As an anchor for redevelopment of the St. George’s
Conservation Area in downtown Leicester, the city’s new theater, named Curve,
seeks to engage community life. To fulfill this mission, Rafael Viñoly
Architects turned the typical theater configuration “inside out,” exposing the
production, construction, craft, and technical components of the building to
the public, and integrated the performance into the life of the city itself.The design accomplishes this goal of public engagement via
a four-story glazed curtain wall that reveals two main performance venues, a
750-seat main theater and a 350-seat black box theater, situated on opposite
sides of the main stage and surrounded by the public ground-floor lobby. The
stage, lobby, and sidewalk are all at the same level, with ample visual
connections among them, thus making the theatrical performance an extension of
activity on the street. Metal shutters open the stage to one theater, to both
theaters at once, or to the lobby, which allows for a wide variety of
performance configurations to meet the community’s diverse cultural needs.No distinction is made between front- and back-of-house,
because the stage itself can be made part of the lobby and circulation.
Situated at ground level across the main lobby from the stage, double-height
workshops and production spaces feature glass walls that expose production
activities and make them a visible part of the performance.Rectangular building volumes along the north and west
elevations contain administrative offices, production facilities, dressing
rooms, rehearsal spaces, the box office, a recording studio, a kitchen, and
other support functions. Circulation balconies at upper levels overlook the
foyer and allow for physical and visual connections among staff, performers,
and the audience to activate a dramatic, engaging public space."Curve is an extraordinary contribution to the
regeneration of Leicester,” says Rafael Viñoly. "This project could not
have been if it weren’t for the vision of the people involved. They were
interested in this notion of a theater being an inside-out experience,
something in which the production has as much value as the performance itself."