design research paper

7/30/2019 Design Research Paper

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University of Santo Tomas

College of Architecture

Sta. Ana Community TheaterResearch Paper

Submitted by:

Borines, Rafael Luis B.

Panganiban, Rvin Christian

Tuason, Richee Genesis

2AR-8

DESIGN 3 Submitted to:

Architect Clarissa L. Avendao

Architect Darbby A. Te

August 30, 2012


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Chapter 1: INTRODUCTION

INRODUCTION

Sta. Ana is a district of the City of Manila, located at the southeast banks of the Pasig River,

bounded on the northeast by Mandaluyong City, Makati City to the east, southwest is the

Manila district of Paco, and to the west, Pandacan. Santa Ana belongs to the 6th

congressional district of Manila with thirty-two barangays. Based on the 2000 national

census, the National Statistics Office reports that Santa Ana has about 34,694 households,

and an approximate 83,306 registered voters based on the national elections of 2004.

The original name of Santa Ana before the arrival of the Spanish conquistadors was

Namayan, a small settlement whose last recorded rulers were Lakan Tagkan or Lacantagean,

and his wife Queen Buwan or Bouan ("Moon"). The Muslim kingdoms domain stretched

from what is now Mandaluyong, Makati, Pasay, and the Manila districts of Pandacan and

Paco.


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BACKGROUND

Only a year ago, a resolution declaring part of Sta. Ana, Manila, a heritage zone was

passed by the city council of Manila on third and final reading. The ordinance authored by

Councilor Jocelyn B. Dawis-Asuncion classified as a histo-cultural heritage/overlay zone

(OCHC) the Sta. Ana area bounded by Pasig River on the north and east, the PNR railroad on

the northwest, M. Carreon and Tejeron on the west and Del Pan on the southeast.An O-CHC

zone shall be used primarily for areas containing registered historical-cultural heritage

resources that deserve special consideration for protection and conservation due to their

special character, architectural value or aesthetic interest wherein they contribute to the citys

collective understanding of its historical development and cultural heritage, Asuncion

explained in her ordinance.

Sta. Ana is loaded with historical sites. An excavation site at the Sta. Ana Church

yielded 11th-century Sung dynasty pottery and the churchs camarin, which have been

declared national treasures. The passage of the ordinance is viewed as a step toward

protecting heritage-rich areas in Metro Manila and it was also one of the requirements for the

National Historical Commission of the Philippines toward declaring the district a national

heritage zone, possibly the first in the metropolis.

With the approval of the ordinance, it would create the Sta. Ana Histo-Cultural

Planning Committee to identify and protect the most important historic resources in the

area and draft guidelines. Under the ordinance, no one will be able to alter or demolish a

historic site or any area within the O-CHC zone without a permit from the committee. The

ordinance is aimed at safeguarding the citys historic and cultural heritage as embodied and

reflected in historic areas, places, buildings and structures.


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STATEMENT OF THE PROBLEM

Santa Ana is a district known for its rich cultural heritage. One common activity that

the community engages itself into especially during fiesta or feast day of their patron

saints, or whenever they have their founding anniversary is to conduct street performances

and parade. These performances are highlighted by the participated of the youth, playing to

upbeat tunes and dancing to it. Another such similar activity is the staging of popular Filipino

plays or Zarzuela catering to a much older member ofthe community. Such activities

become the center of their community volunteerism. It is in these cultural activities that

people engage themselves into community work, with the goal of fostering the spirit of

camaraderie and friendship among its members.

The problem calls a community-based theater, a center where the members of the

community can use it as a venue to showcase their talents by performing different

performances/presentations and participating in other note-worthy endeavors of the

community in the preservation of their arts and culture. The community wishes to take part in

further enriching this by having a landmark that will enhance and promote an architecture

that they can truly claim as a pride of its place.


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PROJECT OBJECTIVES:

1. To establish Sta. Ana as a catalyst in the cultural awareness and development as Heritage

District especially in the grassroots level.

2. To provide as a venue dedicated to showcasing untapped Filipino talents as well as a place

to train and have actual applications; exhibit and communicate; educate and enhance the

community and visitors understanding and appreciation of the Filipino culture and the arts.

3. To serve as performance theater with its goal of educating and awakening the cultural

consciousness of its audiences through cultural presentation/performances and other related

activities.


