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The theater is part of the masterplan for l elystad by Adnaan Geuze. It responds to the ongoing mission of reviving and recovering the post -war Dutch new towns. Both inside and outside walls are faceted to recon-struct the kaleidoscopic experience of the world of the stage.
The theater is part of the masterplan for l elystad by Adnaan Geuze. It responds to the ongoing mission of reviving and recovering the post -war Dutch new towns. Both inside and outside walls are faceted to recon-struct the kaleidoscopic experience of the world of the stage.
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The theater is part of the masterplan for l elystad by Adnaan Geuze. It responds to the ongoing mission of reviving and recovering the post -war Dutch new towns. Both inside and outside walls are faceted to recon-struct the kaleidoscopic experience of the world of the stage.
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Attribution Non-Commercial (BY-NC)
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If! ':! IIllt . B+\l. <;! 3f.:l Locat ion ; Lelystad. TheNemerlands Function : Thelllef Sit. area : 2.925nl Bldg. Ifea : 5.890rrl Design participa l lon : Gerard tcoaekcct, JaCQl,les V/ln Wijk. Job Mouwenen Holger Hoffmaon. KMi Iran, Christian Vedoelet. Christian Bergmann, Sabine Habicht. Ramon Herl"llmdel. Ron Roos. ReneWvsk. OaudiaDorO'I. Markus Berger, Markus Jacobi . Kenmonkwo. Hankaorecve J5gen Grahl-Madsenu Photograph, r : ChflS1'/In Richte'S : * : 2.92501 :5,890.. B : 156 ". Masscorcect TheIv;pa Theater is an extremely lXllourlul, determinedly upbeat place. The building is part of the masterplan for l elystad by Adnaan Geuze, whidl aims to revitalize the pragmatic, sober town center. The theater responds to the ongoing mission of reviving and recovering the post -war Dutch new towns by focusing on the archetypal function of a theater. that of creating a world of arurce and enchantment. Both inside and outside walls are faceted to recon- struct the kaleidoscopic experience of the world of the stage, where you can never be sure of what is real and what is not. In the Ago ra theater drama and perf orma nce are not rest ricted to the stage and to the evening, but are extended to the urban experience and to dayt ime. The typology of the theater is fascinating in itself, but Ben van Benc.el, who has a special interest in how buildings communicate wit h people, aims to exploit the performance element of the theater and of architecture in general far beyond its conventional functioning Thefaceted outl ines of the theater have a Ioog history n the worl< of UNStucIO and Van Berkel & 80s Architecture office before that. In this case, the enve- lope is generated in part by the necessity to place the t'NO aud itoriums as far apart from each other as possible for acoustic reasons. Thus, a larger and a smal ler theatrical space, a stage tower, several interlinked and separate foy- ers, numerous dressi ng rooms, multi -functional rooms, a cafe and a restau- rant are all brought together within one volume that protrudes dramatically in various directions. This facet ed envelope also results in a more even silhou- ette; the raised technical block containing the stage mach inery, which could otherwise have been a visual obstacle in the town, is now smoothly incorpo- rated . All of the facades have sharp angles and jutt ing planes, which are cov- ered by steel pl ates and glasses, often layered, in sha des of yellow and oranqe. These protrusions afford places where the spectade of display is continued off-stage and the roles of performer and viewer may be reversed. Theartists's foyer, for instance, is above the entrance, enabling the artists to watch the audience approaching the theater froma large , inclined window. Inside, the OOIourfulness of the outside increases in intensity; a handr<U exe- cut ed as a snaking pink ribbon cascades down the main staircase, wI'lds itselfall around the void at the center of the large , open foyer space on ll1e first floor and then extends up the wall towards the roof, oplicany changing colour all the while fromviol et, crimson and cherry to almost while. The main theater is all in red. Unusually for a lown of this size, the stage is very big, enabling the staging of large, international productions. The intimate dimen sions of the audi tori um itsel f are emphasized by the horse-shoe shaped balcony and by the vibrant forms and shades of the acoustic panel- ing. ( wri tten by UNSludio) s5t 01m of=ztc'J *.2J 'j!!f<l l ct 71ii-, Af;lII* !'!'!X11 g'lJ Lil'iil'2t.P.l tl.AI ::tH{!!i!f q. 41 , .!f-C Ajl J1IJi!.C\lP-l ot't! 'U -'1'7f Wcr, AILIo/I x-@.'iJ;:t1Pl.:i! ';;JAR! '!'I \'m8Cf. 01 OH= ;l;1Of 't!' tJ-/!f0171e2l7ro-i ;:mi!f l!
Facade roof foldout __UL_ " First floorplan Secondfloor plan ''0 Southeast tecedeview Northwest facade view te I I ! I , I I f ! "f'" '. .. ,1.. . ... of " " ~ "Y _hoi 1 '" '" Ben van Berkel I I! 't.f11\ _ Ben lIan Be-xer stcoeo archnectu re at the Rletlleld Academy In Amsterdam and atne Association In London, lecer-,og the AADloloma.....,hHonours 111 1987. tn 1966 he and Caroline Bos set UP an arcr stecturat practice In Amste<dam. The Van Berkel & Bos ArcMeclure office has realized amoncst others proleCts the Karbol/W otuce bt/oldong, the Erasmus bridge in Rotterdam, museum Hel Valkho! in Nljmegen, Currently he is Professor Conceptual Design at the staecerscnoie in Frankfurt am Main. l!! 'Zle i:!!01 'Zl e AA6iiOll"ll!Q - i .... 19871:!! AA 19l1!11!! ae 1I-I2I21 !l .:"o2! ! 'lI I!! Ill. s ec JU.31'nq.l!!IIl' & :z!.AfH i't Q2l. "It:! 1/.3 -'j>- 'll! 81'll C/. jI!.q e e er .&8\:<1 'ZlC/. ~ . . Third lloor plan . I L \ Second floor plan First floor plan '"