Video
Applying the Standards: Theaters and Houses of Worship – Webinar #3
Transcript
Hello, I’m Jennifer Balson Alvarez and I am an Architectural Historian with Technical Preservation Services. This training is part of a series dealing with the interpretation and application of the Secretary of the Interior’s Standards for Rehabilitation. This webinar focuses on applying the Standards to theaters and houses of worship.
This is an advanced training intended for those already familiar with the Rehab Standards, and we assume everyone watching this webinar series already comes to it with that basic knowledge. However, additional information and training about the Standards are available on our website. The content of today’s training, like other guidelines, publications, training, and information available from the National Park Service, is intended to assist in the interpretation and application of the Standards but is not regulatory or binding – for the purposes of the tax incentives program, the program regulations and the Standards themselves take precedence in any decision-making and should always be consulted first.
The project examples included in this webinar are not necessarily case studies. Some have had their facts and circumstances as described in the presentation simplified or adapted to more clearly express the concepts being discussed. Also, in using the information contained in this training, it should be considered in its entirety, and portions not taken out of context. Likewise, the TPS website should always be consulted to make sure you are using the most current version of any published guidance and information. Thank you.
Our agenda today is to cover how best to approach these unique spaces. We will look at character defining features. How to evaluate the hierarchy of spaces and weigh them in terms of the integrity and condition. And then we will focus on many of the common treatments needed in these spaces for successful rehabilitations including subdivision of space, iconography, raked floors, acoustics, additional seating, and additions. Let’s get started!
As you all know when we begin reviewing a project, we start by becoming familiar with the building or buildings that make up that project. We familiarize ourselves with the historic significance, and the character defining features that convey that significance. Then we identify the primary and secondary elevations and spaces. We also need to assess the levels of integrity and condition. Have areas been altered over time? Are materials beyond repair or missing? All these unique factors inform the decision-making process for a new rehabilitation. Then we look at the new interventions proposed and how they affect the historic character of the space. Now let’s move to character defining features.
Let’s quickly touch on the character defining features of theaters and houses of worship with which we are all familiar – starting with theaters. Theaters can have very narrow to very large street frontages. There are often far fewer windows on theaters than other building types and they often have a prominent marquee. The interiors can be quite ornate and fanciful or simple. There is often a progression of spaces from the entrance through the lobby to the large open auditorium space within. The auditorium may have raked floors and balconies. The proscenium with the stage behind is often the most prominent and character defining feature of the interior.
In this example, in Hudson, NY the colonial revival theater also has a sequence of spaces from the entrance portico through the double lobby and past the centered stair - to the theater space. Turning to houses of worship, we are all familiar with this staple of our built environment. These structures come in all types of architectural shapes, sizes, and styles. Their settings vary as well from stand alone to part of a religious campus to set tightly in a streetscape. The commonality among houses of worship are their primary assembly spaces, such as the Park Synagogue shown here in Cleveland Heights, OH.
So, the big question is how do we re-purpose, add-to, subdivide, and change these purpose-built spaces while retaining their historic character? There are a few things to have in mind first when approaching new interventions. Identify the primary and secondary spaces. There is a continuum of levels of significance even in these sorts of historic resources. Identify the historic significance of the property and the character defining features. If significant events are associated with the historic building, for example, you need to know what features convey those historical associations to evaluate potential changes. Also, some spaces have a high level of integrity, while others have lost much of their integrity due to alterations or demolition. In other instances, the condition is so poor that materials have been lost or have collapsed. All must be considered when approaching a project. Now let’s look at a multi-building example.
In this example at St. Mary’s Catholic Church complex in Dubuque, Iowa, the relative significance of buildings and spaces was evaluated in terms of character defining features, condition, and integrity, in order to then assess the impact of proposed changes on the historic character of the complex as a whole. The sanctuary space is arguably the most important primary space on the campus. This space was retained as an event space for weddings, concerts and art exhibitions, as it was in good condition, had a high level of architectural integrity, and historic significance.
The former school building was rehabbed into new residential apartment units. Here greater flexibility was used in terms of subdividing classrooms, adding bathrooms, kitchens, new HVAC, and flooring. The former rectory building attached to the rear of the sanctuary was adapted into a childcare center where the interior configuration was changed to accommodate the new programming requirements along with the addition of new bathrooms, cabinetry, etc. On the exterior, tall fencing was added on the front and sides of the rectory property to provide play spaces for the children, where no fence had been historically. Tin ceilings and wood flooring were retained in some areas as they were in excellent condition. In this example, the balance of changes to primary and secondary spaces across this historic church complex resulted in a successful overall project.
