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Beyond the Super Theatre
M
odern arena design is an exercise in optimisation. For a venue
to be successful, it must provide a fl exible space that has the capacity to be used all year round for a diverse entertainment-based programme.
The intention with fi rst direct Arena in Leeds was to defi ne the essence of the theatre experience, force the scale, and combine it with the functionality brief and aspirations of the larger traditional arena. This new arena typology was adopted partially to follow the model of the Greek theatre but also to incorporate aspects, effi ciencies and characteristics from modern stadiums.
A key driver was to reduce the maximum distance to the stage or fi eld of play, and make sure everyone had a forward facing view of the performer. This was achieved with a fan-shaped bowl layout that offers the best functionality for end stage concert and theatre modes, providing really good sightlines and an intimate experience due to the close proximity to the stage; some 65m from the furthest seat to the focal point, compared to 110m on a traditional horseshoe confi guration.
Traditional theatres and opera houses have always been limited in size by the natural acoustic performance of the space, and the internal volume of the arena being limited by acoustic wave length reverberation. However with modern absorption, amplifi cation and acoustic modelling these limitations can be reduced.
It was also possible to rake the roof down to the performance area, forcing the perspective view of the stage and reducing the internal volume of the space. This enhanced the arena’s natural acoustic performance, made the auditorium more intimate and theatre- like, but also helped reduce the cost of the envelope and of the mechanical systems needed to service the space.
With traditional North America confi gurations, the sound desk generally
sits on the event fl oor, and consequently creates a sterile area behind the desk. In the super theatre, the sound desk is located centrally at the mid- level concourse as part of the bowl. This means the sound engineers are located right in the middle of the crowd so they know exactly what the main crowd is experiencing and can adjust the amplifi cation of the set accordingly.
More like a traditional theatre, the focal point or stage area sits in the centre beneath a proscenium arch. Although there is no fl y tower at fi rst direct Arena, the concentrated performance area means that a rigging deck can be created, making construction of stage sets much faster and safer for the promoters.
The key with Leeds was to create a transition of dramatic spaces of almost enlightened gothic quality. By moving away from the traditional ‘arena black box’, it is possible to view out from the concourses to connect with the entrance piazza, the immediate city and the moors beyond. The result is a set of spaces that are reminiscent of classical Victoria theatres, where people can watch other people arrive, whilst also participating in the animation of the event themselves.
Although the civic presence, acoustic qualities and general specifi cation of fi nishes may not replicate that of the traditional theatre, it will be interesting to see how this new generation of arenas will set the benchmark for mass live entertainment. The compact nature of the super theatre allows the opportunity to produce a large venue which has a positive impact, in tight city centre sites, way beyond the physical boundaries of its façade.
39
FACILITY WATCH
POPULOUS
John Rhodes, Principal at Populous and lead designer on fi rst direct Arena, explains how sound engineering and effi ciencies from modern stadiums have combined to allow a theatrical experience for an arena capacity audience.
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