美国,达拉斯,迪-查尔斯•威利剧院/ REX | OMA

建筑师:REX | OMA


主要工作人员:Joshua Prince-Ramus (Partner-in-Charge) and Rem Koolhaas, with Erez Ella, Vincent Bandy, Vanessa Kassabian, Tim Archambault

总建筑师:Kendall/Heaton Associates

客户:The AT&T Performing Arts Center

顾问:Cosentini, DHV, Donnell, Front, HKA, Magnusson Klemencic, McCarthy, McGuire, Pielow Fair, Plus Group, Quinze & Milan, Theatre Projects, Tillotson Design, Transsolar, 2×4

机电/防火设计工程师:Transsolar Energietechnik, Germany

机电/防火在册工程师:Cosentini Associates, New York

在册结构工程师:Magnusson Klemencic Associates, Seattle

剧院设计:Theatre Projects Consultants, Connecticut

声学:Dorsserblesgraaf, Netherlands

美国残障人士法案(ADA)专家:McGuire Associates, Massachusetts

施工管理:McCarthy Construction

成本:Donnell Consultants, Florida

立面:Front, New York

家具:Quinze & Milan, Kortrijk Belgium

平面设计/路标:2 x 4, New York

生命安全:Pielow Fair, Seattle

照明:Tillotson Design Associates, New York

垂直输送:HKA, California

项目面积:7,700 sqm


摄影:Iwan Baan, Tim Hursley, Jeffrey Buehner






Architects: REX | OMA

Location: Dallas, USA

Key Personnel: Joshua Prince-Ramus (Partner-in-Charge) and Rem Koolhaas, with Erez Ella, Vincent Bandy, Vanessa Kassabian, Tim Archambault

Executive Architect: Kendall/Heaton Associates

Client: The AT&T Performing Arts Center

Consultants: Cosentini, DHV, Donnell, Front, HKA, Magnusson Klemencic, McCarthy, McGuire, Pielow Fair, Plus Group, Quinze & Milan, Theatre Projects, Tillotson Design, Transsolar, 2×4

MEP/FP Design Engineer: Transsolar Energietechnik, Germany

MEP/FP Engineer of Record: Cosentini Associates, New York

Structural Engineer of Record: Magnusson Klemencic Associates, Seattle

Theatre Design: Theatre Projects Consultants, Connecticut

Acoustics: Dorsserblesgraaf, Netherlands

ADA: McGuire Associates, Massachusetts

Construction Management: McCarthy Construction

Cost: Donnell Consultants, Florida

Facades: Front, New York

Furniture: Quinze & Milan, Kortrijk Belgium

Graphics/Wayfinding: 2 x 4, New York

Life Safety: Pielow Fair, Seattle

Lighting: Tillotson Design Associates, New York

Vertical Transport: HKA, California

Project Area: 7,700 sqm

Project year: 2006-2009

Photographs: Iwan Baan, Tim Hursley, Jeffrey Buehner

The Dallas Theater Center (DTC) is known for its innovative work, the result of its leadership’s constant experimentation and the provisional nature of its long-time home. DTC was housed in the Arts District Theater, a dilapidated metal shed that freed its resident companies from the limitations imposed by a fixed-stage configuration and the need to avoid harming expensive interior finishes. The directors who worked there constantly challenged the traditional conventions of theater and often reconfigured the form of the stage to fit their artistic visions. As a result, the Arts District Theater was renowned as the most flexible theater in America. The costs of constantly reconfiguring its stage, however, became a financial burden and eventually DTC permanently fixed its stage into a “thrust-cenium.”

Imagining a replacement for DTC’s old house raised several distinct challenges. First, the new theater needed to engender the same freedoms created by the makeshift nature of its previous home. Second, the new venue needed to be flexible and multi-form while requiring minimal operational costs.

The Dee and Charles Wyly Theatre overcomes these challenges by overturning conventional theater design. Instead of circling front-of-house and back-of-house functions around the auditorium and fly tower, the Wyly Theatre stacks these facilities below-house and above-house. This strategy transforms the building into one big “theater machine.” At the push of a button, the theater can be transformed into a wide array of configurations—including proscenium, thrust, and flat floor—freeing directors and scenic designers to choose the stage-audience configuration that fulfills their artistic desires. Moreover, the performance chamber is intentionally made of materials that are not precious in order to encourage alterations; the stage and auditorium surfaces can be cut, drilled, painted, welded, sawed, nailed, glued and stitched at limited cost.

Stacking the Wyly Theatre’s ancillary facilities above- and below-house also liberates the performance chamber’s entire perimeter, allowing fantasy and reality to mix when and where desired. Directors can incorporate the Dallas skyline and streetscape into performances at will, as the auditorium is enclosed by an acoustic glass façade with hidden black-out blinds that can be opened or closed. Panels of the façade can also be opened to allow patrons or performers to enter into the auditorium or stage directly from outside, bypassing the downstairs lobby.

By investing in infrastructure that allows ready transformation and liberating the performance chamber’s perimeter, the Wyly Theatre grants its artistic directors freedom to determine the entire theater experience, from audience arrival to performance configuration to departure. On consecutive days, the Wyly Theatre can produce Shakespeare on a proscenium stage or Beckett in a flat-floor configuration silhouetted against the Dallas cityscape. Both learning from, and improving upon, DTC’s original Arts District Theater, the Dee and Charles Wyly Theatre will restore Dallas as the home of the most flexible theater in America, if not the world.