Hasta La Ideas

Design collective Assemble and a team of volunteers have constructed a temporary theatre in West Sussex, England, out of scaffolding, chipboard and plastic pond liner (+ slideshow).

Behind the waterproof plastic exterior, Theatre on the Fly is filled with exposed ropes, pulleys, spotlights and scaffolding platforms, just like the fly tower on top of most theatres.

The audience sit on chunky chipboard steps to face both the stage and a set of huge doors behind, which open for performances taking place on the lawn outside.

Completed on a tight budget, the theatre is hosting a nine-week programme of plays, workshops and talks over the summer as part of the fiftieth anniversary celebrations of the Chichester Festival Theatre.

Assemble previously constructed a temporary cinema beneath a motorway flyover in London.

Other temporary theatres we’ve featured include one made from spray-painted straw bales and an outdoor stage made entirely from timber batons.

See all our stories about theatres »

Photography is by Jim Stephenson.

Here’s some information from Assemble:

Theatre On The Fly is a temporary theatre space commissioned by Chichester Festival Theatre as part of their 50th Anniversary celebrations.

Inspired by the fleet-footed Tent productions that gave birth to the Minerva Theatre, Theatre On The Fly is playing host to a 9 week summer program based around three plays directed by Chichester’s three apprentice directors.

Theatre On The Fly is conceived by Chichester Festival Theatre as an opportunity to express the extraordinary spirit and strength of support for the Theatre, both across the city and throughout the rest of the UK.

The existing Festival Theatre was built on public subscription, which, as well as being an expident way to raise funds during difficult economic times, also fostered a sense of shared ownership and acted as a testament to the importance of the theatre to the wider community that was harnessed through the involvement of an extremely varied group of participants during construction.

The construction was managed on site by Assemble and construction carried out, in the main, by over 40 volunteers ranging in age from 16-68.

Chichester Festival Theatre chose award-winning design-and-build collective Assemble, whose working method on previous projects including The Cineroleum and Folly for a Flyover reflects this participatory and experimental spirit, to lead the project.

Assemble’s design, which sits on the boundary between indoor and outdoor theatre, provides an extraordinary performance space for the summer programme and provides a capacity, in the form of fly-tower, that is absent in the main theatres on the site.

Assemble worked closely with the directors to create a project that is envisaged as a continuation and reassertion of Chichester’s history of innovative theatre and ground-breaking design; a small but vital part of a wider project to affirm and grow Chichester’s unique position at the fore-front of UK theatre. The space reveals and plays with the machinations and techniques of theatre-making.

The design is based on the fly tower, a theatrical device used for the hoisting and lowering of objects and scene out of and into audience view during a performance.Theatre on the Fly exposes the fly-tower mechanisms which are normally hidden from view, creating a chameleonic space capable of hosting both intimate productions and opening up to offer views of to the surrounding parkland. Over the course of the summer the space will also host an open programme of talks, workshops and screenings.

Built almost entirely from re-useable and recyclable materials and materials donated in-kind, the project sought both to maximise the possible scale of the project on a limited budget. One example of this is the facade, clad in a changeable, translucent fiberweb material typically used as a pond liner or road underlay and at a cost of just £300. Detailed with tall, structural seams that fix back to the scaffolding sub-frame with cable ties, this material is almost silent in wind and rain and, in combination with the corrugated bitumen roofing material contributes to an extraordinarily quiet exterior structure.

With the support of the Heller Foundation and Arts Council England, three young directors have trained at Chichester Festival Theatre during the last five years and it is their debut Chichester productions – Blue Remembered Hills, Playhouse Creatures and Fred’s Diner – that are at the heart of the Theatre on the Fly season. The space will also house an eclectic season of late night comedy, live music and cabaret, the Youth Theatre’s production of Noah, theatre activities for children, and Anniversary readings.

The post Theatre on the Fly
by Assemble appeared first on Dezeen.

A mobile theatre will visit Clerkenwell Design Week in London this May, inspired by a miniature concert hall above a coal-shed that used to be in the area in the seventeenth century.

Designed by London studio Aberrant Architecture, the Tiny Travelling Theatre will draw on contemporary accounts to replicate some of the attributes of the original coal shed, which was home to Clerkenwell resident and coal salesman Thomas Britton. He lived above his coal shed and started putting on a music club with a harpsichord and organ in 1678.

Design fair Clerkenwell Design Week will take place from 22 to 24 May. See all our stories from last year’s event here.

