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Journal articles on the topic 'Portland Center for the Performing Arts (Or.)'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Kirkegaard, R. Lawrence. "Portland Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782568.

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2

Kelley, Jayne. "The Portland Building (Portland Municipal Services Building)." Journal of Architectural Education 66, no. 1 (2012): 21–22. http://dx.doi.org/10.1080/10464883.2012.714911.

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3

Shaomian, Armen. "Performing Arts Center Management." Journal of Arts Management, Law, and Society 48, no. 3 (2017): 221–22. http://dx.doi.org/10.1080/10632921.2017.1391728.

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4

Brooks, Todd L. "Fox Cities Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (2004): 2480. http://dx.doi.org/10.1121/1.4782644.

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5

Oguchi, Keiji, and Katsuji Naniwa. "Kitakyusyu Performing Arts Center, Theatre." Journal of the Acoustical Society of America 115, no. 5 (2004): 2480. http://dx.doi.org/10.1121/1.4782667.

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6

Clausen, Meredith L. "Michael Graves’s Portland Building." Journal of the Society of Architectural Historians 73, no. 2 (2014): 248–69. http://dx.doi.org/10.1525/jsah.2014.73.2.248.

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Singled out as a landmark in architectural history even before it was built, Michael Graves’s Portland Building, known only through drawings, was considered an icon of postmodernism and immediately became a fixture in architectural history texts. Since it exploded onto the scene in the early 1980s, it has been heralded as one of the most controversial, published buildings in architectural history. But little has been written about the building itself, how it came to be, how well it functions, and how it has stood the test of time over the past thirty years. In Michael Graves’s Portland Buildin

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7

Yanagisawa, Takahiko. "Japan’s new National Performing Arts Center." Journal of the Acoustical Society of America 103, no. 5 (1998): 2954. http://dx.doi.org/10.1121/1.422326.

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8

Shimizu, Yasushi, Yoshikazu Honji, and Fukushi Kawakami. "Theater, Niigata City Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (2004): 2441. http://dx.doi.org/10.1121/1.4782027.

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9

Kirkegaard, R. Lawrence. "Broward Center for the Performing Arts." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782571.

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10

Kirkegaard, R. Lawrence. "Blumenthal Center for the Performing Arts." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782574.

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11

Markham, Benjamin. "Performing Arts Center, The Groton School." Journal of the Acoustical Society of America 115, no. 5 (2004): 2480. http://dx.doi.org/10.1121/1.4782647.

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12

Pyper, Ted. "Skirball Center for the Performing Arts." Journal of the Acoustical Society of America 115, no. 5 (2004): 2480. http://dx.doi.org/10.1121/1.4782678.

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13

Hagler, Jack P. "Trends in performing arts center design." Journal of the Acoustical Society of America 142, no. 4 (2017): 2688. http://dx.doi.org/10.1121/1.5014806.

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14

Bredeson, Kate. "We Will Remember That We Came Together in Protest and Mutual Aid." Theatre Survey 62, no. 3 (2021): 357–63. http://dx.doi.org/10.1017/s0040557421000314.

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The year of COVID-19 social distancing is a reminder that people can and will gather in person in mass acts of resistance and community care, even in a pandemic. This year highlights how theatres, theatre skills, and theatrical techniques can be a key part of community building and dissent. The examples of the Twin Cities in summer 2020; Portland, Oregon, in 2020–1; and France in spring-summer 2021 showcase the potential for theatre artists to use their skills and spaces to support protest work. I highlight these three examples due to my personal connections (I am from the Twin Cities; live in

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15

George, Peter J. "The movie palace as performing arts center." Journal of the Acoustical Society of America 82, S1 (1987): S8. http://dx.doi.org/10.1121/1.2025045.

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16

Shimizu, Yasushi, Yoshikazu Honji, and Fukushi Kawakami. "Nohgaku‐do, Niigata City Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (2004): 2441. http://dx.doi.org/10.1121/1.4782018.

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17

Schuette, Dawn. "North Shore Center for the Performing Arts." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782563.

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18

Sawicki, Katharine. "Four Rivers Center for the Performing Arts." Journal of the Acoustical Society of America 115, no. 5 (2004): 2479. http://dx.doi.org/10.1121/1.4782613.

