David Rockwell: 百老汇海伦·海耶斯剧院改造设计

设计:David Rockwell Group | 项目地点:纽约 | 类别:娱乐空间 | 2018-07-19 9135 103

  总部位于纽约Rockwell集团的David Rockwell 和他的团队重新设计了前海伦·海耶斯剧院,这是纽约的标志性建筑,也是百老汇最小的剧院,仅有597个座位。新的运营商Second Stage在2015年购买了剧院,并将重新命名的海耶斯剧院专门用于为生活在美国的当代剧作家展示作品,重点是女性和少数族裔作家。

David Rockwell and his team at New York-based Rockwell Group have redesigned the former Helen Hayes Theater, a New York landmark and the smallest theater on Broadway with just 597 seats.New operator, Second Stage purchased the Theater in 2015 and have dedicated the newly named Hayes Theater to contemporary works by living American playwrights, with an emphasis on women and minority writers.


  Rockwell集团与Second Stage合作,彻底翻新历史悠久的百年老剧院,用更现代,更平易近人的设计语汇结合剧院的传统,体现当代美学。翻新设计涉及对现有外部和内部设计元素的更新,在此基础上创造整体更现代化的环境氛围。

Rockwell Group has collaborated with Second Stage to completely renovate the historic 100-year-old-theater and bring about a more modern and approachable design vocabulary that references the theater’s heritage and reflects the operator’s contemporary aesthetic. The redesign involved updates to existing exterior and interior design elements and creating a more modern environment overall. 




  凭借其不同寻常的新式格鲁吉亚设计,海耶斯剧院在整个纽约剧院区引起了广泛关注。然而,由于该建筑建造年代久远,需要对其基础设施进行重大升级,以便满足艺术家和观众对Second Stage的期望值。


With its unusual Neo-Georgian design, the Hayes Theater is a striking presence in New York’s Theater District. However, the building was showing its age and was need of significant upgrades to the infrastructure in order to provide artists and audience members with the production values and comfort they expect at Second Stage.

The renovation adds a modern rigging system in the stage house, allowing scenic artists to be able to build more sophisticated sets, without reducing the elegance of the transitions.



  礼堂在视觉上进行了改造,墙壁上呈现的是一副像素化的壁画,这些壁画以渐变的方式从浅蓝过渡到深蓝。彩虹色铜质织物座椅和充满光泽的黑色灯具为剧院带来清新可观的视觉效果,完美低将其历史与Second Stage的现代风格融为一体。

   当海耶斯剧院首次开放时(作为小剧场),墙壁上装饰了最初由洛可可艺术家弗朗索瓦·鲍彻(生于1703年 - 1770年)设计的大型挂毯的复制品。Rockwell集团所设计的新背景墙灵感来自于那些挂毯,但表达方式更为现代化、数字化。来自Boucher的挂毯之一的场景描绘了狄俄尼索斯/巴克斯 - 希腊/罗马戏剧之神 - 被放大并以蓝色渐变图案应用于剧院的侧墙,从礼堂后方最暗处逐渐转移到面方。

The renovation also includes a complete overhaul of the HVAC system on all floors, an upgraded fire alarm system, and the addition of energy saving measures, with a goal of earning LEED Gold certification.

The auditorium has been transformed visually with a pixilated mural over walls that transition in ombré from light to dark blue. Iridescent copper fabric seating and glossy black light fixtures give theater a fresh look that blends its history with Second Stage’s modern style. 

When the Hayes Theater first opened (as the Little Theater) the walls were adorned with reproductions of large tapestries originally designed by the Rococo artist François Boucher (b. 1703 – d.1770). Rockwell Group’s new environmental mural is inspired by those tapestries, but is a modern, digitised interpretation. A scene from one of Boucher’s tapestries depicting Dionysus/Bacchus—the Greek/Roman god of theater—was enlarged and applied to the side walls of the theater in a blue ombré pattern, shifting from lightest at the rear of the auditorium to darkest at the front. 