Here’s some more explanation from Aberrant Architecture:

“The SMALL-COAL-MAN’S tiny travelling theatre”

The original site of the medieval well, from which Clerkenwell derives its name, is located on the northern edge of Clerkenwell Green. Notoriously, this marks the spot where mystery plays, wrestling matches, radical performances and other “dramatic representations” of a secretive nature have regularly occurred for centuries.

Indeed it is claimed that “the secret life of Clerkenwell, like its well, goes very deep. Many of its inhabitants seem to have imbibed the quixotic and fevered atmosphere of the area” and consequently strange existences have been allowed to flourish.

Thomas Britton

“Perhaps the most curious and notable resident of Clerkenwell was Thomas Britton, who was known everywhere as “the musical small-coal man”. Britton was a travelling coal salesman, who lived above his coal shed, and in 1678 he founded a musical club, The SMALL-COAL-MAN’S Musick Club, by transforming his house into a tiny concert hall which featured a harpsichord & organ.

Despite the unglamorous “hovel-esque” venue, accessible only by a steep external staircase, the relative novelty of the series of concerts attracted a considerable audience from across all sectors of society. A wide range of artists came to play at Britton‟s house, from amateurs giving their first ever public performances to micro concerts from all the great musicians of the day, even the great George Frideric Handel. Britton designed his own programmes and “amassed a large music collection and selection of musical instruments for the gatherings.” At first the concerts were free, with coffee being sold at a penny a cup. Later concerts where paid for by an annual subscription of ten shillings.

Tiny Travelling Theatre

For Clerkenwell design week we propose to reawaken Britton’s maverick idea of a miniature concert hall for Clerkenwell and reimagine it as a tiny travelling theatre. Our new “SMALL-COAL-MAN’S tiny travelling theatre” will occupy multiple locations around the area and will host a series of events that revive & explore the intense emotion of a micro live performance. Inspired by small one-to-one spaces, such as a confessional booth or a peepshow, the “SMALL-COAL-MAN’S tiny travelling theatre” will create a direct and intimate interaction of artists with a minute audience of 2- 6 people.

Like Britton’s eccentric original we imagine that the program of events will be a mixture of unknowns making their debuts and established “stars”. Visually the tiny travelling theatre will be an explorative structure taking its cues from the ad-hoc & informal descriptions of the original with its “henhouse ladder”, interior “not much higher than a canary-pipe” and window “but very little bigger than the Bung-hole of a Cask”.

Dezeen Wire: architecture critic Jay Merrick of The Independent describes the revamped Marlowe Theatre in Canterbury by Keith Williams as “a scene stealer in a city that’s already full of star attractions,” while Maev Kennedy, writing for The Guardian, applauds the local council for investing in a building that will generate income and jobs for the area. The theatre will be officially opened by Prince Edward on 4 October.

A veil of metal lace screened by thin concrete piers clads an extension to a baroque theatre and an adjacent commercial block in Germany.

German architects Trint + Kreuder d.n.a designed the extension to Landestheater Schwaben, the commercial building and a medical centre on the Elsbethen Site in the Bavarian town of Memmingen.

A mixture of both steep and shallow gables frame the roofs of each of the three buildings.

The theatre extension provides circulation, workshops, rehearsal areas and administrative facilities for the historic theatre, as well as a restaurant which spills out onto a secluded square.

The commercial block contains offices, cafes and shops.

Beside the health centre, diagonal metal beams cover the glass face of a gable that shelters the entrance to an underground car park.

We also recently featured a town hall in a medieval German village – click here to here all our stories about projects in Germany.

Photography is by Christian Richters, apart from where otherwise stated.

Here’s some more information from the architects:

Elsbethen Site

Following the recent historical renovation of the market place and wine market in the northern and central part of Memmingen’s historic district, the Elsbethen area has now been restored. Extensive redevelopment of this area in the south of the old town and its characteristic Schrannenplatz will furnish this space with the vibrancy that will once again provide the neighbourhood with the urban impetus it needs.

Urban repairs at Schrannenplatz

The Medieval Schrannenplatz, site of the historic corn exchange, used to be much smaller. It was bounded by the main winterer corn exchange (Winterschranne) and by the summer corn exchange/barley store (Sommerschranne/Gerstenstadl) and the grain store (Haberhaus). Since the demolition of the Winterschranne in the early 1950s all attempts to transform the square into a dynamic urban space have been unsuccessful – the resulting space’s physical dimensions were too vast, its edges too diverse and the area’s functions too unattractive.

The demolition works that saw off the problematic 1960s buildings on the north-eastern edge of the square as well as parts of Lindenstraße helped to define a clear eastern edge to the square, which now forms the counterpart to the historic blue house on the corner of Hirschgasse. The buildings forming the square’s new perimeter acknowledge the scale of the Medieval buildings. The two-storey double facades of the ‘Neue Schranne’ building, with its side-gabled composition of facades and roof elevations, tie in with the scale of their historical surroundings.

