https://www.architecturalrecord.com/rss/1337-h3-hardy-collaboration-architecture en-us A sleek and seemingly simple glass-and-aluminum volume encloses a high-tech theater devoted to keeping classics current

]]> 1401-polonsky-shakespeare-center-hardy-collaboration-architecture.asp Thu, 16 Jan 2014 12:00:00 -0500 https://www.architecturalrecord.com/articles/7967-polonsky-shakespeare-center-by-h3-hardy-collaboration-architecture Polonsky Shakespeare Center The Polonsky Shakespeare Center in Brooklyn is a welcoming presence in a neighborhood that has been steadily undergoing a cultural revival for decades. Clad in aluminum composite panels, with a column-free glass curtain wall and a plaza designed by Ken Smith, it is the first theater built in New York for Shakespeare since Lincoln Center’s 1965 Vivian Beaumont.   Photo © Francis Dzikowski/Esto Polonsky Shakespeare Center The Polonsky Shakespeare Center in Brooklyn is a welcoming presence in a neighborhood that has been steadily undergoing a cultural revival for decades. Clad in aluminum composite panels, with a column-free glass curtain wall and a plaza designed by Ken Smith, it is the first theater built in New York for Shakespeare since Lincoln Center’s 1965 Vivian Beaumont.   Photo © Francis Dzikowski/Esto Polonsky Shakespeare Center Milton Glaser has been working with Theatre for a New Audience for two decades, and he designed the pixelated wall coverings and signage for the new building.   Photo © Francis Dzikowski/Esto Polonsky Shakespeare Center The facade fronting the triple-height lobby invites the neighborhood to look (and wander) in.   Photo © Francis Dzikowski/Esto Polonsky Shakespeare Center The theater was designed for unamplified voices, so the architects worked with consultant Akustics to create the right distribution of reflective and absorptive surfaces. Matte-painted plywood boards of different widths are spaced two inches apart on top of fabric. “The wall panels couldn’t be a sacred surface,” explains David Haakenson, project architect, since set pieces could potentially be screwed into them.   Photo © Francis Dzikowski/Esto Polonsky Shakespeare Center Photo © Francis Dzikowski/Esto Polonsky Shakespeare Center Photo © Francis Dzikowski/Esto Hugh Hardy's addition atop Eero Saarinen's Vivian Beaumont Theater provides a sleekly tailored coda to the New York City complex.

]]> 1302-lincoln-center-theater-lct-3.asp Fri, 15 Feb 2013 00:00:00 -0500 https://www.architecturalrecord.com/articles/7409-lincoln-center-theater-lct3-by-h3-hardy-collaboration-architecture H3’s two-story theater (left) sits on top of the existing Beaumont building in the northwest corner of Lincoln Center. From the upper lobby and terrace, visitors can see the sloping grass-roofed Lincoln restaurant designed by Diller Scofidio + Renfro (2010).   H3’s two-story theater sits on top of the existing Beaumont building (left) in the northwest corner of Lincoln Center. From the upper lobby and terrace, visitors can see the sloping grass-roofed Lincoln restaurant designed by Diller Scofidio + Renfro (2010). Photo © Ezra Stoller/Esto An aluminum sunscreen of square tubes rotated at 45 degrees shields the café and public spaces of the elevated theater from the sun. The channel-glass elevator shaft behind the glazed lobby was inserted in the Beaumont by removing coffers from the existing concrete deck of the ceiling structure in the building’s south side. The terrace adjoining the café has an ipe-wood floor. An aluminum sunscreen of square tubes rotated at 45 degrees shields the café and public spaces of the elevated theater from the sun. The channel-glass elevator shaft behind the glazed lobby was inserted in the Beaumont by removing coffers from the existing concrete deck of the ceiling structure in the building’s south side. The terrace adjoining the café has an ipe-wood floor. An aluminum sunscreen of square tubes rotated at 45 degrees shields the café and public spaces of the elevated theater from the sun. The channel-glass elevator shaft behind the glazed lobby was inserted in the Beaumont by removing coffers from the existing concrete deck of the ceiling structure in the building’s south side (left). The terrace adjoining the café has an ipe-wood floor. Next to the black-box Claire Tow Theater is a 1,950- square-foot rehearsal space (left), which receives ample daylight from the north window wall. A café extends from the ticket office across the front of the building. Next to the black-box Claire Tow Theater (left) is a 1,950- square-foot rehearsal space, which receives ample daylight from the north window wall. A café extends from the ticket office across the front of the building. A café extends from the ticket office across the front of the building. The café’s cutaway soffit allows daylight to filter down through the space, where a mobile by Kiki Smith hangs. The structural engineer, Severud Associates, called for two 30-foot-deep, wide-flange longitudinal steel trusses spanning 175 feet for the two-story, rectilinear LCT3 theater. The bridge-like structure, fabricated off-site, matches the span of the existing 18-foot-high, concrete I-shaped girders running across the original Beaumont theater. On the short ends, the trusses are 75 feet long to resist lateral forces, aided by a third long truss. As Severud’s Alvaro Castaño notes, the engineers also reinforced the older girders’ web walls above the existing columns to handle loads from the new structure. Image courtesy H3 Hardy Collaboration Architecture 1. Elevator lobby 2. Box office 3. Café 4. Terrace 5. Theater seating 6. Rehearsal 7. Green roof 8. Stage 9. Office 10. Backstage Image courtesy H3 Hardy Collaboration Architecture 1. Elevator lobby 2. Box office 3. Café 4. Terrace 5. Theater seating 6. Rehearsal 7. Green roof 8. Stage 9. Office 10. Backstage Image courtesy H3 Hardy Collaboration Architecture Lentzl@bnpmedia.com (Linda C. Lentz) WASA/Studio A and H3 Hardy Collaboration Architecture team up on the Jerome Robbins Theater and Dimenna Center for Classical Music in Manhattan.

