architectureARCH 5198.03/sec2HISTORY OF THEATRE DESIGN

ARCH 5198.02 studies major developments in theatre

design from theatre's pre-Hellenic roots to contemporary

theatre buildings. It uses a formal typological approach to recognize the underlying

organization of different theatres, and to recognize

theatre forms in buildings with other uses.

Technology and nomenclature peculiar to theatre design are

stressed.

The course is seminar and lecture based and features tours of

Halifax theatre and theatrical performance. Evaluation is by way of seminar presentations, in-class quizzes and one term

assignment.

THIS COURSE IS ONLY OFFERED AS A CO-REQUISITE TO ARCH

5010.06 IN THE DALHOUSIE CALENDAR 2019

Humanities Seminar ARCH5198.03 SECTION 2History of Theatre Design

Dalhousie University School of ArchitecturePeter Henry, Adjunct Professor

SUMMER 2019 Thursdays 2:30 ~ 5:30 PM Room HA.18

This article has been previously published as a part of the book Around Ephesus and Kusadasi by Izabela Miszczak

The great theater of Ephesus is a splendidly preserved and very impressive building. This structure, built of marble, has a width of 145 meters, and its audience once reached up to 30 meters. In its heyday, it could accommodate up to 24,000 spectators.

The construction of the theater began in Hellenistic times. In Roman times, during the reign of Emperor Claudius (41-54 AD), the theater was enlarged. The two story stage (skene) was built during the reign of Emperor Nero (54-68 AD) and the third storey was added later, in the mid-2nd century. The completion of its construction took place only in the times of Emperor Trajan (98-117 AD). In the early 2nd century AD an aqueduct was constructed to bring water to Ephesus, for the Trajan nymphaeum. Its course required a channel through the upper section of seats.

The Ephesus theatre is important for scholars as an example of a Hellenistic building later transformed by the Roman architects. Some parts of the Hellenistic skene were later incorporated into the Roman-period construction. Their discovery shed some light on the style and shape of the earlier structure.

The theatre was never covered by a roof. However, an awning was added in the middle of the 2nd century AD to provide weather protection for the spectators. The people in the audience could enjoy the performances comfortably as the steepness of the rows increases above each diazomata, to the benefit of those sitting at the back.

The theater was damaged by the earthquakes between 359 and 366 that destroyed the upper cavea. Some repairs to the northern walls were done during the reign of Arcadius (395-408 AD), but the upper cavea was abandoned. An epigram mentions the proconsul Messalinus, responsible for the completion of these repairs. In the 8th century AD the theatre became a part of the defensive fortifications of Ephesus.

The theater is often mentioned in the context of St. Paul's visit to Ephesus. The common misconception is that he actually preached in the theatre. Actually, there is no historical evidence of St. Paul's presence in the theatre. Moreover, it was under reconstruction at that moment. The situation, as it is described in the Acts of the Apostles (19:23-41), developed after a local jeweler named Demetrius encouraged the crowd to chant "Great is the goddess Diana of Ephesus!". His motivation was the fear of a drop in sales of statues depicting the goddess. The crowd started moving towards the theatre, but St. Paul was encouraged by his friends not to enter the theatre. The riot provoked by Demetrius forced Paul to leave the city.

The great theatre of Ephesus was one of the first structures excavated by archaeologists before the First World War. In the 1970s and 1990s, the cavea was completely excavated and restored. Renovation work was also carried out at the beginning of the 21st century.

The Greek goddess Artemis and the great Anatolian goddess Kybele were identified together as Artemis of Ephesus. The many-breasted "Lady of Ephesus", identified with Artemis, was venerated in the Temple of Artemis, one of the Seven Wonders of the World and the largest building of the ancient world according to Pausanias (4.31.8). Pausanias mentions that the temple was built by Ephesus, son of the river god Caystrus, before the arrival of the Ionians. Of this structure, scarcely a trace remains.

