Republic of the Philippines

Tarlac State University

COLLEGE OF ARCHITECTURE AND FINE ARTS
San Isidro Campus, Tarlac City
Tel No. (045) 493-0901 | TeleFax No. (045) 982-0110
Official Website: http://www.tsu.edu.ph

‘AKDA: Performing Arts Theatre’

Camiling Community Performing Arts Center

In partial fulfillment of the requirements for Architectural Design 3

for the Academic Year 2023-2024

Members:

Capala, Jhon Rodolph D.

Salise, Ken S.

Simeon, Aldrin A.

2A - Bachelor of Science in Architecture

Supervised By:

Ar. Miyelle Anne E. Barce, uap, rmp

TABLE OF CONTENTS

1
‘AKDA: Performing Arts Theatre’...................................................................................................................

Camiling Community Performing Arts Center...............................................................................................

TABLE OF CONTENTS....................................................................................................................................

Chapter 1.............................................................................................................................................................

Introduction.....................................................................................................................................................

Statement of the Problem................................................................................................................................

Background of the Problem............................................................................................................................

Project Objectives...........................................................................................................................................

Chapter 2.............................................................................................................................................................

About the Project: Community Theatre..........................................................................................................

Arrangement..............................................................................................................................................

General Requirements...............................................................................................................................

Audience Activity.....................................................................................................................................

Production Activities.................................................................................................................................

Limitations................................................................................................................................................

Public Circulation.....................................................................................................................................

Access to Auditorium................................................................................................................................

Types of Space..........................................................................................................................................

Vestibule...................................................................................................................................................

Ticket Office.............................................................................................................................................

Lobby........................................................................................................................................................

Checkrooms..............................................................................................................................................

Auditorium and Stages..............................................................................................................................

2
 Seating Facilities.......................................................................................................................................

Planning and Design Requirements:...............................................................................................................

Utilities............................................................................................................................................................

Research Focus –Architectural Form..............................................................................................................

Other Project Examples:.................................................................................................................................

Jean-Claude Carrière Theatre....................................................................................................................

ISA Liwan School 800-seat Auditorium...................................................................................................

Service Offered...............................................................................................................................................

CHAPTER 3........................................................................................................................................................

Identification of Users.....................................................................................................................................

Type of Audiences and Performers.................................................................................................................

Schedule: Operating Hours/Days....................................................................................................................

Profiling of Users............................................................................................................................................

Organizational Chart.......................................................................................................................................

Theater Admin................................................................................................................................................

Museum/Art Gallery Department...................................................................................................................

CHAPTER 4: SITE PROFILE AND ANALYSIS...........................................................................................

Macro – Micro Discussion of Site..................................................................................................................

Historical Background of Site.........................................................................................................................

Site Analysis and Assessment (SWOT)..........................................................................................................

Detailed Landslide and Flood Hazard Map....................................................................................................

Existing Land Use Plan...................................................................................................................................

Vicinity Map and Location Map.....................................................................................................................

3
 On-Site Documentations.................................................................................................................................

CHAPTER 5........................................................................................................................................................

List of Furniture and Equipments Per Room..................................................................................................

Bibliography........................................................................................................................................................

Member Profiles..................................................................................................................................................

4
 Chapter 1

THE PROBLEM AND ITS BACKGROUND

Introduction

Camiling, Tarlac is a first-class municipality located at the northern part of Tarlac

Province, bounded on the north by Bayambang (Pangasinan), Moncada and Paniqui to the

east, Santa Ignacia to the south, and to the southwest, Mayantoc. Based on the 2015 national

census, the National Statistics Office reports that it has about 83,248 households, and an

approximate 51,749 registered voters based on the general elections of 2019.

Statement of the Problem

The problem is called a community-based performing arts center, a hub where the

members of the community can use it as a venue to showcase their talents by performing

different performances/presentations and participating in other note-worthy endeavors of the

community in the preservation of their arts and culture. The community desires to take part in

further enriching this by having a landmark that will enhance and promote an architecture

that they can truly claim as a “pride of its place”.

Background of the Problem

Nicknamed as the “Old Lady in the Northwestern Province of Tarlac'', the

municipality is considered rich in cultural heritage in the province. Home to prominent

personalities and families throughout the province's history, the community aims in

preserving their heritage, tangible and intangible. Camiling is home to some historical

5
residences. The old church of Camiling has taken its role in history especially during the

Filipino-American War.

Project Objectives

To establish Camiling as a catalyst in the cultural awareness and development as

Heritage Town especially in the grassroots level. To provide a venue dedicated to showcasing

untapped Filipino talents as well as a place to train and have actual applications; exhibit and

communicate; educate and enhance the community and visitors’ understanding and

appreciation of the Filipino culture and the arts.

6
 Chapter 2

REVIEW OF RELATED LITERATURE

About the Project: Community Theatre

The community theater typically has 500 to 1,000 seats and serves amateurs, semi-

professionals, and visiting professional companies. Because of its numerous uses and the

sometimes-ambiguous nature of its management, its planning should be as straightforward

and error-free as possible. Most of the scenery and costumes are planned and made inside the

theater. Experimental theaters will not be included in this study because of the unique issues

they bring. A correctly chosen site offers: (1) Accessibility by regular modes of transportation

(only walking requires a central location. (2) Sufficient separation from bus and streetcar

lines, major highways, and other noise sources. Congested traffic zones should be avoided if

possible. (3) A place to park. (4) Convenience to complementary neighborhood events,

whether educational or recreational, to lessen traffic between buildings and to require less

monitoring and upkeep.

