting for Department of Defense electronic research parks and contracting facilities. The founding of Hewlett-Packard in 1939, IBM Almaden Research Park in 1946, Stanford Research Park in 1951 and Fairchild Semiconductor in 1957 put the valley on the cutting edge of computer and technology development. San Jose City Manager Dutch Hamann recognized the forthcoming population infl ux and began a rapid growth and expansion plan for the city through cheap low-density car-oriented development. From 1950 to the end of his tenure in 1970, San José grew from 95,000 to 450,000 people. The haphazard leap-frog development pattern required three decades to fi ll-in, pushed economic activity to the city rim, and neglected the historic downtown city fabric and culture. Four major malls and various strip malls around the city perimeter became the primary centers for commercial and social activity.

39

1989

1980 2000 2010

39

In 1970, a new government put a halt to outward expansion and began repairing the urban fabric. City leaders focused on fi lling in the vast tracts of undeveloped land with mostly single-use commercial strip malls or single-family home tracts. Starting in the late 80s, city planners suggested redeveloping the blighted downtown and building a public mass-transit network in conjunction with the new Highways 85 and 87. City leaders established multiple cultural institutions in the downtown: Tech Museum, HP Pavilion, Discovery Museum, Museum of Art, Center for Performing Arts, San José Rep, Convention Center, etc. These broad strokes of higher density housing, hotels, cultural institutions, public traffi c and TOD corridors have successfully built a strong urban framework. While city leaders use these broad strokes to expand this new urban fabric beyond the downtown region, details that humanize the urban fabric and provide watering holes for people to gather require smaller strokes.


4343

Context

44

Social activity in downtown San José splits between daytime activity centered on Market and San Carlos St. and nighttime activity along First, Second and Santa Clara St. These two social arrangements highlight the effect of both large scale and small scale developments in the city. Daytime activity clusters near major institutions: SJSU, the McEnery Convention Center, the Tech Museum, and the offi ce towers. Night activity shifts to the more pedestrian scale First and Second street where citizens feel freer walking between the small restaurants and entertainment venues located along these streets. The change in social patterns refl ects the single use programming in downtown that either caters to daytime or nighttime activity. While housing and food establishments experience activity around the clock, most social activity occurs after 5:00 PM. The lack of round-the-clock programming creates a dichotomy of two different San Josés with people either commuting in for the day or night. In a very telling manner, the high art venue of the Center for Performing Arts can be found within the business zone in contrast to the less formal San Jose Rep, movie theaters and comedy clubs found in the 8 blocks between the business and residential zones.

Daytime ActivityNighttime Activity

4545

Parking Light RailBus Routes

ContextPublic TransitParking

46

People SpacesThe selected site offers connection to multiple transportation options. Locating near the city center (Circle of Palms Plaza) puts the project within 5 minutes walking distance from multiple parking options. People wanting to go car-free can get off the Light Rail and multiple bus routes less than a block away. Alternately, people can combine a trip to the theatre with stops at nearby parks, shopping alleys or the library.

Situated among older buildings, the project site (in green) connects the old with the new. Specifi cally, an outdoor theater can utilize St. Joseph’s Basilica and the historic Post Offi ce as a potential backdrop. Multiple food establishments provide an opportunity for the project to function as a daytime plaza where people can meet, sit and enjoy to-go offerings.

People Spaces

4747

LocalsTravelers

FoodEntertainment

ContextNight LifeLodging

48

Pre-Expansion Buildings

48

Pre-Expansion BuildingsMovie AmateurProfessional

Theaters Old Buildings

49

Context

49 Site

St Joseph’s BasilicaFirst Street

50

Historic Post Offi ce Knight Ridder Offi ce and Fairmont Hotel

51

Climate

San Jose enjoys moderate temperatures year round that only drop below the comfort zone at night after the sun goes down. Days usually experience comfortable temperatures during most business hours. Temperatures stay warm enough May to September for outdoor theatrical productions. San Jose also experiences large diurnal swings of 40º Fahrenheit each day.

