Theatre Design & Technology - Spring 2013 - 20

photo by richard davies

wormsley estate, stokenchurch, high wycombe

usitt merit award
Architect n Snell Associates
Theatre Consultant n Iain Mackintosh
Acoustical Consultant n Sound Space Design

As a shining example of contextual architecture, the Garsington Opera Pavilion at Wormsley, the Getty family estate in Stokenchurch,
near High Wycombe in Buckinghamshire in the United Kingdom, situates itself on the site as if transported back in time to the days of
medieval traveling theatre troupes beckoning local villagers to watch their performances. It is crafted to be a demountable structure
that leaves no trace behind when the show has ended; a delicate structure that appears as if it was gently placed in the landscape of
English forest, rolling meadow, and gleaming pond That said, its ability to provide creative opportunities on and off the stage as well
as opening up lively vistas of enjoyable natural scenery is quite substantial.
Some of the best features of the pavilion are the sliding screens linking the landscape to the audience and performers. The
screens take their cue from another great performance genre of the past, Japanese Kabuki. The hanamichi, or pathways in Kabuki
theatre, envelop the audience, connecting the stage to the chamber of over 600 seats. Because of the airiness of the pavilion, however, viewers don't feel as if they are entrapped by a snake.
To accommodate this lighter-than-air structure, the architects, Snell Associates, and other design team members (Sound Space
Design, acoustics; Iain Mackintosh, theatre planner; Theatreplan, theatre equipment consultant; Anne Minors, theatre consultant,
among others) had to explore some new technologies and techniques. They fashioned lightweight steel frames with fabric in lieu
of traditional concrete, brick, or timber construction. This was not an easy feat considering the world-class acoustic requirements,
which usually rely on the mass of the structure to keep outside noise out and direct the inside sound where its needed. Stressed
fabric sails were used to shape the walls, and a double layer fabric roof structure, similar to a camping tent, was used to dampen rain
and exterior noise. All of this construction required much testing and research and, most significantly, had to be able to demount in
three to four weeks time to be erected at a later date.
The environmental design team was set to task to ensure the pavilion was as sustainable as possible considering the inherent
nature of energy use within a large assembly space. They also needed to consider sustainable construction methods for an open
venue in that may ultimately be struck after the lease is up in fifteen years. Energy-efficient heating and cooling was accomplished
using a three-pronged approach of passive response, high-level radiant heating, and simple displacement systems.
18

theatre design

& technology

s p r i n g 2013



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2013

Contents
Theatre Design & Technology - Spring 2013 - 1
Theatre Design & Technology - Spring 2013 - 2
Theatre Design & Technology - Spring 2013 - 3
Theatre Design & Technology - Spring 2013 - Contents
Theatre Design & Technology - Spring 2013 - 5
Theatre Design & Technology - Spring 2013 - 6
Theatre Design & Technology - Spring 2013 - 7
Theatre Design & Technology - Spring 2013 - 8
Theatre Design & Technology - Spring 2013 - 9
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