Planning and Design Requirements:

The area of the theater that seats the audience during a performance is frequently

referred to as the "house," and it is designed to work according to the type of show and the

quantity of spectators. The term "the house" can also refer to a location that is neither a stage

or a backstage area. The foyer, coat check, ticket windows, and restrooms are all included in

this. Each auditorium needs a different amount of room, depending on a variety of variables,

but the following guidelines can help. To ensure comfortable audience seating, maintain the

standard distance. The aisle is the area where people can walk while facing rows of seats on

7
either side or a wall on the opposite side. The margins of the aisles are identified with a series

of small lights to increase safety when the theaters are darkened during the play. The stage

serves as both the venue for performances by actors and other performers as well as the

center of attention for the audience. The stage may have a platform (typically raised) or a

chain of platforms as an architectural feature. The stage is frequently a permanent component

in theaters and other facilities devoted to such productions, though these may occasionally be

temporary or movable. Keep the background modest to improve visibility. The stage is in the

center of the audience, with spectators facing it from all sides, in theaters with an arena stage

or theaters in the round. The placement of the audience near to the action creates a sense of

closeness and involvement. This design, however, severely limits the quantity and quality of

visual spectacle that can be offered for a performance because scenery that is taller than a few

feet will obstruct the audience's view of the action occurring onstage. Flexible stage theaters

don't create a rigid hierarchy between the stage and the audience. They can be incorporated

into any of the traditional theater forms or their modifications. The audience is typically

either standing, moving around during the performance, or seated on the main floor, and there

is typically no physical separation between the stage and the auditorium. Even the best plays

will suffer from bad sound because theater is a visual medium. Although the sound is

frequently disregarded, strong sound lines are equally as important as good sightlines.

Arrangement

"Front" or public areas, and "backstage" or work groups, constitute the two major

elements. Spectators should find everything necessary for their needs accessible from the

foyer once they have presented tickets. Included are toilets, coatrooms, drinking fountains,

lounges, and smoking areas The lobby should provide waiting space and circulation to areas

other than the theater, which may be contained in the building. The manager's office is

8
convenient if adjacent to the box office and accessible from the lobby. In the work group,

control of the stage entrance will avoid interference from unauthorized persons and facilitate

accounting of players, properties, and scenery. Rehearsal rooms are part of the work area and

should be near other work elements Movement of heavy furniture and other properties

demands close relation between workspaces and stage proper. Dressing rooms may be more

remote but within supervisory distance.

General Requirements

The requirements for community theaters are derived from the same historical sources

as those for commercial, or "professional," theaters, but they exhibit fundamental differences.

The emphasis on creative effort leads to demands for a different type of accommodation than

does the necessity for financial profit. Two general types of creative community activity,

directly related to the theater, require special provisions.

Audience Activity

Due to the social character of the occasion, this is fantastic before and after a

performance as well as in between performances. Spaces for relaxing, conversing, and

smoking are all required. It is crucial to have simple access to these areas. Occasionally, the

audience and actors may mix; for this reason, a lounge and rehearsal room combination are

required. Refreshments may also be given, therefore a small kitchen or serving pantry is also

necessary.

Production Activities

These consist of preparation for and presentation of the performance in a community

theater, scenery, costumes, and properties are mostly prepared within the theater plant.

9
Separate workshops are ordinarily provided, one for costumes, and one for scenery and

properties. Used materials are salvaged insofar as possible, stored within the plant, and

reused. Ample storage space is needed Presentation problems may be solved differently in the

community theater than in its commercial prototype. Both types demand ample stage space;

but, whereas in the "professional" theater, urban real-estate values have forced a vertical

development with lofty stage houses for lifting scenery vertically ("flying"), tiered dressing

rooms, and often inadequate wing space, the community theater, built on less expensive land,

may be expanded horizontally. Scenery can be shifted horizontally, perhaps on wagon stages.

Proscenium size and shape may be variable. Such flexibility and multiplicity of uses are not

only financially desirable, but some theater authorities call them essential for the theater's

progress. Types of stages which are considered impractical in the average commercial

theater, become available.

Limitations

Because the theater has such specialized needs, this study is only focused on those

aspects of the creative center that are specifically related to community theater needs. Since

amateur participation is emphasized in community theater, less staff efficiency and a greater

need for facility flexibility than in commercial theaters are to be expected. The average

seating capacity of the auditorium for the style of theater being mentioned here is 800, often

fewer.

Public Circulation

The community theater's public sections must be easy to move about. To allow the

audience to enjoy each area to the fullest before the show, in between acts, and after the final

curtain, access between the various areas must be as open as possible. The community theater

10
needs even more comprehensive circulation facilities; the code requirements for doors and

exits are minimal for safety. The number of openings to the vestibule, lobby, auditorium, and

lounge may be expanded significantly above the minimum depending on the site, the

surrounding developments, the placement of plan elements, and requirements for acoustics,

lighting, etc.

Access to Auditorium

If at all feasible, arrange the main entrances from the foyer to the auditorium without

doors. To do this, a thorough acoustical analysis is required; most likely, sound deadening

material will be needed on the walls of approaching corridors or lobbies, in order to prevent

parallelism.

Types of Space

In most circumstances, it would be wise to offer a separate lounge that occasionally

might be used for social gatherings, lectures, discussion groups, etc. It is always good to have

both a vestibule and a lobby. The lounge might also be used for rehearsal.

Vestibule

The vestibule next to the street may have exceptionally bright lights. In general, it is

desirable to include additional amenities like tiny bookstores and other places that will draw

people to the theater on a regular basis.

Ticket Office

If possible, this should command the entrance to the inner lobby while also allowing

the lines to develop without getting in the way. Ideally, there are two ticket booths: one for

11
current seats and one for reserved seats. Additionally required is enough unobstructed wall

space for a modest ticket rack that can be constructed locally.

Lobby

While huge lobbies are not particularly necessary in theaters in large towns, in

community theaters performances must be viewed as both social events and dramatic

entertainment. As a result, the lobby should be set up to best display groups of people and

their attire. It's simple to combine the lobby and display area, which is often preferred in

community theaters. Although the space is not used as an actual art gallery, it is still desirable

to have an exhibition area to display the various developments, such as costume designs and

stage set sketches. This is because it is hoped that the community will be interested in both

the production and presentation of the play.

Checkrooms

This should be sufficient or left out entirely. If it is included, it should enter from the

main lobby, and arrangements should be made to have enough staff and a big enough

entrance so that there is no need to wait in line after the performance. The cost of hiring the

right number of spectators may be an issue with community theaters. The checkroom should

have a door leading to the main foyer because it serves not only the theater but also other

services in the building.

12
Auditorium and Stages

Maximum Seating Distance

Even in theaters with 1,200 to 1,500 seats, the last seat should be no more than 75

(22.86m) to 100 feet (30m) from the stage, and even less in smaller places. When using

balconies, the front of the balcony should be within 50 feet (15.24m) of the stage.

