Designing for the Performing Arts

Abstract

The performing arts center has appeared as a special phenomenon in the last decade, and the designer who must produce a complex to house the programmed functions is faced with a myriad of old questions, newly accented. For example: Will it have as its main function teaching, or community participation, or some other purpose? What are the technical and physical needs, the kinds of supporting facilities relating to different capacities and varied types of performances? What are the kinds of amenities which must be provided for the visiting public? Furthermore, the peculiar needs of this type of structure are such that its volume, form, and size should assert a strong position in the skyline of any community. The ultimate success of this type of arts center is based on a vital and interlocking program which is constantly alert to the needs and interests of its users. This can encompass the many settings of dramatic presentations that are possible today, from that of the proscenium to varieties of the round, and all the musical performances from the instrumental or vocal soloist to the symphony orchestra and the musical drama. It can also include provision for new and future electronic variations and combinations of musical study and entertainment. The individual needs of the dancer and the ballet group must also be considered. An exciting center, if it is healthy and vital, will also be involved in many different educational and experimental programs. If it is com-