Ian Potter State Theatre refreshed "for the next generation"
Architecture studios NH Architecture and Snøhetta have refurbished the Ian Potter State Theatre in Melbourne, Australia, revitalising its 2,000-seat auditorium and cascading brass ceiling.
Australian studio NH Architecture and Snøhetta's Melbourne updated and expanded the theatre, which was originally completed in 1984 by architect Roy Grounds and interior designer John Truscott.
The revamp included the extensive refurbishment of the theatre's ornate auditorium and brass-detailed ceiling, along with the addition of backstage facilities.
"The renewal prepares the theatre for the next generation of performances while retaining the qualities that have defined the experience of the Roy Grounds-designed building for more than four decades," Snøhetta said.
Now open to the public, the intervention by the studios marks the "first completed milestone" for the wider Melbourne Arts Precinct Transformation – an initiative by the Victorian Government that is described as the largest cultural infrastructure project in Australia's history.
The studios took a "retention-first approach" in order to keep "the strength of Truscott's interior", which was characterised by red carpets, brass balustrades, and the brass and gold-leaf ceiling.
Snøhetta documented the theatre's existing fabric to determine which elements could be preserved, restored adapted or "carefully reproduced".
"Developed in close consultation with Heritage Victoria, the retention-first approach maintained the richness and continuity of the interior while reducing waste and avoiding the unnecessary replacement of original materials," the studio said.
"Our task was to understand which qualities were fundamental to Roy Grounds' and John Truscott's original intent, then carefully coordinate the many heritage, performance, technical and construction requirements around them," NH Architecture director Hamish Lyon added.
In the auditorium, the original cascading ceiling, which was made up of roughly 75,000 etched brass spheres, was removed and cleaned before being reinstated.
The entire space was also fitted with new, custom-designed seats that closely resemble the originals, while a new timber flooring recalls the red tones of the original carpet.
Improvements to the auditorium's acoustic and technical performance included the addition of a new custom-moulded acoustic ceiling composed of 20 panels.
According to Snøhetta, these panels feature more than 27,000 concave and convex baubles, which help to diffuse sound across the interior.
The addition of timber battens around the rear auditorium wall serve as a sound-absorbing surface to further improved acoustics within the space.
Updates to the theatre's layout by the studios included the creation of new aisles and an extended balcony to accommodate new seats, as well as lifts to improve accessibility.
Meanwhile, a 14-metre-deep excavation gave way for a rehearsal studio and adjoining function room to complement the expanded backstage facilities.
"Together, the auditorium and backstage works demonstrate how a major heritage venue can continue to evolve as a living performance environment – becoming more inclusive, technically capable and responsive to everyone who uses it, whilst retaining the identity that contributes to its cultural significance," Snøhetta added.
Elsewhere, MAD revealed updated designs for a rippled glass extension to Rotterdam's Danshuis dance centre and Leroy Street Studio completed its renovation of a historic New York City theatre for production company A24.
The photography is courtesy of Snøhetta.
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