Now let’s focus specifically on assembly spaces, which are typically the most significant spaces in these building types. The more important the space the less it can generally be changed. Therefore, when adapting these spaces for new or continued use, secondary spaces offer opportunities for changes necessary for their continued function and viability. Behind the stage of a theater, is often an area that can be partitioned off - while the proscenium is retained. Other obvious secondary areas are back of house spaces such as dressing rooms, mechanical or maintenance areas, and storage areas. In religious buildings, there are often opportunities to modify balcony spaces, fellowship halls, offices, or auxiliary spaces surrounding the primary assembly space. All these secondary spaces are potential areas that can accommodate more change.
In this example, the Trinity Lutheran Church in Lakewood, OH, the owners proposed to rehabilitate the church into a commercial gym. The sanctuary was historically very simple inside with a movable lectern and partitions - more like furniture than architectural features. All were removed for the new use along with the built-in risers and railing. The full volume of the space was retained as well as all stained-glass windows, the paneling, the monumental beams, and historic light fixtures. The new bathroom and reception desk were tucked between existing leaded glass and wood paneled partition walls in the narthex at the entrance to the building. Locker rooms were installed in the basement, and new offices put in a later classroom addition. Again, this is a very compatible use that retains the significant character-defining features.
But what if the proposed new use is an office in a single building that is largely comprised of just a sanctuary space? The Cavalry Baptist Church in Oklahoma City is significant under both criterion C for architecture and criterion A because important Civil Rights activities were held here. The proposed new use for the building at the time of the Part 2 was law offices. The building was in good condition and had a high level of integrity.
So how did this use meet the Standards in this type of building under these facts and circumstances? Let’s take a look. On the interior of the building, the original sanctuary was surrounded by additional seating on all three sides on the first floor and by three balconies on the second floor. In the circled areas on the left, you can see the pews under the balconies surrounding the main sanctuary in the center. The applicant wanted to retain the centered portion of the sanctuary and proposed that the law offices be inserted behind glass partition walls in these three locations beneath the balconies to lessen their impact on the space. This is shown on the plan on the right. Similarly, the applicant proposed to insert glazed law offices on the upper balconies as well. This approach retained all views of the decorative stained-glass windows as well as the original sense of the volume of the space.
Here is a section drawing showing the as-built portion of the first floor and balconies on the left, and the proposed offices on the right. Note that the new office floors were inserted while retaining the original balcony beneath. The historic character of the sanctuary was retained, and the center section is now used as a lecture hall and community space. While the surrounding perimeter and balconies were successfully modified to house the new law offices. At first blush it may have seemed difficult to accommodate law offices in a single building with a large sanctuary but utilizing these spaces on and under the balconies as well as the use of glazed partitions maintained the appearance of the original open volume and views of all architectural features. Note that some solid partitions could have been used in this instance, but the applicant preferred this approach.
Now let’s turn to St. Vincent’s Church in upstate NY, a former 1950’s catholic church. Here the owner planned to transform the church into a daycare center. The interior had a very high level of integrity. And the condition was excellent. It was designed with a center aisle and trusses that culminate in wood columns that define the two side aisles. The first proposal to insert a 5-classroom daycare center into the church building obscured too much of the character defining features of the sanctuary. As you can see in the plan on the left, the area in the red box has four classrooms and they cover more than half the area of the sanctuary. In the section on the right, note that the proposed classrooms would have enclosed the side aisles and cover most of the windows with solid walls and new interior windows.
Here is the revised floor plan design for the daycare center. In the green circle on the right, you can see that there are now two larger classrooms within the sanctuary space as well as an added classroom in the narthex at the entrance. Note the two sanctuary classrooms are set away from the perimeter walls and leave the aisles intact with only small child gates meeting the perimeter walls. The applicant also captured secondary spaces behind the chancel for two more classrooms or flex spaces with bathrooms and a kitchen seen in the left oval.
Here is a rendering of the classrooms in the sanctuary as approved. In the foreground, the children enjoy a play space and in the back are the two large classrooms placed between the aisles and disengaged from the perimeter walls. The historic character and volume remain expressed while allowing for a successful new use.
Another issue unique to rehabilitation projects in houses of worship is iconography. What to do? Here at the Epiphany Center in Chicago, IL, the iconography can remain visible for weddings and other events when desired. But when concealment is required or desired, the area is covered with retractable curtains. It is a simple and effective solution. It goes to show you that not all solutions need to be expensive or complicated.
Modifications to raked flooring are regularly requested and approved in projects in both theaters and religious spaces. Here in this former church the new multiple use event and educational venue require more flexibility in the historic sanctuary space. Therefore, the perimeter of the original raked floor of the sanctuary will be retained and a portion leveled to accommodate the wider range of activities. The area in blue shows the proposed area to be made level for the multiple uses and events planned for this space. Note how in this solution the raked perimeter shown in brown is retained. Retaining the area along the perimeter allows the original exterior door locations and heights to remain unchanged. It also gives the users a sense of the original configuration.