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19

Ratner, Megan. "Paranoid Park: The Home Front." Film Quarterly 62, no. 1 (2008): 26–31. http://dx.doi.org/10.1525/fq.2008.62.1.26.

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Abstract This review essay of Gus Van Sant's 2007 adaptation of Blake Nelson's novel about a teenage life in Portland, Oregon considers the film in terms of its depiction of U.S. life in wartime; its mixed-media aesthetic; and its disturbing representation of numbed-out adolescence.

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20

Hastie, Amelie. "The Vulnerable Spectator." Film Quarterly 69, no. 1 (2015): 52–59. http://dx.doi.org/10.1525/fq.2015.69.1.52.

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Regular FQ columnist Amelie Hastie reflects on her years of movie-going, waxing philosophical on her experiences as a naïve teenager in Portland, Oregon newly enchanted with cinema and relating those experiences to her sense of a doubled-self after a viewing of Clouds of Sils Maria (Olivier Assayas, 2014).

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21

Johnson, Catherine A. "Portland Preserved: The Photography of Minor White, 1938–1942." Visual Resources 15, no. 4 (2000): 387–404. http://dx.doi.org/10.1080/01973762.2000.9658523.

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22

Rahman, N. Vinky, and Esra Monica Aruan. "Performing Art and Culture Center Hamdan." International Journal of Architecture and Urbanism 3, no. 3 (2019): 342–50. http://dx.doi.org/10.32734/ijau.v3i3.3750.

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Performing Art and Culture Center is a building that functions as a center of activity to accommodate the creativity of the community in the field of art as well as public space facilities in the city of Medan. The center for arts and culture is expected to be able to respond to the problem of Medan City in providing community space and informal education facilities so that this function aims as a community space that can accommodate artistic activities with adequate facilities. The method used in designing this project is a data collection through field surveys and literature studies. This pr

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23

Kallas, Kayo, Motoo Komoda, and Yasuhisa Toyota. "Acoustical design of Soka University Performing Arts Center." Journal of the Acoustical Society of America 130, no. 4 (2011): 2535. http://dx.doi.org/10.1121/1.3655127.

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24

Duty, Jason R., and David R. Schwind. "Acoustical design of the Bayside Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (2004): 2440. http://dx.doi.org/10.1121/1.4781938.

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25

Markham, Benjamin. "Roschel Performing Arts Center, Franklin & Marshall College." Journal of the Acoustical Society of America 115, no. 5 (2004): 2441. http://dx.doi.org/10.1121/1.4782003.

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26

Kishinaga, Shinji, Rento Tanase, and Fukushi Kawakami. "Biwako Hall, Center for the Performing Arts, Shiga." Journal of the Acoustical Society of America 115, no. 5 (2004): 2441. http://dx.doi.org/10.1121/1.4782011.

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27

Freiheit, Ronald, and Matthew S. Hildebrand. "Case study: Eccles Center for the Performing Arts." Journal of the Acoustical Society of America 142, no. 4 (2017): 2689. http://dx.doi.org/10.1121/1.5014807.

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28

Van Ells, Mark. "Moose Crossing: Portland to Portland on the Theodore Roosevelt International Highway by Max J. Skidmore." Journal of American Culture 31, no. 4 (2008): 398–99. http://dx.doi.org/10.1111/j.1542-734x.2008.00687_5.x.

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29

Herrmann, Gina, and Isabel Jaén Portillo. "Introduction." Studies in Spanish & Latin American Cinemas 19, no. 2 (2022): 145–49. http://dx.doi.org/10.1386/slac_00078_2.

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30

Paoletti, Dennis A. "The rest of the Orange County Performing Arts Center." Journal of the Acoustical Society of America 80, S1 (1986): S2. http://dx.doi.org/10.1121/1.2023739.

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31

Glosemeyer, Robin. "Sarofim Hall, The Hobby Center for the Performing Arts." Journal of the Acoustical Society of America 115, no. 5 (2004): 2439. http://dx.doi.org/10.1121/1.4781759.

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32

Rosenberg, Carl J., Jennifer Hinckley, and Jonah Sacks. "Programming remediation to a newly complete performing arts center." Journal of the Acoustical Society of America 121, no. 5 (2007): 3152. http://dx.doi.org/10.1121/1.4782183.

