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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