Acoustics were often a consideration in the design of theaters historically, but here at the Tower Theater in Oklahoma City, OK, the original movie house was rehabilitated to become a live music venue necessitating significantly more sound attenuation. After the plaster walls were repaired and repainted, heavy curtains were installed along the side walls. They are a low impact solution that is very effective at muffling sound. Also, at the rear of the theater sound deadening panels were installed that match the wall color and blend in. Note that the distinctive scalloped ceiling was not obscured.
Universal Preservation Hall in Saratoga Springs, NY, was once a thriving church built in 1871. It is now a year-round performing arts and community events venue. In this example, they took advantage of every location where they could add textiles in order to provide sound attenuation. In what is now the lobby shown at the lower right, they added carpeting and curtains along the entire wall behind the newly extended balcony and seating area. In the former sanctuary space at the upper right, they have added curtains in the nave, below the balconies, as well as along the ceiling trusses. Textile side panels on the new seating risers were added as well as cushions on the pews shown on the left. All combine to improve the sound attenuation in the space. Often theaters require more seating to be economically viable. Here at the New Amsterdam Theatre in New York City, the solution was to extend the rows of seating into the rear arched promenade.
At the Ramova Theatre in Chicago, IL considerable extra seating was required to make the new performance theater economically feasible. The interior of the Ramova was originally designed as an atmospheric movie house evoking a Spanish village with a starry blue sky. So, adding additional seating appeared to be challenging at first.
However, because of the condition of the space as well as its continued use as a theater, more flexibility was possible. At the start of the project the theater had a lightwell and back of house spaces shown here with the curved arrow. A VIP area with new circulation was inserted into that lightwell area with access to a new VIP balcony that was incorporated into the original Spanish village design on the interior. This found space was an ideal location to add new square feet. Additionally, a second and larger new balcony was sensitively inserted at the rear of the auditorium, which you can see in the final design shown within the green oval on the right. Note how the new rear balcony is large but held away from the walls and attached at circulation access points only.
Just for comparison, here are the first and final versions of the VIP balcony configuration. The first iteration was out of scale and altered or obscured too much of the original architectural features in the context of the overall project. The final and approved version is limited to the width of the original faux balcony, which is now an actual balcony for additional viewing or seating.
Here you can compare the final proposed design in the black and white image at the top with the before image on the bottom. Note the new VIP balcony on the upper left and the large new seating area on the upper right. Because of the flexibility afforded with a continued use, the high degree of deterioration and missing features at the rear, as well as a balcony design that was set back within the volume of the space and away from the original historic side walls the balcony insertions met the Standards.
Often, historic theaters or movie houses cannot accommodate the needs of modern-day productions, and fly lofts must be enlarged. In this example, in Lynchburg, VA, the Academy of Music had that challenge. Here in the green oval, you can see the approved loft extension at the rear of the building. Here is another angle of this addition. As you can see, the new construction in the foreground has the appearance of a separate adjacent building on Main Street, and the new fly loft is visible behind but does not affect the overall character of the historic theater.
Here at the Victory Theater in Holyoke, MA, a large new fly loft was proposed next to the adjacent building on the right. Here is the rendering of what was approved. The new fly loft is a fairly substantial addition. However, the exterior cladding materials are compatible in appearance to the existing building and its appurtenances. It is also set back from the front façade. All these details make for a successful whole that is in keeping with the historic character and use of the building.
The Grand Warner Theater in Milwaukee, Wisconsin, was rehabilitated to house the new Milwaukee Symphony complex. Because of its continued use as a theater, more flexibility was appropriate. Here you see the rear wall being moved to enlarge the fly loft, enabling modern productions.
Additionally, the Milwaukee Symphony purchased a non-historic building on the corner and built a new addition in that location. Note how the new construction appears as a new building in the streetscape, does not match the architectural style of the theater, and is lower than the adjacent historic portions of the complex. This type of approach is very successful in urban and main street settings.
I would like to thank you for joining me today to discuss these building types and how to approach their rehabilitation. Also, remember, we have information on our website on virtually any topic! This information can help you at every stage of the process, from interpreting the Standards to materials treatments.
Description
This webinar focuses on historic theaters and houses of worship, with examples of adapting them to meet modern needs and technological requirements for continued use as well as to convert them to new uses, including successful strategies for subdividing assembly spaces.
Duration
23 minutes, 27 seconds
Date Created
04/28/2026
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