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33

Coffeen, Robert C. "Rain noise level measurements in a performing arts center." Journal of the Acoustical Society of America 122, no. 5 (2007): 2990. http://dx.doi.org/10.1121/1.2942667.

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34

Kirkegaard, R. Lawrence. "Denver Center for the Performing Arts, Bonfils Theatre Complex." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782558.

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35

Jeon, Jin Yong, and Yong Hee Kim. "Acoustical design of Sejong Performing Arts Center recital hall." Journal of the Acoustical Society of America 120, no. 5 (2006): 3148. http://dx.doi.org/10.1121/1.4787806.

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36

Hausman, Ken. "New Performing Arts Center Is City’s Pride and Joy." Psychiatric News 37, no. 4 (2002): 23. http://dx.doi.org/10.1176/pn.37.4.0023.

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37

McLean, Barton. "Experimental Media and Performing Arts Center: Coming of Age." Computer Music Journal 34, no. 2 (2010): 84–90. http://dx.doi.org/10.1162/comj.2010.34.2.84.

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38

Dion Ivan Rene and Siti Sujatini. "Implementasi Konsep Green Architecture Pada Performing ARTS CENTER BEKASI." IKRA-ITH Teknologi Jurnal Sains dan Teknologi 8, no. 1 (2024): 66–77. http://dx.doi.org/10.37817/ikraith-teknologi.v8i1.3245.

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Gedung Performing Art Center atau Pusat Seni Petunjukan adalah sebuah wadah bagi para seniman dalamberkarya, baik dalam seni musik, tari, teater, peran, ataupun seni rupa. Pusat seni pertunjukan pada umumnyaberupa kawasan gedung pertunjukan dengan beberapa ruang auditorium. Saat ini semakin banyakmusisi/seniman yang lahir di Indonesia sehingga kebutuhan fasilitas pertunjukan menjadi semakin mendesak.Saat ini di Indonesia sendiri hanya ada beberapa pusat seni pertunjukan, dan belum ikonik serta belummemenuhi kualitas dan kuantitas yang memadai serta dapat merespon isu-isu yang terjadi saat ini.

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39

Wigzell, Freya. "‘opened out […] like an oyster shell': the Roach bed Portland stone cladding of the Smithsons’ Economist Building." Architectural Research Quarterly 24, no. 2 (2020): 169–82. http://dx.doi.org/10.1017/s135913552000024x.

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Alison & Peter Smithson's Economist Building in London (1960–1964) has been much written about, but one of its most distinctive features – the Roach bed Portland stone cladding – has been relatively little discussed. Although there have been various retrospective explanations for the choice of this previously unused stone, whose surface is marked by cavities of now vanished shells, no direct evidence from the time fully accounts for the decision. Reliance upon inference, and upon retrospective statements, mean that no definitive explanation for the choice is now possible. Some new evidence

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40

Harrison, S. J. "The Portland vase revisited." Journal of Hellenic Studies 112 (November 1992): 150–53. http://dx.doi.org/10.2307/632159.

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D. E. L. Haynes' 1964 booklet The Portland Vase and Bernard Ashmole's article of 1967 ushered in a spate of renewed speculations concerning the scenes depicted on the Portland Vase (FIG 1). Despite the considerable literature since then, I venture to propose a new interpretation of part of the vase. First of all, it should be said that I accept the view of Ashmole (and others) against Haynes (and others) that the vase depicts two separate scenes and not one continuous one. I also accept (with many others) Ashmole's interpretation of the first scene as the love or marriage of Peleus and Thetis;

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41

Tarigan, Lihayati Rizka, and Amy Marisa. "Perancangan Creative and Performing Arts Center di Medan dengan Pendekatan Arsitektur Semiotik." Ranah Research : Journal of Multidisciplinary Research and Development 7, no. 3 (2025): 1835–46. https://doi.org/10.38035/rrj.v7i3.1461.

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The Creative and Performing Arts Center building that will be designed with a Semiotic Architecture approach aims to make the building better known by the presence of signs and symbols in the form of Malay ornaments on the exterior and interior of the building as a sign of the Creative and Performing Arts Center building located in Medan City. With the design method starting from the search for ideas or ideas, then looking for related problems along with solutions and objectives of the design. by using analysis techniques used include site analysis, function analysis, activity analysis, space

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42

Ghadiri, Roxana, Shiang-I. Juan, Stijn Zeger van Brug, et al. "Taipei performing arts center surrounding soundscape study and its application." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A115. http://dx.doi.org/10.1121/10.0027001.

