Project Architects.- Ibrahim Elhayawam, Adam Frampton, Yannis Chan. ![]() ![]() Team.- Yannis Chan, Hin-Yeung Cheung, Vincent Kersten, Han Kuo, Meng-Fu Kuo, Nien Lee. Associates.- Paolo Caracini, Inge Goudsmit, Daan Ooievaar. A landscaped plaza beneath the compact theater is an additional stage for the public to gather, in this dense and vibrant part of Taipei. With opaque facades, these theaters appear as mysterious elements against the animated and illuminated central cube clad in corrugated glass. Portal windows along the Public Loop allow visitors to look at the performances inside and technical spaces in between the theaters.ĭifferent than typical performance centers that have a front and a back side, Taipei Performing Arts Center has multiple faces defined by the theaters protruding above ground. The general public-with or without a ticket-is invited into the theater through a Public Loop, which runs through the theater’s infrastructure and spaces of production that are typically hidden. New possibilities of theater configurations and stage settings inspire productions in unimagined and spontaneous forms. When coupled, the two theaters become the Super Theater-a massive space with factory quality that can accommodate productions that are otherwise only possible in found spaces. Opposite to it and on the same level is the 800-seat Blue Box for the most experimental performances. The Grand Theater, slightly asymmetrical in shape and defying the standard shoebox design, is a 1500-seat theater space for different performing arts genres. Between the two layers of shells is the circulation space that brings visitors to the auditorium. Intersection between the inner shell and the cube forms a unique proscenium for experimentation with stage framing. The spherical 800-seat Globe Playhouse, with an inner and an outer shell, resembles a planet docking against the cube. The theaters can be modified or merged for unsuspected scenarios and uses. The central cube consolidates the stages, backstages, support spaces of the three theaters, and the public spaces for spectators into a single and efficient whole. New internal possibilities and connections of the theater generate different relationships between producers, spectators, and the public, also a critical mass that works as a fresh, intelligent icon. The cube is lifted off the ground for a Public Loop to extend the street life of Taipei into the theater. Three theaters plugged into a central cube allow performing spaces to be coupled for new theatrical possibilities. Located at Taipei’s Shilin Night Market marked by its vibrant street culture, Taipei Performing Arts Center is architecture in limbo: specific yet flexible, undisrupted yet public, iconic without being conceived as such. Can a public theater still be inclusive, accommodating the classic and the serendipitous, the highbrow and the masses, the artistic and the social-a place for the creative life of all? Contemporary performance theaters increasingly become standardized: a combination of two different-sized auditoria and a black box, with conservative internal operation principles for authentic work. Theater space is valued for its potency for formal cultural productions, rather than its power to include and divert, and to be instantaneous. Photograph by Chris Stowers, for OMA.Īn ancient art form for civic participation, theater has evolved into the modern world as a vocation of the culturally refined, with its significance in daily life diminished. From there, a Public Loop – with portal windows open to views inside the three theatres – runs through the infrastructure and spaces for performing arts production that is typically hidden. The central cube is lifted off the ground to create a landscaped plaza. The auditoria of the theatres with opaque facades appear as mysterious elements docking against the animated and illuminated central cube clad in corrugated glass. The Globe Playhouse with a unique proscenium allows experimentation with stage framing. The cube accommodates the stages, backstages, and support spaces of the three theatres, allowing the Grand Theater and the Blue Box to be coupled to form a Super Theater-a massive space with factory quality for unsuspected performances. ![]() The compact and flexible building is composed of a spherical 800-seat Globe Playhouse, a 1,500-seat Grand Theater, and an 800-seat Blue Box plugged into a central cube.
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