Above photo is by Trint + Kreuder d.n.a

Gables facing Lindentorstraße add drama

The gable-shaped rooflines of the new offices and commercial buildings along Lindentorstraße present themselves as a dramatic counterpart to the Medieval forward-facing gables. This is achieved with three different reinterpretations: a representative continuation of the square’s elevation, a steep double gable, and a sculptural metal plaque in the form of the ‘Neue Schmiede’, the new forge, above the entrance to the underground car park.

Elsbethenhof within the urban fabric

The convent of the Order of Saint Augustine to the north of Schrannenplatz was founded in the 13th century. After the convent’s closure in the 16th century, its courtyard became the hub of young life as it served as the Elsbethenschule’s schoolyard. Not until the school’s relocation some 15 years ago did it lose its significance as a characteristic urban space, and was subsequently neglected as a backyard to the surrounding commercial properties. This space, which once sheltered nuns and schoolchildren from the hustle and bustle of everyday life, has once again become a contemplative place for slowing down. A moderate provision of new functions – the theatre restaurant and a health food shop – offers ample reason to visit the courtyard. New access routes to Schrannenplatz and the theatre courtyard ensure its appealing integration into the urban fabric. Here most of all, at the interface of theatre courtyard and Schrannenplatz, the project’s indulgence in ‘luxury’ becomes evident. It is the luxury of building the kinds of streets and squares that have evolved from picturesque Medieval roots and which are no longer a feature of modern urban planning.

Commercial buildings on Schrannenplatz

The ‘Neue Schranne‘ building has the difficult task of restoring character to Schrannenplatz after the disappearance of the historical grain stores as well as a number of recent architectural impositions. This has been achieved by subtle means; to begin with it allows the square much more space than ever before, and then contains it in the right place by restricting the width of Lindentorstraße. Additionally, the ‘gable’ of the roof restaurant provides an important accent in the square. It helps to centre the space for the first time when seen from the south and from the Frauenkirche.

The ‘Neue Schranne’ facade – a modern composition of traditional architectural elements, contemporary rhythm and vernacular visual quality

The underlying concept for the facades is based on the traditional double facades with side-gabled elevations found in Medieval dwellings whose elevations consist of facade and roof in equal parts. This double aspect leads to a composition of facades which alternates between muted stucco areas, large shop windows and areas that are structured by means of vertical concrete stelae, arranged in an abstract rhythm.

Traditional and vegetal origins of metallic ornamentation

The ‘Neue Schranne‘ sees itself as standing in the tradition of corn exchanges, those historic warehouses and markets where various grains were stored and traded. On the other hand, it must cater for a wide mix of new uses, including a large fashion store, a bakery, a health food shop as well as many doctors’ surgeries and therapy clinics in the medical centre under the large glazed roof of the atrium. The linking element between these uses lies in their vegetal origins; be it the yarn in textiles, or grain as the basic ingredient of organic products, medicines and a range of therapies.

Above photo is by Trint + Kreuder d.n.a

The aim was to provide the building behind the protective concrete stelae with a visual identity that addresses both past and present uses, and which offers an experience from both within and outside the building. The result is a laser-cut image based on a traditional etched lace pattern, which has been developed to suit the technical requirements of sheet metalwork. Its filigree inner pattern evokes the arrangement of cereal grains within an ear. The traditional importance of the Schrannenplatz as the venue for the annual ‘Fischertag‘ festival is also incorporated in the pattern of the perforated metal in the form of repeated images of trout and ‘the area’s traditional semi-circular fishing nets.

Commercial buildings along Lindentorstraße

The smaller commercial building and medical centre on Lindentorstraße is duplicated. Thanks to its twinned form, the design twice mirrors the classical Memminger Stadthaus and the irregular fenestration of its punctuated facade; it is equally a reflection of itself and its surroundings. Residential units are incorporated in and between the steep gables, offering spectacular views over the roofscape of Memmingen’s south. The ‘Neue Schmiede’ has a special position; following the exact outline of the previous building’s gable it hovers above the access to the underground car park. Between Lindentorstraße and the theatre courtyard its modest size allows it to shine in an expressive plasticity with a pristine, unhistoric aluminium skin.