Seating Facilities

Seat spacing should always be greater than the New York Code requirement of 32 in.

back-to-back; and, if possible, seats should be no less than 20 in. in the middle. The use of

"Continental" seating, in which each seat row becomes an aisle, should be restricted to small

auditoriums where the rear row is not too distant from the stage. Building codes generally

govern aisle lengths and aisle count.

Utilities

Utility site facilities are necessary for every building endeavor since they offer the

facilities needed for the work to run successfully. Both the erecting phase directly and the

ongoing maintenance of a structure or building depend on utility site services.

Cable Security Access Control

Communication Intrusion Detection System

Electricity Maintenance Services

Fire Prevention Utility power

Internet Digital Video or CCTV

Natural Gas Lighting Control

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 Postal Air Conditioning

Sewage Ventilating

Transportation Services Environmental Control

Trash Mechanical Maintenance & Retrofit

Water Supply
Heating

Theater Acoustics Design

Location Affects Acoustics

Choose a quiet location for your theater, away from major roads and noisy spaces. Try not to

place the auditorium next to

music practice rooms,

mechanical equipment rooms,

etc. Also, hallways and

storage rooms can serve as

great “buffer” spaces to

acoustically isolate the

theater.

[AVANT worked on the Fort

Riley Middle School theater
acoustics & AV design]

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Acoustical Treatments for Theaters

Achieving the right balance and placement of sound-reflecting and sound-absorbing

materials on theater walls often requires acoustical consultants. They will measure the

reverberation time at different frequencies throughout existing auditoriums, or create

acoustical models to calculate the results for new construction. Too much reverberation at

high frequencies will result in “bright” or “harsh” theater acoustics. At low frequencies, too

much reverberation will make the space sound “boomy,” and may be prone to feedback in the

sound system. Too little will cause sounds to lack “warmth.”

Depending on the acoustics of your auditorium, a consultant might recommend

sound-reflecting and/or sound-absorbing materials on the ceilings, side walls, and rear wall.

Interior Design

Hard surfaces reflect sound, so choose fabric-upholstered seats to help control reverb

in the theater. Metal or plastic seating may be cheaper, but they can mean disaster for your

acoustics. Absorptive seating, on the other hand, helps provide stable reverberation

conditions in the auditorium, no matter how many people are in attendance.

Carpets can also significantly affect theater

acoustics. We typically do not recommend using

carpet under the seating. However, carpeting the

aisles will help control footfall noise and high-

frequency reverberation. [Great auditorium

acoustics were the result of this project at

Wichita Southeast High School.]

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Research Focus –Architectural Form

A crucial part of preserving and advancing cultural heritage is played by community

centers. These crucial nodes act as gathering places for various communities to celebrate and

exchange their distinctive customs, establishing a sense of identity and belonging. These

centers make a substantial contribution to the preservation and enrichment of our shared

cultural tapestry through cultural events, workshops, and exhibitions, ensuring that traditions

remain and flourish for future generations. The community performing arts center is

dedicated to diversity and provides access to all people, regardless of their circumstances or

background. It provides inexpensive ticket rates and flexible scheduling to make sure that

attendance is not restricted by limited budgets or busy schedules. In order to ensure that every

individual is excluded from experiencing the transformational impact of theatrical

performances, the facility is further outfitted with services and facilities to accommodate

those with impairments.

Other Project Examples:

Jean-Claude Carrière Theatre

The Théâtre Jean-Claude Carrière is a

building made from recyclable materials,

such as PEFC-certified wood (Programme

for the Endorsement of Forest

Certification). An exemplary theatre for

energy consumption in terms of its use of heating, high-performance insulation, electricity

and LED (light-emitting diode) lighting. It features retractable seating, a modular stage,

16
specially designed technical areas for optimal working conditions and a bright, welcoming

reception hall. (Montpellier Tourism. 2023) A joyful wooden harlequin façade greets visitors

to the new cultural hotspot in Montpellier, the Jean-Claude Carrière theatre, designed by

Montpellier based A+ architecture firm. The visible cuts of wood arranged in diamond and

rhomboid shapes are strategically placed to draw people into the main entrance, allowing

them to experience the surrounding natural environment via an expansive public piazza and a

large courtyard. The focal element – the harlequin patterned façade, creates a central motif in

the architects’ design process from the first design concepts and sketches through the

realization of the idea a year after the initial idea conception. Not only does the theatre appear

as an aesthetic piece due to the harlequin motif, but also has an implemented motive within.

The whole of the wooden construction has led to a reduced environmental impact with

minimized material consumption and construction. Furthermore, it was discovered that there

was no need for air conditioning in the building due to the dynamic thermal simulations that

harness the Mediterranean climate. As well as that, all of the lighting systems including the

stage lighting is LED.

Situated in the heart of the centuries old park, the theatre appears as a vibrant red volume

with a strikingly dynamic main entrance. The lozenge (rhomboid-shaped) façade also has

diamond-shaped lights embedded within which further implies that the building’s architecture

is focused on theatre, lights, dramatic appearance and the cultural aspect of this performing

art. The Jean-Claude Carrière theatre is now open to the public and accommodates a

restaurant and an overall capacity of 600 seated and 1200 standing guests. (Archello, n. d.)

Implementation and site

The Domaine of O, site for which we

conceived the project is breathtaking ; its

17
forest of pine trees, its history, the space it unrolls inspired a light and delicate concept. The

Theatre lands between the esplanade set for big tops and the nearby pine trees with the utmost

respect towards the environment and existing trees. The theatre orientation both breaks the

historic axis and fits in the main composition of the site ; its structure relies on the strength of

this axis in order to maintain unity and to enhance the new theatre in the Domaine of O. This

culture box offers its surroundings and passersby new pathways to wander through and new

spots for gathering. The altimetry of the site allowed us to draw comfortable and light stairs

and to complete the implementation of the theatre. The stage is set, the lights are on, the

curtain rose and the. The proposed square offers a deep breath to the public feed. It extends

the domain of O very airy spaces and plays the same register as the entrance with its large

crevice. It is also a place of waiting and the show, to observe those who wander on the major

axis of the field. This large courtyard leads visitors to the entrance of the theatre and

restaurant.

This wide mineral courtyard gives access to

the theatre and restaurant. This new cultural

facility extends the lines and urban fabric

that characterise the domaine of O. This

lightness in the pedestrian circulations

contrasts with the imposing mass of our

project. We designed impressive

dimensions for an ambitious performing hall. The Jean-CLaude Carrière theatre now puts his

light dress on.

