Texas is not the location of choice when considering a foray into the art world, or at least he did not, until now. Billed as the cultural complex the largest in America since Lincoln Center in New York, the 354 million Dallas Center for the Performing Arts is set to open next month to complete the vision of the city 25 years for the District 68-acre arts. And with the building designed by 4 architects, the Pritzker Prize, the center is expected to have a whole world of attention. Composed of 4 main buildings nested within 10 acres of landscaped pedestrian and public parks, the Center opens cultural experience open to all and is funded largely by generous contributions of America’s richest. Providing new housing for the Dallas Opera, Dallas Theater Center, Texas Ballet Theater, Dallas Black Dance Theater and theAnita N. Martinez Ballet Folklorico, the four main buildings and their performance spaces are named after the most generous contributors.
Foster + Partners have been challenged with Margot and the design of Bill Winspear Opera House and its Margaret McDermott Performance Hall. The room offers a spectacular red heart in the fitting of transparency of the Opera, where 2,200 people will attend performances of opera, ballet and Broadway productions. Transparency is cemented in a metaphorical form by including a restaurant and a cafe that opens to the public all day. Drawing is to work with the ultimate objective of encouraging universal participation in the experience of opera. This clause utopian is also evident in the design of other Foster’s for the center, the Annette Strauss Artist Square, which hopes to be the leading city of the Arts outdoor stage, located at 10-acre Elaine D. and Charles A. Sammons Park, designed by Michel Desvigne of Paris, and able to accommodate audiences of up to 5000 in an open setting.
The most intimate Dee and Charles Wyly Theater was designed by Joshua Prince-Ramus of REX (lead partner) and Rem Koolhaas of OMA. The 600 seat theater offers a tour of architecture in the building of classical theater. More than 12 transition superimposed levels, technical and work areas are located above or below the auditorium, rather than the traditional arrangement for device seems artistic directors to quickly change the location of configurations to better serve their artistic visions. Again transparency is at the heart of the design and the goal of inclusiveness and a clear coating is used in the Potter Room of performance have increased in allowing the views of pedestrians in the system, and d ‘a variety of hearing the views of Dallas Arts District and the city skyline.
SOM was commissioned to design the last building of the pile, City Performance Hall is ready to accommodate the weakest performance in key ensuring smaller arts organizations. The project is funded by the city of Dallas and will open in 2011. But for now both Foster’s and Prince-Ramus and Rem Koolhaas models of collaboration will lead the way in one of the most dramatic cultural its kind in the United States of America as the curtain is lifted on October 12.