The image that is applied to the walls has a pixelated look that makes it appear abstract up close.






The lower lobby of the theater has been restored to its original use as a gathering space and concessions area for theater-goers before the show and during intermission. Private offices on the third floor were reclaimed as dressing rooms and a green room. A new public space was added by the Rockwell Group design team: a multipurpose room for play readings/workshops during the day and for use as a donors’ lounge during performances.



  翻新的最主要部分是Rockwell摧毁了一座旧联排别墅的残余物,该旧联排别墅被用作紧急出口的区域。这个18英尺x 70英尺的构件,一部分用于搭建Jujamcyn圣詹姆斯剧院相邻舞台房屋的延伸部分。该改造的其余区域用作提供无障碍电梯、出口楼梯、阳台、3楼的无障碍浴室以及3休息室。

A major part of the refurbishment saw Rockwell Group demolish the remnant of an old townhouse that was used as an areaway for emergency exiting. A portion of this 18’ x 70’ footprint was used to create an extension to the adjacent stage house of Jujamcyn’s St. James Theater. The remaining area of this footprint provides an accessible elevator and exit stairs as well as an accessible bathroom at the Balcony level and 3rd floor, along with the Donor Lounge at the 3rd floor.




One of the most dramatic elements of Rockwell Group’s renovation is a mural that lines the interior of the theater and takes its inspiration from painted reproductions of French tapestries that adorned the theater when Ames founded it back in 1912.



  挂毯艺术家Francois Boucher也是一位画家,雕刻师,绘图员,剧院布景和服装设计师,以洛可可风格闻名。 Ames特别感兴趣的是Boucher设计的一套名为“众神的爱”的挂毯,他在美国巡回演出时看到了这套挂毯。该套作品最初装饰在波旁公爵夫人卧室的壁龛中(1750-1822) )。该系列中的每一件作品都展示了一个涉及神或女神的神话场景。

The original tapestry artist Francois Boucher was also a painter, etcher, draughtsman, and theater set and costume design, working in the Rococo style. Ames was particularly interested in a set of tapestries Boucher had designed called “The Loves of the Gods,” which he had likely seen as it toured the U.S. The set had originally adorned the alcove in the bedchamber of the duchess of Bourbon (1750-1822). Each piece in the set shows a mythical scene involving a god or goddess.



  艾姆斯最有可能让画家重新塑造剧院墙壁四周的墙面。在进行自己的研究后,Rockwell集团决定使用“众神的爱”系列中的一个挂毯作为灵感。设计团队选择了“Bacchus和Ariadne”,因为Bacchus的希腊同行是Dionysus,剧院之神。在与保留原始装饰周旋之际,Rockwell团队希望唤醒小剧场的灵魂,因为它所承载的严肃戏剧使命与Second Stage对海耶斯剧院的野心相一致。

   Rockwell 团队用蓝色点状图案将“Bacchus和Ariadne”数字化。它将图案作为模板印刷在大型激光打印机上。然后将模板覆盖在蓝色渐变色墙壁上,结合数字设计和精心制作的工艺。对焦点和点画进行了大量实验,使图像保持最大程度的抽象。

Ames most likely had set painters recreate the likeness of several of the tapestries on the walls around the theater. After conducting their own research, Rockwell Group decided to use one of the tapestries from “The Loves of the Gods” series as inspiration. The design team chose “Bacchus and Ariadne,” as Bacchus’s Greek counterpart is Dionysus, the god of theater.In playing with the ghost of the original decor, Rockwell Group wanted to evoke the spirit of the Little Theater because its mission of serious theater aligns with Second Stage’s ambitions for the Hayes Theater. 

The Rockwell team digitised “Bacchus and Ariadne” in a blue one-color dot pattern. It then printed the pattern as a stencil on a large laser printer. The stencil is then overlaid on blue ombré-painted walls, combining digital design and painstaking craftsmanship. Much experimentation with the focal point and the pointillism was carried out so that the image remains largely abstract.


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