Flawless Acoustic Comfort

Multiple stakes. The architecture both had to prevent the neighbourhood from undesired

noises through a perfect isolation, and also to conceive the ideal acoustic comfort not to tire

18
the voices and make every sound and emotion perfectly audible. Eventually this duality is

improved and ensured by the width and composition of the walls and through the panels tilt,

they banish any floating echoes.

Scenography

All choices in terms of stage set, scenography and space designs are linked together with the

main architecture concept. Our thinking was devoted to technical requirements such as the

pedestrian circulations, the mobility of the stage, the space management and its adjoining

entities. We wondered the best way to welcome theatre ensembles, how their props would be

delivered, etc. We developed a scenography that has a huge potential to adapt and open to

any cultural and artistic activities.

The metaphor of Harlquin’s fabric is

obvious, a character that is cherished by the

Domaine of O. We redefined this theme to

create a light and tangy color and texture.

The wood panels cross each other and

envelop the volume ; Wood structures the

hall as well. This vast weave is punctuated

with sparks of bright diamond-shape lights, another reference to Harlequin. At night they

strike the eye and create an electric and playful ambiance. It is distended on the entrance to

magnify this space and offer a new point of view on the surroundings. The wooden dress lifts

itself up! And reveal its secrets. Spectators are invited to enter and discover a space dedicated

to theatre. A mezzanine allows them to see and be seen. The diamond-shapes also echo

inside. The project

19
On the entrance(entry), this dress lifts up itself to let show through the secrets of this place of

theater. The spectator skips under these bottoms to discover a space treated(handled) with the

same care as the outside facing. This diamond is put in echo and repeats in the internal space.

If the lace of diamond-shapes is the signature of the project, it also hides other many

references to domains related to culture, theatre and to the site of course. The red tint of the

building’s shell resumes ochres present on the domain ; it adds to the architectural coherence

of the site. The theater is delicately integrated into the Domaine of O.

Functionality

Architecture more than anything is a human adventure, in that perspective we had to design

efficient, creative and easy to use plans and volumes. This simplicity has the potential to let

people naturally interact and become actors of the theatre.

Environmental excellency

Since the first designs and sketches and until its completion, the Jean-Claude Carrière

Theatre, chose energy and environmental excellency. The approach aimed at bringing to the

minimum, the global impact of the project on the environment. The project team under the

impulsion of A+Architecture and Spie Sud-Ouest put their energy into conceiving a project

that takes into account the requirements set by the Herault General Council. We focused both

on the consumptions of exploitation to deliver a BBC project low energy building) but also

on the energy necessary for the construction of the building, its capacity to be dismantled and

its energy appreciation at the end of life, which we hope will happen in a long, long, very

long time!

A low energy consumption building: By consuming twice less than a regular building, the

Jean-Claude Carrière Theatre complies with the Low Consumption Label. The theatre does

not require much energy as for the conventional (heating, cooling, supply air, lighting),

20
adding to this, all lights on stage are 100% LED, making our project the very first one in

France to. The iterations of dynamic thermal simulations allowed us to verify that these

energy savings go hand in hand with the comfort of usage of our Mediterranean climate with

no systematic need of air conditioning.

Sustainable materials: Usually the energy necessary to build a project equals to 30 to 50 years

of exploitation. Aware of this energetic parameter, we decide to use sustainable and energy

efficient materials. The new cultural equipment is entirely made of wood, the peripheric

walls, the roof framing, the floors, the walls, the facade facings represent a volume of around

1000m3. We put the same care in the other materials from the rubber floors to the paintings

and certified galzings. In fine the theatre circle of life analysis shows its exploitation years is

of only 7 years.

A sustainable building site: The first environmental feat was to conceive and build this

project in 12 months! The second one is how the environment and nature was at the heart of

our thinking. The work in the dry process implies an important part of prefabrication and the

clean site construction charter was followed in an exemplary way by all the companies

guaranteeing a minimum impact on our environment.

If we add to it that 90% of the project can be dismantled (and reassembled!) from the energy

and environmental point of view, the Jean-Claude Carrière Theatre sure is exemplary!

ISA Liwan School 800-seat Auditorium

ISA Liwan School 800-seat Auditorium is

equipped with state of the art advanced

lighting, audio equipment and a

professional performance stage, which can

serve for various large-scale activities such

21
as musicals, plays, speeches, English and Chinese dramas, and hold high-standard

competitions. There are:

• Ergonomic seats

• Podium

• Smart screens and air conditioning

• Audio room

• Simultaneous interpretation

• ·Intelligent control room

The interior uses environmentally friendly

sound-absorbing materials to shape the art

space, strictly control the acoustic and

visual effects, which improve audiences’

comfort and space quality. An intelligent

control system reduces the manual input of

operation and avoids the omissions caused

by manual administration. The advanced air conditioning and fresh air system in the

auditorium can also be adjusted automatically according to the changes of indoor

temperature, humidity and CO2 amount.

22
Service Offered

Planning for a community performing arts center's customers, including those who

will occupy its offices and retail areas, is crucial. The building is meticulously constructed to

accommodate both the creative endeavors of the artistic community and the practical

requirements of businesses, producing a harmonic and thriving cultural hub. This is only

possible by having an understanding of their various demands and preferences. Workspace

and office amenities must be carefully considered while designing a community performing

arts complex. Place an emphasis on practical and accessible designs, and make sure that

administrative offices are ideally situated for efficient communication. To correspond with

the center's goal and community values, implement flexible workspace designs, robust

technology infrastructure, and sustainability initiatives.

Spaces Services Offered Costs

Theater There will be a variety of Prices for theater tickets,

performances, including
opera, ballet, dance, micro
concerts, comedy, illusion,
and more.
Acoustic isolation to
enhance listening.
Audience seats that are cozy.
which range from 100 to
200 pesos per person, are
determined by taking into
account both the local
populace and tourists. This
pricing strategy aims to
strike a balance between
accessibility for guests and
affordability for locals who

23
 frequently attend the theater.

Meeting rooms/multi- Flexible and safe setting. The conference and

purpose area Logical and well-equipped. multipurpose space is open
Facilities for meeting rooms to the public and
include: administrative personnel at
Chairs and a table. no cost.
Access to WiFi.
Digital AV solution (with
speakers and a screen or
projector).
Office equipment.
Centralized writing area.
Obtainable refreshments.
Cozy and favorable to
working.