52

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N O R TH15°

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10 km/h

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50 km/h hrs

447+

402

357

312

268

223

178

134

89

<44

NO R TH15°

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Spring Summer Fall Winter

Summer sees the strongest and most frequent winds which offer cooling when the temperature rises too high. Winds also die down in the winter minimizing cooling when temperatures drop below the comfort zone. Winds mostly blow NNW or SSE perpendicular to the primary view and traffi c axis of the site minimizing any potential wind tunneling.

53

Climate

53

Maintaining a comfortable environment requires lots of light heating possible through passive solar heating. Minimizing cooling due to the wind is an important potential strategy. Well insulated glass can help maintain heat gain from indoor equipment and lighting.

54

Sunny wind-protected outdoor spaces can extend living areas in cool weather

Window overhangs, designs for this latitude) or operable sunshades (extend in summer, retract in winter) can reduce or eliminate air conditioning

Glazing should minimize conductive loss and gain (minimize U-factor) because undesired radiation gain or loss has less impact in the climate

Heat gain from equipment, lights, and occupants will greatly reduce heating needs. Keep building tight, well insulated (use ventilation in summer)

57

Vellum

Book LampVellum 12 Furniture CompetitionPrototype

While the urban landscape starves of poetic and evocative architectural stories, libraries overfl ow with literary stories and regularly discard unwanted books. This lamp transforms recycled books, acrylic and steel, into an architectural element expressing stories we fi nd all around us. Energy-effi cient fl orescent bulbs refl ect off book covers and pages radiating rays of colorful light into the surrounding space.

61

Precedents

Danish National Maritime MuseumHelsignør, Denmark

BIG2012

Rather than creating something from nothing, the DNMM utilizes that which already exists to tell a story through spatial

experiences. Three bridges cross the empty void of an old dry dock placing visitors exactly where boats were once

constructed. While the museum programatically surrounds the empty void, the main exhibit occurs in these bridges

where shipyard work previously occured.

62

Ancient Greek TheaterVarious Cities, Aegean SeaAncient Greeks700-100 BC

Every Ancient Greek city includes an amphitheater carved into a hillside. A single set piece and the natural landscape serve as a backdrop to performances. Multiple doors and balconies make the stage adaptable to different productions and scenes. By using a single set, Greek theaters minimize transition times between productions.

63

Precedents

The GlobeLondon, England

Lord Chamberlain’s Men1599

The Globe strives to do the most with the least. A simple thrust stage provides a variety of spatial situations for the

actors to act upon and the audience to complete with their imagination. The tongue thrusts the action into the crowd

transforming the performance into a spatial experience. All seats are not equal but they each offer a different

experience.

64

Total TheaterGermanyWalter Gropius1927

Designed in 1927 but never built, the Total Theater synthesized many of the physical elements Walter Gropius found during his studies of transformable theater buildings that blurred the boundary between audience and actors. A large ring extended the stage into the audience while also surrounding a portion of the audience. The theater transformed into a theatre-in-the-round when the encircled portion rotated 180º.

65

Precedents

Walt Disney Modular TheaterValencia, CA

Thorton Ladd1993

Based on Antontin Artaud’s ideal theater, the Walt Disney Modular Theater utilizes modularity to create an infi nitely fl exible theater. Hydraulic pistons raise and lower the 384

4x4 platforms comprising the stage. Modular screens quickly divide and rearrange space as needed between or during

performances. Lights create different sets and atmospheres for the actors to perform in.

66

Wyly TheaterDallas TexasREX2009

Rex takes another approach to adaptable theater venues by developing the black box typology along the lines of traditional theater venues. The theater changes between theatre-in-the-round and horseshoe arrangements through a system of adjustable fl oor platforms and removable seating. The stage and audience even switch places for a reversed theater-in-the-round set up or any other imaginable arrangement.

69

Process

Age0-12 36-6413-21 65+22-35

Outside of a few hours on the weekend during performances, theaters remain inactive unused spaces in the urban fabric. Design started by fi nding complimentary programing to increase the social activity on the site. As an open air theater, activity can easily be increased by opening the project to the public as a plaza. A plaza requires a social magnet such as a restaurant to activate the space. The combined program creates a socially active site throughout the day from 11am-1am with a down period from 3pm-5pm. Clay models and ink drawings transformed the preliminary program into building masses and eventually forms.