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Taipei Performing Arts Center designed by architect Rem Koolhaas and his firm OMA, features three theaters stacked vertically. The cube-shaped structure features a distinctive geometric facade, serving as the seating areas for the three main theaters. These giant facades, due to their sloped seating surfaces, could also function as significant sound-reflecting and focusing panels, potentially amplifying the nearby MRT and traffic noise. The project was strategically located near Shihlin Nightmarket for the area's cultural and economic growth. ISO-12913 soundscape study method is used to docume

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43

Nichols, Mason. "Project Spotlight: Precast concrete delivers an inspired performing arts center." PCI Journal 70, no. 4 (2025): 17. https://doi.org/10.15554/pcij70.4-ps-1.

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The Aetos Center for the Performing Arts in Nixa, Missouri, showcases how precast concrete can deliver both architectural elegance and construction efficiency. Produced by Prestressed Casting Co., the precast system enabled rapid installation, minimized site disruption, and brought to life a curtain-inspired façade that unifies the venue’s performance and audience spaces. The result is a durable, thermally efficient structure that supports a vibrant educational and cultural hub.

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44

Haynes, Denys. "The Portland vase: a reply." Journal of Hellenic Studies 115 (November 1995): 146–52. http://dx.doi.org/10.2307/631651.

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In JGS xxxii (1990), a volume devoted to the Portland vase, the sections on the discovery of the vase (85-102) and on the interpretation of its frieze (130-6) are jointly contributed by Kenneth Painter and David Whitehouse (hereafter P. and W.), who refer at some length to my own published views on these problems, but only to dismiss them as untenable. The purpose of this note is to show why they have not persuaded me to change my mind on either.

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45

SAKAGUCHI, Taiyo, Yasuaki ONODA, and Minoru KANNO. "FACTORS DETERMINING USER'S AREA OF THE PUBLIC PERFORMING ARTS CENTER IN THE SUBURBS OF A LARGE CITY : Case study in N-city performing arts center." Journal of Architecture and Planning (Transactions of AIJ) 66, no. 541 (2001): 87–92. http://dx.doi.org/10.3130/aija.66.87_1.

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46

Saint, Andrew. "A new setting for the Marble Arch." Architectural Research Quarterly 2, no. 1 (1996): 44–53. http://dx.doi.org/10.1017/s1359135500001093.

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This paper suggests the removal of one of London's most conspicuous and familiar monuments, the Marble Arch, to a site in Park Square, Regent's Park, where it would serve to link the axis of Portland Place with the Broad Walk, as evidently intended by Nash. Not only is the current site of the Arch not the original one, the author argues, but its whole setting and environment have been compromised since it was moved there from the front of Buckingham Palace in 1851. Fresh research into the history of the Marble Arch is presented in the article, with particular regard to its experimental use of

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47

Beane, Jeffrey A., and Rebecca Buntrock. "The John F. Kennedy Center for the Performing Arts Expansion Project." Structural Engineering International 29, no. 1 (2019): 112–15. http://dx.doi.org/10.1080/10168664.2018.1549926.

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48

Myers, Joseph. "University of Alabama at Birmingham, Alys Robinson Stephens Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4809300.

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49

Thornbury, Barbara E. "From Festival Setting to Center Stage: Preserving Japan's Folk Performing Arts." Asian Theatre Journal 10, no. 2 (1993): 163. http://dx.doi.org/10.2307/1124177.

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50

Manley, David, Jonathan Hopkins, Anat Grant, and James Krumhansl. "SAFE Credit Union Performing Arts Center audio enhancement to support architecture." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A169—A170. http://dx.doi.org/10.1121/10.0023162.

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Opened in 1976 and without a major renovation since, the 98,000-sf SAFE Credit Union Performing Arts Center was in dire need of transformation. The building’s aging infrastructure needed a comprehensive modernization to meet accessibility requirements, the escalating requirements of contemporary performance, and to present a new face to the public as the premier cultural institution in the state capital. The existing theater’s acoustics represented a challenge to effectively accommodate the wide range of performance types including Broadway roadshows, the Sacramento Choral Society, and the Sac

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