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Chapter 2: REVIEW OF RELATED LITERATURE

Examples of Theatre

LOCAL

MERALCO THEATER, PH

ALIW THEATER, PH


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CULTURAL CENTER OF THE PHILIPPINES, PH

RESORTS WORLD, PH


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INTERNATIONAL THEATERS

BURGTHEATRE, VIENNA

SYDNEY OPERA HOUSE, AUSTRALIA


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MARIINSKY THEATER, ST PETERSBURG

CALATRAVA OPERA HOUSE, VALENCIA


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BUILDING REQUIREMENTS:

1. Theater (capacity to be determined based on the lot size)

2. Meeting rooms/multi-purpose area

3. Visitors Center


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4. Small Museum

5. Administration office

6. Gallery/Changing Exhibit Area


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7. Souvenir Shop

8. Caf

9. Parking


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10.Site Condition

11.Comfort Room

12.Supporting Facilities


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RESEARCH FOCUSArchitectural Context in a Heritage Zone

Architecture defines the unlimited idea of an architect in designing a structure but

somehow, there are still factors that limit this design.

Designing a structure located in a Heritage Zone can be very hard for an architect.

The problem was to find an architectural language which would relate well to its

surroundings in this exceptionally pretty and well-preserved historic village

The architect must decide to attempt to design a scheme which would not be

noticeable in the context of the location This meant adopting the materials and methods and,

as far as possible, the dimensions of the historic sites and structures in the location. The

intention was not to produce buildings which would appear to be more beautiful or

remarkable than they really were, but buildings which would be unsurprising in their context.


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Chapter 3Project Profile

3.1 Identification of users

The users of the Santa Ana Community Theater would be most probably those

who are in the vicinity of it such as those people coming from Mandaluyong City, MakatiCity, Paco, and Pandacan. Though, it is not excluded to the people from the vicinity within

but also for those who are coming from some neighboring provinces who are visiting Manila.

The theater will house such performances of various events such as religious

festivals, school competitions and the likes. The youth will be the utmost users today. Users

can be also actors and actresses from different media company.

Ang mga Kuwento ni Lola BasyangZarsuela

Theater performersSanta Ana Community


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3.3 Types of Theaters

Theater has been around since people first gathered together to listen to a

certain story. Humans, as a social animal, shared the responsibilities of audience and

player, trading roles back and forth as long as someone has a story to share.

Nowadays, different social activities such as drama, musical plays, opera and the likes

are being held in each part of the world. Thus, this means that different types of

theatre are being established to house such events.

Types of theaters vary depending on the activity that it will house;

1. Smaller drama theatresA small drama theatre usually seats between 50 and 300, with an upper limit of

perhaps 400. It often doesnt have a separate stage housemeaning the stage is within

the same architectural space as the audience. These small theatres often feature a unique

or especially intimate actor/audience relationship. This may be defined by a fixed seatingarrangement, or the relationship may be created by temporary seating set up in a found

space or in a flexible, purpose-built space. Here are some popular forms;

1.1 Arena

A theatre in which the

audience completely surrounds the

stage or playing area. Actor

entrances to the playing area are

provided through vomitories or gaps

in the seating arrangement.

1.2 Thrust

A theatre in which the stage is

extended so that the audiencesurrounds it on three sides. The thrust

stage may be backed by an enclosed

proscenium stage, providing a place

for background scenery, but audience

views into the proscenium opening

are usually limited. Actor entrances

are usually provided to the front of

the thrust through vomitories or gaps

in the seating.

Royal Exchange Theatre, Manchester (Arena)

Chicago Shakespeare Theater (Thrust)


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1.3 End stageA theatre in which the audience

seating and stage occupy the same

architectural space, with the stage atone end and the audience seated in

front facing the stage.

1.4 Flexible theatre

Flexible theathre is a generic term for a theatre in which the playing space and

audience seating can be configured as desired for each production. Often, the theatrecan be configured into the arena, thrust, and end stage forms described above.

Environmental, promenade, black box, and studio theatre are other terms for this type

of space, suggesting particular features or qualities.

1.5 Environmental theatre

A found space in which the

architecture of the space is intrinsic to

the performance or a theatre space that is

transformed into a complete environmentfor the performance. The audience space

and performance space are sometimes

intermingled, and the action may be

single-focus or multiple-focus. In

environmental theatre, the physical space

is an essential part of the performance.

1.6 Promenade theatre

A theatre without fixed seating in

the main part of the auditoriumthis

allows the standing audience to

intermingle with the performance and to

follow the focal point of the action to

different parts of the room. Multiple-

focus action and a moving audience are

the primary characteristics of the

promenade theatre.

Cottelsloe Theater, London (Environmental theatre)

Playswright Horizons, New York (End Stage)

Daryl Roth Theatre, New York (Promenade Theatre)


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1.7 Black box theatre

A flexible theatre usually

without character or embellishmentavoid space that may indeed be black,

but isnt always. Usually, audience

seating is on the main floor, with no

audience galleries, though a technical

gallery may be provided.

1.8 Studio theatre

A flexible theatre with

one or more audience galleries onthree or four sides of a

rectangular room. The main floor

can usually be reconfigured into

arena, thrust, endstage, and flat

floor configurations. The room

usually has some architectural

character.