Visitors Center Tourist information and aid Free access to visitor

center. amenities is a valuable
Assures visitors' safety and service since it promotes a
enjoyment. welcoming and open
Primary point of contact for atmosphere for everyone.
questions about travel.
A place where local goods
and services are advertised.
Supports tourism, both
current and potential.

Small Museum Precious cultural assets. To fund the upkeep of the

Abundant natural and social rare cultural artifacts, the
environment. little museum must impose
Original creations of art an admission price of
from many eras and cultures. between 20 and 50 pesos.
Interpretation of
commonplace events and
unique histories.
The preservation and display
of significant items.
Museums as centers of
inquiry, inspiration,
learning, and pleasure.

Administration Office Tasks: The administrative office is

Maintenance of workplaces.
Creating a budget.
Accounting.
Documentation.
Improvement as well as
personal progress.
Administration of material
friendly to both visitors and
employees, providing open
access for inquiries,
reception, and opportunities
for joint commercial
endeavors.

24
 logistics and distribution.
Gallery/Changing Exhibit A place for visual arts
Area exhibitions.
Involvement of the
community with the arts.
Improving the center's
cultural experience.
Souvenir Shop Chicharon and
Niruban/Nilubyan are
typical local cuisines.
Shirts, artificial jewelry
(bracelets, rings, necklaces),
and keychains are examples
of souvenirs.
Local goods: coffee,
literature written in Filipino,
and coconut oil.
Tarlac-based works of art.
Souvenir store offering
delectable goods and meals.
Support facilities/Ancillary Box office for simple ticket
acquisition.
Discreet storage .
Bathrooms for your comfort.
Performers' changing rooms
and practice spaces.
Technical department for
background work.
Two types of exhibitions are
available at the
Gallery/Changing Exhibit
area: one is free for young
and local artists to display
their artwork in order to
assist them, and the other
costs 20–50 pesos for high-
end, valuable art displays in
order to maintain their
standing. As a result, at
special exhibitions you can
enjoy art for nothing or at a
low fee.
The gift shop has a large
selection of items available
at different price ranges,
including food and
souvenirs, to suit a variety
of tastes and budgets.
Famous Camiling Chicharón
- 150 - 300 pesos per kilo
Famous Nilubyan Rice Cake
- 100-300 pesos depend on
size
Famous Rice Cakes in
Tarlac in different flavors
- 150 - 500 pesos depend on
size
Other souvenirs stuff like
clothing and accessories
- 20 - 300 pesos
For displays like arts and
crafts - 100 - 500 pesos
Visitors enjoy free access to
a wide range of amenities
and extra services, and
assistance is easily
accessible to enhance their
overall experience.
25
 Storage areas.
To make sure everyone
visiting the arts center has a
positive experience, there is
a maintenance room.

Café A pleasant, active, and Each dish on the menu at the

adaptable work atmosphere.
High-quality beverages and
meals.
Commodious workstations.
High-speed business Internet
that is secure.
café costs separately in
accordance with its special
offerings and ingredients.
Milk Teas - 100 - 300
Local Tea Products - 50 - 10
Other drinks such as sodas -
15 - 50
Donuts/Flavored Breads - 50
- 150
Cookies - 50 – 100

Parking The provision of parking All patrons of the theatrical

spots for automobiles. facility are entitled to no-
Add pathways for cost parking.
pedestrians for safety.
Manage parking lots
effectively to ease
congestion and enhance
traffic flow.
Allocate parking spaces for
those with disabilities,
putting accessibility first.
Make it necessary for people
with disabilities to obtain a
"blue badge" from the
appropriate authorities in
order to access these
locations.
Reduce the distance from
disabled people's
automobiles to their
destinations to improve
accessibility and
convenience overall.

26
 CHAPTER 3

PROJECT PROFILE

Identification of Users

The theater encompasses a wide range of audiences and performers, a subject of

interest for the researchers to observe who are the users that can visit and explore around the

town. Among the audience, one can find dedicated theater enthusiasts who regularly attend

performances, families in search of wholesome entertainment, tourists eager to immerse

themselves in Camiling’s local culture, and students gaining valuable exposure to the arts. As

for the performers, the stage hosts a diverse array of talent, carefully selected by theater

directors and production teams. From seasoned actors delivering gripping monologues to

classically trained musicians filling the air with symphonic melodies, dancers captivating

with their graceful movements, comedians amusing with their wit, and singers, including

opera divas and contemporary vocalists, enchanting audiences with their voices. In this

theatrical ecosystem, the audiences and management teams play a crucial role in ensuring a

seamless and fascinating experience for all involved.

Type of Audiences and Performers

There are all different kinds of people that enjoy going to the theater, therefore the

audience you may expect will largely depend on the type of show. Students, workers,

individuals with disabilities, lovers of the program, the elderly, kids, people in relationships,

and people who just want to watch for the sake of it are just a few examples of the many

diverse types of viewers. No matter your age, ethnicity, religion, gender, political beliefs, or

financial condition, you may reach any of these groups. Audience members can interact with

27
actors onstage by sharing their feelings and unique experiences. Audiences also recall their

own experiences afterward. Without a crowd, theater would not be conceivable. Artists in

various areas use their bodies, voices, and instruments to communicate with their audiences

and to impart emotion, narrative, and knowledge. Throughout history, the performing arts

have had a tremendous impact on human culture. Artists who perform in front of an audience

are known as performers. Performers including actors, comedians, dancers, magicians,

musicians, and singers are among them. A person's confidence is boosted and they are able to

experience self-expression thanks to the various ways that music, dance, and theater engage

their brains, bodies, and emotions.