71

Process

Initial studies focused on a rigid structural system to support removable screens of materials: metal, wood, and/or cloth. Incremental changes in these frames created dynamic forms to house the restaurant. Screen walls and roofs fi ltered natural light into the restaurant thereby creating dynamic dining spaces. While the rigid frames and lattice screens suited the restaurant, fi nding a single architectural form to satisfy the needs of multiple theatre productions proved to be an impossible task. By transferring the rigid structural elements into the individual screens, the facade became infi nitely fl exible allowing the building to transform to meet the needs of each specifi c production. Similarly the theater plaza evolved from a rigid multi-level stage into an infi nitely fl exible series of platforms lifted and lowered by hydraulic pistons.

71

73

Process

After solar studies of the site, the building volumes moved to the shaded regions thereby placing the plaza and theater in the warm sunny regions. Analysis via HEED serve as a rough guide due to primitive and inadequate modeling and building options. Reduced building envelope surface area and internal heat production via the kitchen can offset the increased heating load caused by the reduced solar heat gain.

74

March 21st: 7AM-12PM

March 21st: 12PM-5PM

June 21st: 6AM-12PM

June 21st: 12PM-6PM

December 21st: 8AM-12PM

December 21st: 12PM-4PM

7777

1 Transformable Plaza2 Transformable Tongue East3 Transformable Tongue West4 Fixed Stage5 Transformable Walls

6 Workshop and Wall Storage7 Theater Storage8 Female Changing Room9 Male Changing Room

10 Lobby11 Downstairs Restaurant Seating12 Kitchen13 Pantry14 Freezer15 Offi ce

Final Design

7878

Ground Floor

7979

1 Transformable Plaza2 Transformable Tongue East3 Transformable Tongue West4 Fixed Stage5 Transformable Walls

16 Terraced Seating17 Upstairs Restaurant Seating18 Roof Access

Final Design

8080

Second Floor

81

Final Design

81

Inspired by the space adventures taken by the Little Prince, a performance of the play at night reimagines the plaza as a fi gurative map of space. Raised 2 or 3 feet, random platforms act as individual stages for each planet. The Little Prince moves from one stage to the next as he travels from planet to planet. Audience members fi ll the empty void of space between the planets. The viewing experience changes depending upon the planet closest to the seat. Audience members can identify themselves as the people found on “their” planet. Non paying cafe members view the performance from the second story casual seating area. While these cafe seats can view all the stages equally, the experience is not as intimate nor interesting.

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Little Prince

82

StageAudience

83

Final Design

83

During Shakespeare’s Henry V, the audience members experience depends on their temporary nationality. The restaurant transforms into a French castle and the storage building becomes an English castle. Audience members acquire the nationality of the castle nearest to them thereby splitting the audience half English and half French. During the siege of Harfl eur and the Battle of Agincourt, Henry V delivers his speeches in the middle of the plaza before English soldiers attack the French side and fi ght throughout the audience. After the conclusion of the battle, Henry V and Catherine Valois marry on the upper stage before St. Joseph’s Basilica. Scenes involving comedic characters such as Pistol, Nym and Bardolph take place throughout the plaza on raised platforms.

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Henry V

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StageAudience

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Final Design

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As a serious play on a painful and controversial topic, The Laramie Project benefi ts from the intimacy of the smaller upper stage. Actors perform around and throughout the audience. Actors travel to different parts of the stage to interview the different citizens of Laramie. The intimate nature of the stage helps the audience feel the heat of the national media on the small town citizens. Some citizens of Laramie take seats among the audience in the third act for the trial of Aaron Mckinney and his guilty verdict to further bring the audience into the performance.

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Laramie Project

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StageAudience

8787

Final Design

Directors that wish to stage plays in more traditional seating arrangements can orient their productions based upon a desired backdrop. Platforms rise to form terraced seating or remain on the ground for level seating.

Orienting the theater diagonally southwest places St. Joseph’s Cathedral in the background for Productions seeking a cityscape, utilizing a church or Christian themes, or taking place in the past. The raised upper stage serves as the primary stage with the restaurant, storage building, and/or raised platforms forming a thrust stage serving as auxiliary stages.