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2019.03.010

architectureARCH 5198.03/sec2HISTORY OF THEATRE DESIGN

AlhambraGrenada

Barcelona PavilionBarcelona

Wyly Theatre, REX+OMA, Dallas, USA, 2009

BL houseHalifax

Tod's BuildingTokyo

Charles MacDonald houseCanada Creek

Guggenheim MuseumNew York

PROJECT 1: Case Study SeminarThe class is divided into 6 Seminar Groups: red, green, blue, cyan, magenta, and yellow. All work prepared and presented as seminar work becomes the property of the university and may be used in future lectures or other presentations. Where possible, student contribution will be acknowledged.Each group to present a seminar on the following:Red: Case study: Teatro OlimpicoGreen: Case Study: Teatro SabbionetaBlue: Case Study: Teatro CartaxoCyan: Case Study: Wyly Theatre Magenta: Case Study: Théâtre des Bouffes du NordYellow: Case Study: Fisher Theatre at Bard CollegeBlacK: Case Study: TBA

• The seminar group is to produce a 45 minute Keynote (preferred) or PowerPoint Presentation (slide show). Each seminar is to be submitted in original format as well as in high resolution PDF.

• Each seminar group is to produce one poster mounted on foam-core 24"(wide) x 60" (tall) summarizing the Case Study. For curatorial standards, a template is issued. Posters publicly displayed.

Graphic analytic drawings and diagrams are necessary. A case study is analytic in nature, and usually follows these themes:• critical description of the work: what is the work

about? what are the architectural design intentions.• authors and dates: design team, clients, design &

construction & reno • size and location • site analysis: urban context / accesses, public

and services - relation with adjacent public space; threshold conditions between interior and exterior;

• programme / organisation: identification of programmatic families such as public-private, served-servant, FOH-BOH (or ROH):

• circulation: universal access, elevators and escalators, egress; visual and physical strategies; perception: scale of site, building, body;

• materiality: material, textures, walls, skins, façades, roofs systems, earth contact, structural system

• technical: acoustic and lighting qualities, natural light technique, artificial light technique, ventilation

PROJECT 2: Prelude to Theatre Design 2A In conjunction with ARCH 5010, students are asked to proved a one page written and illustrated Statement of Design Intent for the P.U.T.S project.2B The assignment is to develop an illustrated document to serve as the project brief for the ARCH 5010 Open Air Venue, a small 250 seat Halifax facility. The "penultimate presentation" is meant to be the completed document less the final chapter: Project In Review which is due in Week 10. Prelude must include a Statement of Design Intent. It is meant to set out the design philosophy for the building as well as to describe various safety and technical requirements, such as NBC safety requirements as well as a technical guideline illustrating various design restraints such as sight line, multiple configurations, and stage access. The presentation is to include diagrammatic floor plan(s), 3 configuration plans and 2 diagrammatic sections as well as a Building Code Analysis and Sight Line analysis. The final presentation is to be shown as a 10 minute slide show and made available to all class members. Students may collaborate on NBC analysis.The document is to be about 2500 words and to contain no fewer than 12 images of which at least 6 are to be analytic. Statement of Design Intent and Project In Review Commentary are fundamental.Citations to be as per Chicago Humanities style (see: https://www-chicagomanualofstyle-org.ezproxy.library.dal.ca/tools_citationguide.html).

Theatre ExemplarsStudents are advised to develop at least a cursory knowledge of each exemplary theatre so as to participate in conversations about the Case Studies and lecture materials. • The Theatre of Asclepius at Epidaurus• The Theatre at Ephesus• The Theatre at Orange• The Globe Theatre• Festspielhaus (Richard Wagner)• Théâtre des Bouffes du Nord, Paris (Peter Brook)• Dee and Charles Wyly Theatre, Dallas (REX + OMA)• Richard B. Fisher Center for the Performing Arts, at Bard College, Annandale-on-Hudson (Frank Gehry)• Dalhousie Arts Centre (Cohn, Dunn, & Mack. Murray)• Teatro Olimpico (Palladio and Scamozzi)• Teatro all’antica, Sabbioneta (Scamozzi)• Teatro Farnese, Parma (Aleotti)• Teatro Cartaxo, Cartaxo, Portugal (CVDB)• Teatro del Mondo, Venice• Total Theatre (Gropius)

Festspielhaus, Wagner, Beyreuth, Germany, 1872Théâtre des Bouffes du Nord, Peter Brook, Paris, 1974 Théâtre Antique d'Orange, Orange, France, cIrca 100 Arts United Centre. Louis Kahn, Fort Wayne, USA, 1973

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2019.03.010Outer Cover Art:

Ephesus Theatre Photo

Inner Background:

Ephesus Theatre Plan

SCHEDULE HIGHLIGHTSWeek 01 (HB.2) Tu MA 07• Lecture (ph) Courses INTRO (5198+5010)

Week 02 (HB.2) Th MA16• ATTEND TBA: Local Theatre Production Fr MA17• ARCH 5010P.U.T.S. sites presentation