28
Schedule: Operating Hours/Days

Sunday Monday Tuesday Wednesday Thursday Friday Saturday

Theater 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

10:00AM - 10:00AM - 9:00PM 9:00PM 9:00PM - 9:00PM

9:00PM 9:00PM

Meeting rooms/multi- 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

purpose area 9:00PM 9:00PM 9:00PM 9:00PM 9:00PM - 9:00PM

Visitors Center 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

9:00PM 9:00PM 9:00PM 9:00PM 9:00PM - 9:00PM

Administration office 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

9:00PM 9:00PM 9:00PM 9:00PM 9:00PM - 9:00PM

Support 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

facilities/Ancillary 9:00PM 9:00PM 9:00PM 9:00PM 9:00PM - 9:00PM

Café 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

9:00PM 9:00PM 9:00PM 9:00PM 9:00PM - 9:00PM

Small Museum 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

9:00PM 9:00PM 9:00PM 9:00PM 9:00PM - 9:00PM

Gallery/Changing 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

Exhibit Area 9:00PM 9:00PM 9:00PM 9:00PM 9:00PM - 9:00PM

Souvenir Shop 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

9:00PM 9:00PM 9:00PM 9:00PM 9:00PM - 9:00PM

Parking 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM - 10:00AM Closed

9:00PM 9:00PM 9:00PM 9:00PM 9:00PM - 9:00PM

29
Profiling of Users

Local Residents

Those who are residing in Camiling legitimately are those who are likely to visit the

facility.

Young individuals

These are the people who have expertise or who easily pick up diverse hobbies and

talents, making them the ones who frequently utilize the venue and will enthusiastically

promote the performances.

Elders

Because of their older years, they often visit the facility fewer times, but some

individuals do so on sometimes to prevent boredom at their homeland. Yet, it is entirely the

responsibility of individuals how often they view what they choose to take in.

Tourists

Visitors from various regions or nations that are interested in attending plays.

Person with Disability (PWD)

They are the ones with the disability, ensuring access for all people with disabilities

so that they feel respected and never left out.

Administrative and Secretarial Department

By handling administrative assignments and tasks in the center, the administrative

staff contributes to the efficient operation of the offices.

30
Cultural Groups

A cultural community is simply described as a group of people who have a common

set of beliefs, way of acting, and values.

Students

Since the site is beside the school, many students would go and visit the place owing

to the fact that students like to hang out and have fun with their friends after afternoon

classes.

Organizational Chart

Theater Admin

Museum/Art Gallery Department

31
 CHAPTER 4: SITE PROFILE AND ANALYSIS

Macro – Micro Discussion of Site

Macro Site Analysis:

Location:

The corner lot is in Camiling, Tarlac, directly in front of the hospital [Señor Sto Niño

Hospital Inc.] This location is suitable for a performing arts theatre considering it provides

outstanding visibility and accessibility. It is encircled by many establishments such as a

church, stores, cafes, schools, and other amenities, which adds to its allure and potential of

the site.

Coordinates: 15°41'19"N 120°24'52"E

Accessibility:

Considering the lot sits in front of the hospital and serves as a public Plazuela, it is

quite visible and easily accessible. It gains from the steady stream of visitors and tourists.

Furthermore, the proximity of adjacent businesses like shops, cafes, schools, and a church

improves accessibility and convenience for potential theatre patrons. The constant flow of

people visiting the establishments surrounding the location creates opportunities to attract a

diverse audience.

Surrounding Establishments:

A performing arts theater benefits from being close to many establishments. A

neighboring church may draw a steady stream of locals who are interested in attending

32
cultural and artistic events. Theatergoers can benefit from the nearby shops and cafes, which

offer pre- or post-show meal options and shopping possibilities. Schools in the neighborhood

may work with the theater to put on educational programs or shows, which is another benefit

of their presence.

Size and Dimensions:

With its dimensions of 100x200, the lot offers a total space of 20,000 square meters.

The development of a big performing arts theatre that can accommodate a large number of

spectators and has room for backstage amenities, dressing rooms, storage, and technical

equipment is made possible by its vast size.

Situational and Behavioral Analysis

The project known as the 'Community Performing Arts Center' is situated on a corner

lot facing the Senor Sto. Nino Hospital, situated within an open field/area. It is widely

recognized that Camiling is among the rapidly developing towns in the province, yet it is also

susceptible to flooding, as it is located in one of Tarlac's flood-prone areas. The project team

has taken into account the local population's needs and has presented the initiative to the

municipality, emphasizing the area's unique advantages. The vision for the Performing Arts

Center is to establish it as a cornerstone of the community, a place where the arts can thrive,

and residents can find their true artistic expression. The objective is to create a perfect venue

for performances and presentations, fostering an environment where artists and cultural

enthusiasts can showcase their talents, share their stories, and celebrate the rich artistic

heritage of the region. Through this endeavor, the aim is not only to nurture artistic

expression but also to preserve and promote the unique cultural traditions, ensuring their

continuity for future generations. The center will stand as a testament to the community's

33
dedication to the arts and culture, offering a platform for growth, creativity, and the unifying

influence of the performing arts.

Topography

To determine whether the lot's topography is suitable for erecting a performing arts

theatre, it should be examined. To provide a solid and useful location for the theatre, any

sizable slopes or unlevel ground may need to be graded or level in. Additional to the research

gathered.

Elevation of Camiling, Tarlac, Philippines

Location: Philippines > Central Luzon > Tarlac >

Longitude: 120.418252

Latitude: 15.6871913

Elevation: 18m / 59 feet

Barometric Pressure: 101KPa

Orientation and Views:

The project has considered how the lot is oriented to maximize natural sunlight and

ventilation in the theatre. The architecture of the theatre also took advantage of the

surrounding vistas, such the hospital, churches, or local green areas, to improve the

audience's entire experience. Infrastructure and Utilities: To make sure they can sustain the

activities of a performing arts theatre, the availability of infrastructure and utilities, such as

electricity, water supply, and sewage systems, the researchers have evaluated and considered

34
the following. Upgrades or extra connections may need to be considered, if necessary.

Parking and Accessibility: There is enough parking available to accommodate the anticipated

number of theatergoers. To ensure diversity, the theater's design should also include

accessible elements like ramps and special seats for people with impairments.

Historical Background of Site

With its history, the site has always been a destination for enjoyment and

amusement, where a fun fair, or "peryahan," is held. This occurred as a major holiday or

fiesta was approaching.

Throughout the years, Camiling has been considered as a flood-prone area. The town

is in the low-lying areas of Tarlac province, making it susceptible to flooding during heavy

rains and typhoons. The Pampanga River also runs through the municipality, further

increasing the risk of flooding. There are recent records such as the onslaught of Typhoon

Ompoong in 2018 that affected many lives and drowned the whole place with its massive

flood.