2. Larger drama theatresLarger drama theatres seat audiences in the range of 300 to 900, with an upper

limit of about 1,100. Larger drama theatres are usually some variant of the

proscenium form. However, some feature a thrust or open stage.

2.1 Proscenium theatre

In a proscenium theatre, the

stage is located at one end of the

auditorium and is physically

separated from the audience space

by a proscenium wall. This is

sometimes called a two-box

arrangementthe auditorium and

stage occupy two separate boxes

or rooms. The stage box provides fly

space and wings and permits a wide

variety of scenic and lighting

effects. The auditorium box is the

audience chamber, which may take

many formsfan-shaped, etc.

Theatre Studio, Esplanade (Black box theatre)

Tricycle Theatre, London ( Studio Theatre)

Dubai Community Theatre, Dubai (Proscenium theater)


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3.3 Shoebox concert hall

The classic concert hall form isthe shoebox, named after the rectangular

shape and approximate proportions of a

tennis-shoe box. The shoebox form has

high volume, limited width, and multiple

audience levels, usually with relatively

narrow side seating ledges.

3.4 Vineyard concert hall

Some modern concert halls

have audience seating in terraces

reminiscent of a vineyard. The seating

may completely or partially encircle

the concert platform. An important

early example of the vineyard form is

the Berlin Philharmonie. A hall with

partial encirclement may be called a

modified vineyard.

4. Spaces for opera and danceThe opera house developed as a

specific theatre form in the late

Renaissance and persists to this day. Historically, opera and ballet performances

coexist in these spaces, but beginning in the twentieth century, dedicated dance spaces

began to appear.

4.1 Opera houseAn opera house is a proscenium theatre in

form. Seat count ranges from 1,200 to 2,000 with an

upper limit of about 2,400 seats. The auditorium is

almost always multilevel with side tiers or boxes to

enhance visual and aural intimacy. The stage is

usually large, with extensive machinery. It

sometimes has separate auxiliary stages in a

cruciform, six-square, or other arrangement to

enable the opera company to perform in repertory.

Symphony Hall, Boston (Shoebox Concert Hall)

New World Symphony, Miami (Vineyard Concert Hall)

Glyndebourne Opera House, UK (Opera House)


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4.2 Dance theatresOther than the tradition of

ballet performance in opera houses,

there is no strongly identifiabletheatre form for dance performance.

Smaller, 100 to 300-seat spaces

designed for dance are usually end

stage or proscenium. The design of

the auditorium emphasizes frontal

sightlines and a clear view of the

stage floor. Sometimes the seating

is on telescopic risers that can be

retracted to allow the whole space tobe used for rehearsal or instruction.

5. Spaces for multiple usesAlmost every theatre will be put to many uses, but here we discuss two

particular types of multiuse

theatresthe multipurpose theatre

and the multiform theatre.

5.1 Multipurpose theatreThe contemporary

multipurpose theatre is commonly

found in medium to large US cities

and occasionally elsewhere around

the world. These proscenium

theatres are designed to

accommodate a range of activity

symphonic music, opera, musical

theatre, ballet, and touring

productions. Seat count is in the

range of 1,200 to 2,400 with an upper limit of about 2,800 seats. The auditorium formis heavily influenced by the acoustic requirements for symphony, while the stage

house is designed to meet the needs

of opera and musicals. These

rooms are designed with the ability to change configurations and to adjust the room

acoustics to the needs of each performance type.

Glorya Kaufman Hall, UCLA (Dance Theatres)

Overture Hall, Overture Center for the Arts, Madison

(Multipurpose Theatre)


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5.2 Multiform theatreA multiform theatre can be

reconfigured to change the actor-

audience relationship and the seatcount. By moving large

architectural elements, the one-

room form of the concert hall can

be transformed into a two-room

theatrean auditorium and stage

with a proscenium. Side wall

seating towers can be positioned to

narrow the room, or otherwise

change its proportion. Often the

orchestra floor can be leveled and the seats removed to create a large, flexible flat

floor area.

6. Spaces for entertainmentVenues for popular entertainment can take many forms. Here we discuss two

important typesthe multiuse

commercial theatre and the

showroom.

6.1 Multi-use commercial theatrea Broadway theatre form

This is a proscenium theatre designed

primarily for amplified sound. The room

acoustics are usually dry with little

adjustment available, making these rooms

unsuitable for un-amplified acoustic

music. Seat count is in the range of 1,200

to 2,500 seats with an upper limit of

10,000 seats. A reasonable degree of intimacy can be achieved with multiple cantileveredbalconies, bringing a large portion of the audience as close to the stage as possible. The stage

is usually sized and equipped to receive large scale touring musicals. Other uses are

headliners, pop music performances, and award ceremonies.

6.2 ShowroomThe term showroom usually implies an entertainment venue connected with a casino,

hotel, or resort. A showroom may be designed to

accommodate variety or headliner acts, or it may be

purpose-built for a specific production count is more

often.