]]> 450-w-37th-street.asp Sat, 16 Jul 2011 12:00:00 -0400 https://www.architecturalrecord.com/articles/7360-west-37th-street-in-new-york-city The six-story, concrete-and-glass structure was designed by the late architect John Averitt (who died a year before its completion) to be a versatile, column-free performing-arts hub. 450 West 37th StreetJerome Robbins Theater: WASA/Studio A The DiMenna Center for Classical Music: H3 Hardy Collaboration ArchitectureNew York City, NYThe six-story, concrete-and-glass structure was designed by the late architect John Averitt (who died a year before its completion) to be a versatile, column-free performing-arts hub.Photo © Francis Dzikowski/Esto Framed with Corten steel, the seating structure central to the Jerome Robbins Theater has a distinct balcony supported by a thick tube running through its core and from discrete ceiling hangers on top Jerome Robbins TheaterWASA/Studio A New York City, NYFramed with Corten steel, the seating structure central to the Jerome Robbins Theater has a distinct balcony supported by a thick tube running through its core and from discrete ceiling hangers on top of the control booth. Photo © Alexander Severin/Razummedian The steep rake provides excellent sight lines to the open, flat-floor stage, a configuration that reinforces an intimate relationship between performer and audience. Jerome Robbins TheaterWASA/Studio A New York City, NYThe steep rake provides excellent sight lines to the open, flat-floor stage, a configuration that reinforces an intimate relationship between performer and audience.Photo © Alexander Severin/Razummedian Acrylic-resin-lined stairs at the top of the orchestra seating have LED-lit hand rails and lead to the balcony and a second-level exit, or down behind the rear of the structure to the lobby lounge. Jerome Robbins TheaterWASA/Studio A New York City, NYAcrylic-resin-lined stairs at the top of the orchestra seating have LED-lit hand rails and lead to the balcony and a second-level exit, or down behind the rear of the structure to the lobby lounge.Photo © Alexander Severin/Razummedian The major stair rises across the glazed court elevation, while a translucent and mirrored-glass wall separates the stair from the galleries. Jerome Robbins TheaterWASA/Studio A New York City, NYThe major stair rises across the glazed court elevation, while a translucent and mirrored-glass wall separates the stair from the galleries.Photo © Alexander Severin/Razummedian More salon than rehearsal space, Cary Hall features bamboolike red oak panels, comfortable red oak sprung floors, and daylight that filters through soundproof skylights to provide a soothing environme The DiMenna Center for Classical MusicH3 Hardy Collaboration ArchitectureNew York City, NYMore salon than rehearsal space, Cary Hall features bamboolike red oak panels, comfortable red oak sprung floors, and daylight that filters through soundproof skylights to provide a soothing environment for musical groups as large as a full-size orchestra and chorus.Photo © Francis Dzikowski/Esto Likewise, in Benzaquen Hall ' sized for smaller chamber ensembles ' the architects concealed a complex cacophony of acoustic trappings with custom-hued, sound-transparent stretch scrim, inset with rib The DiMenna Center for Classical MusicH3 Hardy Collaboration ArchitectureNew York City, NYLikewise, in Benzaquen Hall ' sized for smaller chamber ensembles ' the architects concealed a complex cacophony of acoustic trappings with custom-hued, sound-transparent stretch scrim, inset with ribs of red oak, carefully placed for acoustic performance. Photo © Francis Dzikowski/Esto H3 Hardy Collaboration created a series of stylish and comfortable meeting/lounge spaces throughout the DiMenna Center, such as the Grossman Cafe Lounge illuminated by abundant north light from the bu The DiMenna Center for Classical MusicH3 Hardy Collaboration ArchitectureNew York City, NYH3 Hardy Collaboration created a series of stylish and comfortable meeting/lounge spaces throughout the DiMenna Center, such as the Grossman Cafe Lounge illuminated by abundant north light from the building's existing glazed facade.Photo © Francis Dzikowski/Esto The building's common lobby provides access to both the Baryshnikov Arts Center and the Jerome Robbins Theater by elevator, while musicians can reach the DiMenna Center for Classical Music via elevato The DiMenna Center for Classical MusicH3 Hardy Collaboration ArchitectureNew York City, NYThe building's common lobby provides access to both the Baryshnikov Arts Center and the Jerome Robbins Theater by elevator, while musicians can reach the DiMenna Center for Classical Music via elevator or stair. The entrance to Cary Hall is one flight down and Benzaquen Hall is one flight up.Photo © Francis Dzikowski/Esto 450 West 37th Street The DiMenna Center for Classical MusicH3 Hardy Collaboration ArchitectureNew York City, NYImage courtesy H3 Hardy Collaboration Architecture 450 West 37th Street Jerome Robbins TheaterWASA/Studio A New York City, NYImage courtesy WASA/Studio A 450 West 37th Street Jerome Robbins TheaterWASA/Studio A New York City, NYImage courtesy WASA/Studio A 450 West 37th Street Jerome Robbins TheaterWASA/Studio A New York City, NYImage courtesy WASA/Studio A