In 2021, the Department of Public Works and Highways completed flood control structures

along the river of Camiling, which is one of the places in the Tarlac province identified by the

National Disaster Risk Reduction and Management Council as flood prone. Tarlac 1st

District Engineer Erelina B. Santos stated that the reoccurrence of flood has not only affected

the lives of people but also their properties and discouraged long-term investments.

“Camiling is considered as one of the fastest-growing towns of the province but is also one of

the areas in Tarlac that is prone to flooding. Out of its 61 barangays, the Mines and

Geosciences Bureau-Regional Office III has tagged 22 barangays with high susceptibility to

flooding, and by constructing flood control structures, this may help in preventing any

negative socio-economic impacts of floods such as loss of lives, property, and livelihood,”

35
Tarlac 1st District Engineer Erelina B. Santos said on Thursday the recurring flooding not

only affects the lives and properties of the residents but also often discourages long-term

investments.

“Camiling is considered as one of the fastest-growing towns of the province but is also one of

the areas in Tarlac that is prone to flooding. Out of its 61 barangays, the Mines and

Geosciences Bureau-Regional Office III has tagged 22 barangays with high susceptibility to

flooding, and by constructing flood control structures, this may help in preventing any

negative socio-economic impacts of floods such as loss of lives, property, and livelihood,”

Santos said in an official social media post. In Addition to her words that the project intends

to protect the riverbank from scouring and erosion as well as to protect the national road from

damage and flooding. It will also ensure the continuity of economic and social activities in

the community.

However, in the year of 2023. A typhoon named "Egay" ravaged the municipality. Strong

currents of water and heavy rainfall damaged a portion of the slope protection of the

Camiling River in Tarlac.

According to the Malig, Jun A. of Inquirer, stated that in a social media post on Friday night,

DPWH RO3 said District Engineer Neil Farala initiated a sandbagging operation along the

river at Cacamilingan village in Camiling town “to mitigate the impact of the flooding.”

It said the flood caused by Typhoon Egay has affected residents and motorists in the said

village in Tarlac. “Affected residents have been advised to remain vigilant and take necessary

precautions, particularly during heavy rainfall, to ensure their safety. The DPWH is actively

working to address the issue and restore the slope protection to its proper functionality,” the

DPWH RO3 said. The damaged slope protection is around 50 meters long.

36
Strength:

● A sense of belonging and support can be fostered by the existence of adjacent

institutions such as schools, churches, and hospitals.

● Schools, churches, hospitals, parks, and other nearby facilities can attract a

large audience and create opportunities for educational collaboration.

● The center may bring in tourists who are keen to discover the region's rich

cultural legacy, stimulating the local economy.

● Due to the nearby buildings' ample parking and transportation options,

attendees of events may find it convenient to do so.

The facility has the potential to become a recognized icon in the community,

promoting both international and domestic travel.

Weaknesses:

● The limited funding alternatives for cultural programming may have an impact

on the center's capacity to sustain itself.

● Performances and rehearsals may be hampered by noise and interruptions

from nearby buildings and activities.

● Parking spots, resources, and audience attention could all be in competition

with one another, which could affect how the center operates.

● Since it is surrounded by different establishments, the site is prone to noise

from roads and surroundings.

● A historic building and its amenities' upkeep might be expensive.

Opportunity:

37
 ● The center's reach can be increased by embracing internet channels for

marketing, virtual events, and fundraising.

● Working with nearby companies can help the center financially while also

raising its profile.

Threats:

● Due to the Philippines' tropical environment, events may be disrupted and

damaged by typhoons and heavy rains.

● Operations and revenue streams might be affected by unforeseen occurrences

like pandemics.

● Typhoons or pandemics can disrupt business operations and revenue streams.

38
Detailed Landslide and Flood Hazard Map

Existing Land Use Plan

39
Vicinity Map and Location Map

40
’

Site Analysis and Assessment (SWOT)

Strength:

● A sense of belonging and support can be fostered by the existence of adjacent

institutions such as schools, churches, and hospitals.

● Schools, churches, hospitals, parks, and other nearby facilities can attract a large

audience and create opportunities for educational collaboration.

41
 ● The center may bring in tourists who are keen to discover the region's rich cultural

legacy, stimulating the local economy.

● Due to the nearby buildings' ample parking and transportation options, attendees of

events may find it convenient to do so.

● The facility has the potential to become a recognized icon in the community,

promoting both international and domestic travel.

Weaknesses:

● The limited funding alternatives for cultural programming may have an impact on the

center's capacity to sustain itself.

● Performances and rehearsals may be hampered by noise and interruptions from

nearby buildings and activities.

● Parking spots, resources, and audience attention could all be in competition with one

another, which could affect how the center operates.

● A historic building and its amenities' upkeep might be expensive.

Opportunity:

● The center's reach can be increased by embracing internet channels for marketing,

virtual events, and fundraising.

● Working with nearby companies can help the center financially while also raising its

profile.

Threats:

● Due to the Philippines' tropical environment, events may be disrupted and damaged

by typhoons and heavy rains.

42
 ● Operations and revenue streams might be affected by unforeseen occurrences like

pandemics.

● Typhoons or pandemics can disrupt business operations and revenue streams.

On-Site Documentations

43
44
45
46
47
 CHAPTER 5

GENERAL INFORMATION ON THE SPACE REQUIREMENT

Sub Spaces
Space Requirements Dimension (Minimum) and
Capacity

Administration Office Single Room: 4m x 5m ● Director’s Room

Team: 5m x 8m (Single Room)
○ Storage
○ Desk Area
● House Management
Room
each room requires:
○ Restroom
○ Kitchenette
○ Storage/Closet
○ Waiting area
○ Cubicle workspace
● Stage Management
Room
● Set Designer Room
● Technical Room
● Coordinators Room
(Costume, Props, Make
up)

Cafe Shop 300 sq. m / 15m x 20m ● Kitchen/Bakery

20-30 pax ● Restroom
● Storage Area
● Counters/Cashier
● Dining Area
Comfort Room Men’s Toilet ● Men’s Toilet
75 sq. m / 7.5m x 10m ● Women’s Toilet
15-30pax ● - Lactation Space
● PWD Toilet
Women’s Toilet ● Storage (Cleaning
75 sq. m / 7.5m x 10m materials)
15-30pax

PWD Toilet
6 sq. m / 3m x 2m
Gallery/ Changing Exhibit 150 sq. m / 10m x 15m ● Seating area
Area 20-30 pax ● Art storage
● Gallery space
● Exhibition Walls
Lounge 144 sq.m / 12 x 12m ● Seating area

48
 7-10 pax ● Games and Recreation
Meeting rooms/ 100 sq. m / 10m x 10m ● Conference room
Multipurpose area 20-30pax ● Convention hall
Parking 4140 sq m ● Driveway
230 Parking Lot ● Public Parking
● Service Parking
Parking space requirements ● PWD Parking
The size of the average
parking area is 2.5m x
5m for perpendicular or
diagonal parking.

