ABSTRACT
However, a degree of generality may be inevitable. The Lowry, for example, was conceived to accommodate a wide range of touring shows. Is it an unsuccessful venue as a result? There are no doubt some who that feel its architecture is better suited to certain types of production than others, but responses to the building are surely largely subjective.4 In fact, the building does retain a degree of specificity in that its auditoria are theatres, not multi-purpose halls. In addition, even a theatre designed to a very specific idea, such as the Young Vic, the Almeida, or Manchester Royal Exchange (discussed in Chapter 8), can change. Having said that, elements of the Young Vic’s architecture were felt to be so integral to the vibrancy of its company’s productions that the architects of its refurbishment in 2005-2006, Haworth Tompkins, were painstaking in their retention of the configuration of Bill Howell’s original auditorium. Clearly key is that theatres must be borne of a carefully defined need and intent, refined and honed by the design team with significant input from users.