Above photo is by Trint + Kreuder d.n.a

Landestheater Schwaben

Extension of Landestheater Schwaben Solitaire theatre space in the Zehntstadel
The distinctive eaves cornice and half-hipped roof of the Baroque theatre within the walls of the former Zehntstadel (tithe barn), which was also used as an armoury, was originally erected as a freestanding building in the former cloister garden. For this reason, the extension maintains a respectable distance from its southern facade, which has endured neglect and alterations since the 19th century. The design allows the historical facade and its slightly undulating stucco area to be viewed by theatregoers from the three levels of the 1970s foyer.

Stage access route as a linking element

The space thus created by the design serves as a glass covered stage access route which offers views into the theatre workshops. This transforms the production conditions at the Landestheater which, as a touring theatre, stages plays in other theatres, and especially within the region, into a focal point for visitors. This striking space will be the centre of activity during a variety of theatre events.

Extension of the Landestheater Schwaben uses the right scale of urban components
The new building volumes of the theatre extension begin beyond the lofty and airy stage access route. In accordance with spatial requirements the building volumes are graduated and form a gently rising roofscape in a scale appropriate to the context of Elsbethenhof and the corner of Schwesternstraße.

Theatre of short distances

In order to create the best possible working conditions for the production and admin staff, we chose a compact organisation of short distances within and between each department. Therefore, almost all the workshops are connected to the assembly shop and are directly linked to the stage areas, rehearsal rooms and stores. The rehearsal space, stage, workshops and foyer are all easily accessible from the admin offices.

Glass theatre workshops

The interpretation of the directorship’s wish for ‘transparent workshops’ was rigorously applied. Hence, the workshops’ extensive glazing opens onto the proposed theatre courtyard, and is equally generous with regard to the stage access route, thereby allowing views from the stage access route into the theatre courtyard.

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Studio theatre provides foyer with new building component

The studio theatre is connected to the existing foyer at the height of the upper circle, its attractive extension offering views onto Elsbethenhof. Step-free access to the foyer is improved by the addition of a lift at the interface between existing foyer and extension, which links all levels of the foyer.

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Rehearsal complex is extension’s centrepiece

The rehearsal area is arranged around an extensive circulation area (rehearsals access route) at the same level as the studio theatre. This area has direct links to all areas of the theatre, its workshops, store, stages, administration, foyer and the new guest apartments.

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Theatre restaurant links foyer, cloister and Elsbethenhof

The theatre restaurant has been located at the junction where the convent’s historical cloister turns to the south. It allows glimpses into the cloister and is directly connected to the foyer.

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Concrete core with slurry-pointed external skin

The extension was designed as a robust and functional fairfaced concrete structure. The concrete is complemented by fumed oak, but only in primary areas. Adjacent to the new buildings on Schrannenplatz and the Baroque theatre, the extension of the Landestheater appears both elegant and unassuming. Its elevations are serene and make clear reference to the slurry-pointed brick facade of the adjacent and recently restored cloister fragment. With a somewhat theatrical gesture, the Landestheater rises up to Elsbethenhof and towards Schwesternstraße, and with its stone steps to the guest apartments it turns into an almost picturesque space in the passage to Gerberplatz.

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Townhall Schefflenz by Glück+Partner	Riverside Museum by Zaha Hadid Architects	Hunsett Mill by Acme

This temporary outdoor stage in Estonia by local studio Kadarik Tüür Arhitektid is made entirely from timber batons.

The 420-seat Summer Theatre incorporates the surrounding trees and lake, creating an adaptable backdrop for 12 performances.

At the end of the summer it will be completely dismantled and the timber rods recycled.

More set design on Dezeen »

Photography is by Ott Kadarik.

The following text is from Ott Kadarik:

The outdoor theatre stage is built especially for 12 plays during the summer.

Its main architectural goal is to create a closed, comfortable and intimate space that creates an immediate connection with the audience and the actors.

The architecture frames the landscape in a way that the park, trees and the pond become an integral part of the stage-set.

The light wooden construction gives space and allows for changing stage lighting dynamically.

We have tried to avoid a concrete narrative in this solution. The stage is an abstraction, which sets the mood.

We have approached the era and theme of the theatre project (beginning of the 20th century, futurism, young poets) from a different angle to visualize a complicated moment in European history.

The material we chose for the stage is 50 x 50mm timber, which is a good natural material and easy to dismantle, so it gives the theater a possibility to re-use it for any new constructions within upcoming plays.

The audience podium has 420 seats and stage area is 280m ².

After 12 performances the stage will be dismantled and the timber and boards used for other things.

There is no need to use complicated materials, wood is a nice material that architects can easily understand and work with, it is also weather-proof.

See also:

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Multi Mill by NL Architects	Table Cloth by Ball-Nogues	Punk Don Quixote by Torafu Architects