{"id":10835,"date":"2025-04-22T13:00:41","date_gmt":"2025-04-22T17:00:41","guid":{"rendered":"https:\/\/spacing.ca\/national\/?p=10835"},"modified":"2025-04-21T12:57:20","modified_gmt":"2025-04-21T16:57:20","slug":"book-review-set-pieces-architecture-for-the-performing-arts-in-fifteen-fragments","status":"publish","type":"post","link":"https:\/\/spacing.ca\/national\/2025\/04\/22\/book-review-set-pieces-architecture-for-the-performing-arts-in-fifteen-fragments\/","title":{"rendered":"Book Review &#8211; Set Pieces: Architecture for the Performing Arts in Fifteen Fragments"},"content":{"rendered":"<p class=\"p1\"><span class=\"s1\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large\" src=\"http:\/\/spacingmedia.com\/spacingvancouver\/wp-content\/uploads\/features\/book-reviews_feature-VAN.gif\" width=\"600\" height=\"72\" \/><\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">By Diamond Schmitt Architects (Birkh\u00e4user, 2024)<\/span><\/strong><\/p>\n<p class=\"p1\"><span class=\"s1\">In a media and cultural landscape shaped by screens, it may seem counterintuitive that live performance continues to command our attention and emotion. Yet, as <i>Set Pieces: Architecture for the Performing Arts in Fifteen Fragments<\/i> compellingly demonstrates, the architecture of live performance\u2014its material presence, spatial intimacy, and urban connectivity\u2014still holds profound sway over how we gather, listen, and feel.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Recipient of the <a href=\"https:\/\/raic.org\/awards\/2025-raic-architectural-journalism-and-media-award\">2025 RAIC Architectural Journalism and Media Award<\/a>, and authored by <a href=\"https:\/\/dsai.ca\/\">Diamond Schmitt Architects<\/a> with contributions from critics, artists, and designers, <i>Set Pieces<\/i> is an unconventional architectural monograph. Instead of organizing projects chronologically or by building type, the book is structured around fifteen \u201cfragments\u201d\u2014architectural elements that frame, amplify, or transform the experience of live performance. These include lobbies, ceilings, staircases, balconies, wall panels, and even lighting devices\u2014each explored through a close reading of specific projects.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The projects themselves range widely in geography and scale: from the mass timber \u201c<a href=\"https:\/\/dsai.ca\/projects\/national-arts-centre-rejuvenation\/\">Timber Cascade<\/a>\u201d lobbies at Ottawa\u2019s National Arts Centre, to the \u201c<a href=\"https:\/\/dsai.ca\/projects\/buddy-holly-hall-of-performing-arts-and-sciences\/\">Tornado Staircase<\/a>\u201d at the Buddy Holly Hall in Lubbock, Texas; from the elegant transformation of New York\u2019s <a href=\"https:\/\/dsai.ca\/projects\/the-re-imagined-david-geffen-hall\/\">David Geffen Hall<\/a>, to the community-oriented <a href=\"https:\/\/dsai.ca\/projects\/daniels-spectrum\/\">Daniels Spectrum<\/a> in Toronto\u2019s Regent Park. Each fragment is richly documented and critically interpreted\u2014offering technical detail, cultural narrative, and architectural insight.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">What\u2019s especially resonant is the book\u2019s attention to how performance spaces interact with the public realm. In his foreword, Don Schmitt reflects on the firm\u2019s early design for Covent Garden and their continuing focus on lobbies and thresholds\u2014not just as ancillary spaces, but as civic rooms that dissolve boundaries between performer and audience, art and city. This ethos is visible in Vancouver\u2019s own Orpheum or Queen Elizabeth Theatre, but <i>Set Pieces<\/i> offers a detailed view into how these transitions can be reimagined\u2014architecturally and socially.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Architect Matthew Lella\u2019s introductory essay, \u201cA Way In,\u201d sets the tone with personal and sensorial reflections on space and memory. He argues that architecture should be understood not just visually, but as an embodied experience\u2014a theme echoed throughout the book. Many of the featured projects use wood, light, and transparency not just to delight the eye but to tune the ear and guide the body. The reconfiguration of <a href=\"https:\/\/dsai.ca\/projects\/the-re-imagined-david-geffen-hall\/\">Geffen Hall<\/a> in New York, for example, uses a rippling system of acoustic wood panels\u2014designed with input from musicians and millworkers alike\u2014to transform both the sound and the social layout of the room.