Week 03 (HB.2) Tu MA21• ARCH5198CaseStudiesRGBW• ARCH5198Prelude2ADUE Th MA23• ATTEND TBA: Local Theatre Production Fr MA24• Arch5198CaseStudiesCMYK

Week 04 (HB.2) Th MA30• ARCH5198CaseStudiesALLPOSTERSDUE• ATTEND TBA: Local Theatre Production Fr MA31• ARCH5010P.U.T.S1APresentation

Week 05 (HB.2) Th JN06• ARCH5198Prelude2BP'ultimatePresentation

Week 06 (HB.2) Tu JN11• ARCH5010P.U.T.S.1BPresentation

Week 07 (HB.2) Fr JN21• Tour at 2PM Charlottetown CCA• ATTEND Charlottetown:Kronborg

Week 09 (HB.2) Fr JL05•ARCH5010O.A.V.bPenultimatePresentation

Week 10 (HB.2) Th JL04• ARCH5198Prelude2BDUE

Week 11 We/Th JL17&18• ARCH5010M1 Design Presentations O.A.V.bRefer to the ARCH 5010 (ph) programme brochure for

comprehensive scheduling information.

Weekly Hours For this 3-credit-hour course, an average of 9 hours/week is expected for course-related work, including classes. If most students are spending substantially more time, notify the instructor.

Lecture MaterialsLecture notes are not provided. Students are welcome to record lectures by the instructor, but not by guests.

TopHat/BrightspaceStudents must purchase a TopHat registration from the Dal book store ($20/term, $30/year,$60/4ever)Refer to DAL Brightspace for up-to-date schedule and meeting information (www.dal.ca/brightspace)

University Policies and ResourcesSee “Academic Regulations” (http://tinyurl.com/dal-arch-regulations) for university policies regarding:• Academic Integrity• Accessibility• Code of Student Conduct• Student Declaration of Absence• Recognition of Mi'kmaq Territory• Work Safety• Services Available to Students• Fair Dealing Guidelines (Copyright)• Academic Advising• Course Outlines• Time Expectation• Deadlines During a Term• Deadlines at the End of a Term• Extensions• Student Ratings of Instruction (SRI)• Retrieving Course WorkStudents using the "Declaration of Student Absence" should email this document as a PDF to Peter.

Restriction on enrollmentDalhousie Master of Architecture Students

Learning Objectives Students will develop an understanding of the developmental history of theatres through typological analysis and comparison. As well, students will become acquainted with the unique lexicon of the theatre. By completing a design "prelude" component of this class, students are encouraged to see the rich complexity of theatre buildings and to develop an understanding of the relationship between "the practical", "the legislated" and "the expressive" aspects of theatre design.

Assignments and Evaluation• Individual assignments are evaluated with Dalhousie's

under-graduate grade range (A, B, C, D, F) Final grades will use the graduate scale (A, B, F).

• Each assignment is assessed on its academic rigour, competence, artful expression, (where applicable) craft/care, and originality.

• Late assignments will be down-marked by 5% for each week day late unless a Student Declaration of Absence is provided.

• Course work is creative work and evaluation cannot be reduced to a grading checklist.

• Students are invited to question their evaluation, and an appeal process is available.

• Students are evaluated as indicated below:30% Project 1: PUTS70% Project 2: THEATRE DESIGN

SEE DALHOUSIE University Calendar for ARCH 5010.06 particulars

Tours and off-campus ActivitySome events are scheduled for which students must purchase tickets (total cost is estimated at $60/term). Travel to various tours and performances is the responsibility of each individual. Visit: tinyurl.com/dal-archplan-work-safety to receive information and travel forms. Complete the travel forms and submit to the Faculty Office c/o Ken Rice.

Bibliography and Reading List:• Phyllis Hartnoy: A Concise History of Theatre• Nikolaus Pevsner: A History of Building Types• Association Of British Theatre: Theatre Buildings, A Design Guide • Hugh Hardy: Theater of Architecture• Peter Brook: The Empty Space Books are on reserve (three day loan) at Sexton Library• PBS Crash Course History Theater (sic) (50 episodes) • BBC 8 part series on History of Theatre Videos in Peter's one-drive and available to all.

Instructor Office Hours & Contact InfoPeter Henry, BEDS, BArch, MNSAA, email: phArchitects@eastlink.ca, voice: 902.455.9884, office hours on Monday afternoons from 13:00 to 16:00, by appointment only.

Guideline for Citing SourcesRefer to tinyurl.com/dal-arch-writing