Orienting to the south provides a more contemporary setting with the restaurant as the background. Actors perform on two levels in addition to any intermediary levels provided the upper stage or by raised platforms in the plaza. Audience members in the second story cafe seating area experience the production from backstage.

Orienting to the north places the blank CMU wall behind the stage for more experimental productions. Platforms rise to defi ne a stage if desired. Transformable screens lined along the wall create a second level and or backdrop if needed.

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Generic Layouts

88

StageAudience

8989

Final Design

31.5 º Rotation

15 Feet

5 Feet

46 º of Rotation

As permanent fi xtures of the theater, the screens require a great degree of fl exibility. Composed as a wall of slats, the screens fi lter natural light into the restaurant during the day. On warm days or during productions, the screens slide out of the way and stow away in the storage building.

Constructing the slats out of two different materials (steel and wood) allows for two different facades when the slats are closed. The steel also strengthens the slats thereby allowing actors to climb them during productions.

A screen also pivots from bottom and top, allowing either the bottom or top to rotate out 9 feet to change the buildings facade. Rotated outwards, these screens create a second level when lined up against the parking garage during performances.

9090

Transformable Screens

Closed Metal OutScreen Open Closed Wood Out

Screen Straight Slanted Top Down Slanted Bottom Up

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Pictures

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24:http://stagehistory.webs.com/pageant%20wagon.jpg• http://stagehistory.webs.com/Street_stage.jpg• http://stagehistory.webs.com/medievalplay.jpg•

25:http://www.inghilterra.net/wp-content/uploads/2010/05/• Globe-Theatre.jpghttp://media-2.web.britannica.com/eb-media//03/96303-• 050-C2899EB3.jpg

26:http://theatrecc.net/non_fl ash/wp-content/• uploads/2012/01/topfer-theatre-auditorium-section.jpghttp://anoisewithin.org/images/ANW_SECTION_• nobasement_1.jpg

27:http://upload.wikimedia.org/wikipedia/commons/f/fc/• Birth_of_a_Nation_Poster_-_Seattle.jpghttp://2.bp.blogspot.com/-o-h_uDNTjtc/Tb8U7WUe8iI/• AAAAAAAAAh0/V9Z1YI5FlpE/s1600/jazz+singer2x.jpg

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34:http://www.missionscalifornia.com/sites/default/fi les/• imagecache/full/03-Another-view-from-W.H-Knowles-Collection.jpg http://www.atmtxphoto.com/Blog/creative-commons/• san-jose-ca-plaza-de-ceaser/1219886479_zXg3G-L.jpghttp://www.sjparks.org/trails/images/PeraltaAdobe.jpg• http://www.fl ickr.com/photos/crowt59/2450579960/• sizes/l/in/photostream/

35: http://gwydir.demon.co.uk/jo/minerals/pix/cinnabar1.jpg• http://static.panoramio.com/photos/original/10981407.• jpghttp://phoenixtechpubs.com/blog/wp-content/• uploads/2011/01/10-3-09-hike-in-Almaden-Quicksilver-Park-001.jpg

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40:http://www.fl ickr.com/photos/atmtx/4145973354/•

43:Google Earth•

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51:

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http://www.big.dk/• http://www.big.dk/•

62:http://www.viagginews.com/wp-content/uploads/• taormina-1.jpghttp://exploringathens.fi les.wordpress.com/2010/12/• athens-sightseeing-419.jpg

63:http://www.inghilterra.net/wp-content/uploads/2010/05/• Globe-Theatre.jpghttp://media-2.web.britannica.com/eb-media//03/96303-• 050-C2899EB3.jpg

64:http://library.calvin.edu/hda/sites/default/fi les/cas1009h.jpg• http://www.see-this-sound.at/fi les/636/large/large.• jpg?1273513180

65:http://www.liumeinet.com/userfi les/• images/201202/2012020112573488.jpg http://theater.calarts.edu/sites/default/fi les/right-•

sidebar/2010/08/23/CIA-20060503-2577.jpg66:

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http://www.123rf.com/photo_5701293_ancient-theatre-of-herodes-atticus-is-a-small-building-of-ancient-greece-used-for-public-performance.html

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