PANSTADIA & ARENA MANAGEMENT AUTUMN 2013
After a short walk through the city centre, the space suddenly opened up into a piazza which gives the arena’s bold exterior cladding ample space from which to be admired. And it wasn’t just the local press and broadcasters who had turned out to fi lm and take photos. Almost everyone in the queue was taking photos too.
The piazza also serves as a meeting place, and amidst the crowds it was still relatively easy to fi nd my companion for the night, the project’s lead architect, Populous Associate Principal John Rhodes.
I was intrigued to see how someone who has lived and breathed this arena from inception to completion felt, as thousands prepare to put years of planning and hard work to the test. As we joined one of the queues snaking around the piazza, I asked Rhodes what had been the biggest challenge in delivering the venue.
“
It’s been quite a complex project, but probably the biggest challenge came from building the venue in times of fi nancial austerity. The council were the developer in an environment where they were also closing schools and libraries and so on, which meant the budget was restricted and we knew there wasn’t going to be any more money coming forward. But we delivered on budget and we did it for £4,800 per seat. In comparison, a new arena in America generally comes in at between £7,000 and £8,500 a seat.
”
Moving into and up the super theatre.
Once inside it’s clear to see where a lot of the savings have been made, as Rhodes said: “The interior is very functional in many areas and money was saved on the fi nish, but I’m sure this will develop over time.”
As the crowds began to fi ll the concourses and to fi nd their seats, I was curious to know his feelings. “Generally it’s quite worrying,” he laughed. “But to see the building in action, at full capacity, and see it with the crowd, there is anticipation there, because although we have great confi dence in the design, and the operator, there are always the unknowns.”
Inside the venue Rhodes and his team paced around looking at everything – crowd fl ows, concessions, ingress into the bowl and spectator reaction. They even commented on the missing escalators that were no doubt dropped in a budget review.
But amidst their anxiety I couldn’t help but think there was a real sense of calm in the venue. I bought food and a beer with barely a minute’s wait – I couldn’t remember the last time that happened at a venue – and everyone seemed excited by both the venue and the impending concert.
After a typical three-hour virtuoso performance by The Boss – during which Rhodes certainly looked like he had put his anxiety aside – it was time to ask how he felt the venue performed. “I think generally everything went as
we hoped. People have to get to know the building, it’s a new experience for everyone on the fi rst big night and it’s a very different experience from what it will be like in a year’s time when people know it well.”
And what did The Boss think about the place? “This is a nice house you’ve got here... it’s a beautiful building and a great place to play.” High praise indeed for a new venue from a world class performing artist.
by the numbers
fi rst direct Arena Site area 20,580m2
Arena footprint 9,250m2 Service area 1,500m² Height to underside rigging
18m Overall Height 41.5m
Levels three main concourse levels plus one box suite level and event
Sightline value minimum
Furthest seat to stage
C90
Focal point Up stage centre, adjusted to arena
67m
Centre stage 13,481 standing mode
End stage 13,184
concert mode (standing)
Basketball mode
11,794
Tennis mode 11,846 Boxing mode 12,774
12 person suites 18 10 person suites 6 Food and beverage outlets
94
Counter length 1.2m Merchandise outlets
24
Restaurants 3 Customer
service points
Box offi ce windows
6 3
78
venue profile first direct arena
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