Cerritos Center for the Performing Arts, USA (Multiform Theatre)

Kodak Theatre, Hollywood (Multi-use commercial theatre)

Espace de Projection, France (Showroom)


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Chapter 4: Site Profile and Site Analysis

Vicinity Map and Location Map

The Theater Site surrounded by Heritage zones.


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Site Photos


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Sources:

http://incastreasures.hubpages.com/hub/Top-10-best-theaters-in-the-world

http://www.helium.com/items/2068345-the-three-most-famous-theaters-in-the-world

http://www.elizabethan-era.org.uk/globe-theatre-design-and-structure.htm

http://lenardaudio.com/education/17_cinema_6.html

http://www.ehow.com/info_8190848_different-types-theater-staging.html

http://www.ehow.com/list_6743930_types-theatre-seats.html

http://www.ehow.com/about_5068013_types-theater-lighting.html

Places of Performance: The Semiotics of Theatre Architecture by Marvin Carlson

Performing Architecture: Opera Houses, Theatres and Concert Halls for the Twenty-

first Century by Michael Hammond

Building Type Basics for Performing Arts Facilities by Hugh Hardy and Stephen A.

Kliment

Theater of Architecture by Hardy Hugh
http://incastreasures.hubpages.com/hub/Top-10-best-theaters-in-the-worldhttp://www.helium.com/items/2068345-the-three-most-famous-theaters-in-the-worldhttp://www.elizabethan-era.org.uk/globe-theatre-design-and-structure.htmhttp://lenardaudio.com/education/17_cinema_6.htmlhttp://www.ehow.com/info_8190848_different-types-theater-staging.htmlhttp://www.ehow.com/list_6743930_types-theatre-seats.htmlhttp://www.ehow.com/about_5068013_types-theater-lighting.htmlhttp://www.amazon.com/Performing-Architecture-Theatres-Concert-Twenty-first/dp/1858942799/ref=sr_1_1?s=books&ie=UTF8&qid=1346241116&sr=1-1&keywords=Theater+architecturehttp://www.amazon.com/Performing-Architecture-Theatres-Concert-Twenty-first/dp/1858942799/ref=sr_1_1?s=books&ie=UTF8&qid=1346241116&sr=1-1&keywords=Theater+architecturehttp://www.amazon.com/Michael-Hammond/e/B0034PB6JC/ref=sr_ntt_srch_lnk_1?qid=1346241116&sr=1-1http://www.amazon.com/Building-Type-Basics-Performing-Facilities/dp/0471684384/ref=sr_1_3?s=books&ie=UTF8&qid=1346241116&sr=1-3&keywords=Theater+architecturehttp://www.amazon.com/Hugh-Hardy/e/B001IU0UEC/ref=sr_ntt_srch_lnk_3?qid=1346241116&sr=1-3http://www.amazon.com/Theater-Architecture-Hardy-Hugh/dp/1616891319/ref=sr_1_5?s=books&ie=UTF8&qid=1346241116&sr=1-5&keywords=Theater+architecturehttp://www.amazon.com/Theater-Architecture-Hardy-Hugh/dp/1616891319/ref=sr_1_5?s=books&ie=UTF8&qid=1346241116&sr=1-5&keywords=Theater+architecturehttp://www.amazon.com/Hugh-Hardy/e/B001IU0UEC/ref=sr_ntt_srch_lnk_3?qid=1346241116&sr=1-3http://www.amazon.com/Building-Type-Basics-Performing-Facilities/dp/0471684384/ref=sr_1_3?s=books&ie=UTF8&qid=1346241116&sr=1-3&keywords=Theater+architecturehttp://www.amazon.com/Michael-Hammond/e/B0034PB6JC/ref=sr_ntt_srch_lnk_1?qid=1346241116&sr=1-1http://www.amazon.com/Performing-Architecture-Theatres-Concert-Twenty-first/dp/1858942799/ref=sr_1_1?s=books&ie=UTF8&qid=1346241116&sr=1-1&keywords=Theater+architecturehttp://www.amazon.com/Performing-Architecture-Theatres-Concert-Twenty-first/dp/1858942799/ref=sr_1_1?s=books&ie=UTF8&qid=1346241116&sr=1-1&keywords=Theater+architecturehttp://www.ehow.com/about_5068013_types-theater-lighting.htmlhttp://www.ehow.com/list_6743930_types-theatre-seats.htmlhttp://www.ehow.com/info_8190848_different-types-theater-staging.htmlhttp://lenardaudio.com/education/17_cinema_6.htmlhttp://www.elizabethan-era.org.uk/globe-theatre-design-and-structure.htmhttp://www.helium.com/items/2068345-the-three-most-famous-theaters-in-the-worldhttp://incastreasures.hubpages.com/hub/Top-10-best-theaters-in-the-world

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