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The book\u2019s contributors enrich the architectural perspective with broader cultural insight. Justin Davidson\u2019s essay \u201c<em>Why Do Concert Halls Still Matter?<\/em>\u201d reminds us that performance spaces are among the last civic sanctuaries for collective, attentive experience. This is complemented by Kate Wagner\u2019s \u201c<em>Why Acoustics Matters,<\/em>\u201d which unpacks the politics of sound and the complex history of architectural acoustics, linking it to broader critiques of modernism and control. Interviews with renowned set designer Mimi Lien and playwright\/director Robert Lepage explore how spatial design shapes storytelling from the inside out.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><i>Set Pieces<\/i> also offers a subtle but powerful critique of the idea that performance spaces are rarefied or elitist. Many of the featured buildings\u2014like <a href=\"https:\/\/dsai.ca\/projects\/daniels-spectrum\/\">Daniels Spectrum<\/a>\u2014are intentionally designed to break down barriers to entry. The book champions not just design excellence, but cultural equity. It makes the case that architecture for the arts can and should be accessible, transparent, and porous, both physically and socially.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">For urbanists, architects, designers, and cultural workers, <i>Set Pieces<\/i> is more than a monograph\u2014it\u2019s a meditation on how space becomes performance, and how performance, in turn, shapes our sense of place. It invites us to look beyond the stage and into the lobbies, stairwells, ceilings, and streetfronts where public life begins.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">***<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><i>For more information about <\/i><b><i>Set Pieces<\/i><\/b><i>, visit the <\/i><a href=\"https:\/\/birkhauser.ch\/en\/book\/9783035627244\"><i>Birkh\u00e4user website<\/i><\/a><i> or the Diamond Schmitt <\/i><a href=\"https:\/\/dsai.ca\/news\/set-pieces-architecture-for-the-performing-arts-in-fifteen-fragments-birkhauser\/\"><i>website<\/i><\/a><i>.<\/i><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">**<\/span><\/p>\n<p><i><strong>Erick Villagomez<\/strong>\u00a0is the Editor-in-Chief at Spacing Vancouver and teaches at UBC\u2019s School of Community and Regional Planning<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"<p>By Diamond Schmitt Architects (Birkh\u00e4user, 2024) In a media and cultural landscape shaped by screens, it may seem counterintuitive that live performance continues to command our attention and emotion. Yet, as Set Pieces: Architecture for the Performing Arts in Fifteen Fragments compellingly demonstrates, the architecture of live performance\u2014its material presence, spatial intimacy, and urban connectivity\u2014still<a href=\"https:\/\/spacing.ca\/national\/2025\/04\/22\/book-review-set-pieces-architecture-for-the-performing-arts-in-fifteen-fragments\/\">Continue reading <span class=\"sr-only\">&#8220;Book Review &#8211; Set Pieces: Architecture for the Performing Arts in Fifteen Fragments&#8221;<\/span><\/a><\/p>\n","protected":false},"author":6004,"featured_media":10836,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"_ef_editorial_meta_paragraph_assignment":"","_ef_editorial_meta_date_first-draft-date":"","_ef_editorial_meta_checkbox_needs-photo":"","_ef_editorial_meta_number_word-count":"","footnotes":""},"categories":[6,409],"tags":[],"class_list":["post-10835","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-architecture","category-culture"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Book Review - Set Pieces: Architecture for the Performing Arts in Fifteen Fragments - Spacing National<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/spacing.ca\/national\/2025\/04\/22\/book-review-set-pieces-architecture-for-the-performing-arts-in-fifteen-fragments\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Book Review - Set Pieces: Architecture for the Performing Arts in Fifteen Fragments - Spacing National\" \/>\n<meta property=\"og:description\" content=\"By Diamond Schmitt Architects (Birkh\u00e4user, 2024) In a media and cultural landscape shaped by screens, it may seem counterintuitive that live performance continues to command our attention and emotion. 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