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As part of our daily routines, we continually move from one space to another. The existing conditions of the spaces we move through often impact the way we experience architecture. Whether we transition between spaces by walking, cycling, running, driving a car, or riding the train, we face many challenges on a daily basis. As it is crucial that designers understand how one single person or a group of people are able to move efficiently through the various spaces, my thesis research aimed at to exploring the following question: How can architecture enrich the experience of moving from one space to another, and bring people together into a shared space in a meaningful way? In response to the above question, I would like to research the ways in which mobility, in both vertical and horizontal dimensions, can create a positive and meaningful impact when bringing people together in a commercial-cultural type space. Therefore, my focus within this topic will be an exploration of how architecture may enrich this human experience, which should begin from the moment people arrive at the site, as this is a major space component of my project. Proceeding the moment we enter the first space of a building, and subsequently the different spaces within the building, and finally exiting the site. To accomplish the above aim, I have chosen to design a performing arts facility in which the main space will be an opera house in a metropolitan setting. Since the District of Columbia already has two such venues, I landed on the idea of providing the City of Alexandria with one of its very own. I propose The Alexandria Performing Arts Center, located on a waterfront site, that will include an opera house with a capacity of 1,400. The site is located at the Robinson Terminal North between Oronoco and Pendleton Street. / Master of Architecture / The overarching goal of this journey is to explore how architecture can bring meaningful experiences at various moments throughout the building, as well as how the exterior spaces can impart similar effects. My wish is that the outcome may create a positive impact on those visiting the building for the first time, as well as those occupying it on a daily basis. My desire to explore these opportunities in an opera house is rooted in my interest in this type of performance and in music in general. I chose to locate my project next to the water because I believe that this has a beneficial effect on architecture. As I have spent more than two years in Alexandria while attending Virginia Tech, I thought that situating my endeavor there would constitute a valuable opportunity to learn more about this vibrant city. It is my earnest hope that the results will unlock untapped benefits that the city may offer to residents and visitors alike. During the planning process of the Alexandria Waterfront Masterplan, which has been in the works for the last few decades, Alexandrians have asked for “more things to do.” Alexandria’s waterfront is not just special because it has played a significant role in the nation’s history, it also has great potential to accommodate more public spaces. Ideally, this project will become an integral part of the unique identity of the city’s waterfront, and will help to connect the adjacent public spaces creating a diverse scale of spaces, that will contribute greatly to the community.

Farmland, Indiana, located approximately twenty (20) miles east of Muncie, has been successfully engaged in a revitalization effort since the early 1990s. Although several significant historic buildings have been adaptively reused, others, including the Opera House, are only partially occupied. The continuation of future redevelopment efforts rests on whether these buildings can be preserved and adaptively reused in a manner that supports the revitalization goals the town has established and in which they are committed.The structure was constructed in 1889 and owned by P.M. Bly. Bly and John H. Thornburg, owned a drugstore together in the north retail space on the first floor and the south retail space was rented out to other businesses. Presently the first floor of the Opera House, which was constructed in 1889, is occupied by a Pizza King, which has been there for since the early 1990s. The second floor, which was originally used as an opera house, has been sitting vacant for over twenty years.This creative project documents the current condition of the building and proposes two options of adaptive reuse for the building owner to consider. The format and content of this project was modeled after adaptive reuse studies by two Indianapolis, Indiana architecture firms. Also, a synopsis of several interviews the author had with professionals who deal with the adaptive reuse of historic buildings is included. Architects, contractors, historic preservationists, and a market analyst were among those interviewed and their views afford the reader an insight into current attitudes among professionals involved in historic preservation and adaptive reuse.The project portion of this proposal includes: a brief history of the building; a conditions assessment through photographs and written text; existing floor plans and elevations; a synopsis of the American Disabilities Act (ADA) accessibility evaluation; and preservation and adaptive reuse recommendations. In addition, two schemes, or concepts, of adaptive reuse are included, with each containing: floor plans and elevations; a preliminary cost estimate and pro forma; and a summary of historic tax credits and grant programs that are applicable. Furthermore, the option which is most desirable for the historic context of the building and the future economic development of Farmland has been developed through design with an interior design package, which includes a furniture plan, furniture options, and a color scheme.This project is primarily an academic exercise intended to help the author learn the process of preparing a comprehensive adaptive reuse proposal. However, this project was also chosen with the hopes of inspiring the current building owner to develop the property by providing a substantial amount of objective and professional quality information and documentation. Thus, the format developed is that which a professional design firm would use, as opposed to an academic format. Through dissemination of this project to local leaders of preservation and redevelopment efforts, it is also hoped that it will aid in garnering public support to preserve and reuse. / Department of Architecture

Opera house, Stockholm, Galärvarvet, KTH, School project, Christian J.E Kandidat projek: operaprogram med två operasalonger och en blackbox.

This thesis examines the production and reception of Pietro Mascagni’s opera Cavalleria Rusticana in Stockholm in December 1890. The opera had been successfully premiered in Rome in May 1890. The first performance outside Italy took place at the Royal Opera House in Stockholm seven months after the premiere.  The aim of the thesis is to increase the understanding of opera as a cultural phenomenon in Stockholm at the end of the 19th century. William Sewell’s ideas about the different meanings of the word ‘culture’ are used to give content to the concept of ‘cultural phenomenon’. Culture is seen as a category of social life with both a system of symbols and a sphere of practice.   The primary sources are documents from the Archive of the Royal Theatres and Swedish newspapers in the database ‘Svenska Dagstidningar’ at the National Library of Sweden. The study shows that Cavalleria Rusticana was staged unusually quickly in Stockholm and seems to have become a role model for future short staging processes. The thesis describes and analyses parts of the production process and identifies the factors that made the rapid process possible. Ticket sales and the number of performances are examined to describe and analyse audience reception. The Swedish press coverage of Cavalleria Rusticana was extensive before and after the Stockholm premiere. The thesis describes and analyses the content of the newspaper reports. Finally, some suggestions for further research are made.

Beginning in the mid 19th Century, intercontinental railroad service made it possible for theatrical road companies to move more freely across America and perform in the smaller community opera houses. This thesis is about one of these opera houses, the Homestake Opera House in Lead, South Dakota. This thesis chronicles the events from the conception of the opera house by Pheobe Hearst and Thomas Grier, to the construction of the structure, 1911 through 1914, and finally through some of the events that took place in the opera house from the opening in August, 1914 to late November, 1936, at which time the opera house was converted into a movie house. Focus is given to the road companies that performed in the opera house within the time period specified. Such performances are chronicled by date, company name, title and type of performance, and names of the author(s).

This academic report is the written analysis of my experience as a production intern at The John F. Kennedy Center for the Performing Arts in Washington, DC. My internship specifically involved production and this report discusses production management across the performing arts disciplines, as experienced during my 480 hour internship experience. I describe the organizational history of the Kennedy Center and the internship process. I create a SWOT analysis pertaining to factors affecting the Production Department, discuss production management best practices, and make recommendations for the Center’s improvement.

Doctor of Philosophy / This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]

En presentation av Kungliga Svenska Baletten. Denna ska distribueras till operahus världen över innan ny turné påbörjas. Shanghais operahus var det första som fick den färdiga produkten.Fördjupningen rör olika operahus design och arkitektur ut- och invändigt. Även en del av husens relevanta historia tas upp.