波特兰剧场位于美国俄勒冈州波特兰市国王社区（King neighborhood of Portland），毗邻一座于1904年间修建的教堂。这栋历史建筑自2008年开始对外开放，当时的剧场里只有几把沙发座椅和一些临时设施。2012年，波特兰市正式批准将这座过时的建筑改造为专用的剧院。项目被分为多个阶段进行，由SERA Architects与剧场方合作，共同规划其功能分配、外观以及未来发展。具体内容包括对既有建筑进行大规模翻新、增建1200平方英尺的演出、排练及社区活动空间，以及室外景观的初步设计。
Since 2008, Portland Playhouse had been operating out of an historic, 1904-era church in the King neighborhood of Portland, making-do with sofa seating and make-shift solutions in a building long-in-need of updates. Opportunity arose in 2012 when the city officially granted use of the structure as a theater. With a secure home in hand, the Playhouse undertook a plan to transform the outdated building into a fully dedicated theater. SERA partnered with the Playhouse on a multi-phased project that identified programmatic requirements, functional needs, aesthetic preferences, and growth strategies for the organization. The results of that planning included a substantial renovation of the existing building, the addition of a 1,200-square-foot dedicated rehearsal and community space, and concept design for an outdoor component to be added at a later date.
▼建筑外观，appearance of the building
▼前院入口，the entrance of the frontyard
Phase one of the transformation began by overhauling the 6,000-square-foot historic structure’s systems, including electrical and HVAC. The rabbit-warren of spaces was opened up to make better connections to backstage areas while the public-facing lobby was refreshed with a new ticket office, concession area, and gender-neutral bathrooms. The primary performance space is designed as a black box theater, enabling the artists to configure the stage and seating as desired. The back half of the building includes a studio for set construction. Daylight was introduced into the previously dark basement to house offices, dressing rooms, a green room, kitchen, and a communal gathering area. A mix of open, flex-space office nooks and a closed conference room topped with relights permits light to circulate throughout the basement.
▼改造后的地下室，basement after transformation
Phase two consisted of the accessory structure, essentially a glass-fronted box, and adjoining courtyard. Clad in shou sugi ban-finished wood, the building creates a yin-yang dialogue between the white-painted church while the bright interior volume serves as a welcoming environment for rehearsals and community meetings. The glass front opens wide to the adjacent courtyard to merge indoor and outdoor space and to symbolically reinforce connections to the community. Inside, light-toned wood and the minimalist design places emphasis on function, cost and energy savings, and occupant comfort. The new structure incorporates low-tech and passive solutions, including skylights, to bring in natural light and minimize utility costs. Landscaping for the entire site was redesigned and replaced.
▼明亮的室内空间作为排练和社区会议的场所，the bright interior volume serves as rehearsals and community meetings space
▼玻璃立面向庭院敞开，the glass front opens wide to the adjacent courtyard
▼与白色的教堂之间形成“阴阳”对比，the building creates a yin-yang dialogue between the white-painted church
▼建筑外立面由黑色火烧木板材覆盖，clad in shou sugi ban-finished wood
▼窗户细部，details of the window
SERA Architects (architecture and interior design)
Shapiro Didway (landscape architecture)
Kramer Gehlen & Associates, Inc. (structural engineer)
Humber Design Group, Inc. (civic engineer)
Colas Construction (contractor)
Photography by Pete Eckert