2.15m x 6m for parallel

parking.

3.6m x 18.0m for

Articulated Truck with
12.0 m container

3.0m x 9.0m for

Jeepney

3.7m x 5.0m for

Disabled

Public Parking

900 sq. m area lot

Service Parking

1,700 sq.m area lot

Driveway: 6m width

Small Museum ● Collection/

225 sq m / 15m x 15m ArtifactsArea
● Ticket Counter
20-30 pax ● Office

Souvenir Shop ● Counter

100 sq m / 10 m x 10m ● Display Area

20-30 pax

Support Facilities 1000 sq. m area ● Control Room (Light

and Sounds)

49
 ● Electrical
● Backstage
● Dressing Room
● Green Room
● Rehearsal Room
● Storage Room
● Private Toilet / Uni-
Sex
● Laundry/Shower
● Workshop
● Make-Up Room
1,750 sq. m / 35m x 50m ● Auditorium
Theater 500 seats auditorium ● Stage

Stage: 20m x 15m

Visitors Center 90 sq. m / 9m x 10m ● Seats and Tables
20-30 pax ● Display Area

Listing of Rooms

Space Requirements Type of Space Quantity (Rooms)

Administration Office Private 6

Cafe Shop Public 1

Toilet/Comfort Room Public 3
Gallery/ Changing Exhibit Public 1
Area
Lounge Public 1
Meeting rooms/ Private 1
Multipurpose area
2
Parking Public

Small Museum Public 1

Souvenir Shop Public 1
Support Facilities Private 12
1
Theater Private

Visitors Center Public 1

Number of users per room

Theatre

50
 Room/Spaces No. of Users

Coordinators Room
● Costume 3
● Props 3
● Make up 3

Director’s Room 1

Dressing Room 6

Electrical 2

Green Room approx. 10

House Management Room

● Manager 1
● House Staff 2
● Box Office 1
● Publicity 1

Laundry/Shower 1

Lights 2

Make-Up Room 10

Private Toilet / Uni-Sex 1

Rehearsal Room approx. 30

Set Designer Room

● Construction Crew 5
● Decorating Crew 5

Sound Room 2

Stage Management Room 5

Workshop approx. 20

List of Furniture and Equipments Per Room

SPACE REQUIREMENTS FURNITURES FIXTURES

Administration Office Desks Ceiling lights or fixtures

Chairs HVAC vents or diffusers
Computers Electrical outlets

51
 Filing cabinets Wall-mounted shelves or storage
Office supplies Window blinds or curtains
(pens, paper, etc.)
Printers/scanners
Telephone systems

Cafe Tables and chairs Pendant lights or chandeliers

Coffee machines Ceiling fans (if applicable)
Counters and display Kitchen hood and ventilation
cases systemSinks and faucets
Fire suppression system (e.g.,
Refrigerators
sprinklers)
Dishwashers
Cash registers
Food preparation
equipment

Meeting rooms/ Conference tables Ceiling-mounted projectors

Multipurpose area Chairs Recessed lighting or pendant lights
Projectors/screens Electrical outlets
Whiteboards or flip Whiteboards or chalkboards
HVAC vents or diffusers
charts
Audiovisual
equipment
(microphones,
speakers)
Video conferencing
equipment

Small Museum Display cases Track or spotlights for exhibits

Museum lighting Glass display cases
Audio guides or Security alarms and sensors
signage Fire suppression system (e.g.,
sprinklers)
Artifact storage and
cataloging systems

Gallery/Exhibit Area: Display walls or Security cameras (if applicable)

panels Gallery track lighting
Art lighting
Pedestals or plinths
for art pieces
Security systems
(cameras, alarms)
Exhibit signage

52
 Souvenir Shop Shelving units Security systems (e.g., anti-
Display racks shoplifting devices)
Cash registers Retail shelving and display
Point of sale systems
Souvenir
merchandise

Support Facilities Maintenance Storage room shelving

equipment (vacuums,
cleaning supplies)

Seating (chairs or Auditorium Chair

Theater benches) Split Type Aircon
Lighting and sound Electrical Fixtures
systems Door
Fire Sprinkler
· Effect Fogger
Sound System
Laser Light Stage
· Effect Light CCTV
· Moving Head Light

Visitors Center Information desk Visitor center desk or kiosk

Brochure racks Ceiling or wall-mounted lights
Interactive displays Brochure holders or displays
Visitor maps and
guides

Concessions Counters and display Concession counter or bar

cases Food prep and storage fixture
Food preparation Pendant or recessed lighting
equipment

Box Office Ticket counters Ticket booth or counters

Ticketing systems Ticket windows with security glass
(computers, printers) Electrical outlets for ticketing
equipment

Parking Benches Lighting Fixtures

Trashcan CCTV
Signage and Lane Light
wayfinding LED Lights

Lounge Sofas and armchairs Ceiling lights or fixtures

Coffee tables Electrical outlets
Side tables
Lighting (floor
lamps, table lamps)
Decorative elements

53
 SPACE PROGRAMMING/INTERRELATIONSHIP DIAGRAMS

A space matrix or diagram is a valuable tool for efficient facility planning and design.

It optimizes space utilization, enhances workflow, and ensures cost efficiency by visualizing

space allocation, helping to plan layouts, and identifying underutilized areas.The effective

and efficient use of floor space is ensured through space planning. If done properly, it also

considers all possible applications for a certain field.

General Space Requirements

Theater

54
 Bibliography

Jean-Claude Carrière Theatre | A+Architecture | Archello. (n.d.). Archello.

https://archello.com/project/jean-claude-carriere-theatre

Jackson. (2011). Building Community: Making Space for Art. Urban Institute Building

Community. Retrieved August 30, 2023, from https://core.ac.uk/download/pdf/71356926.pdf

Politics, environment, education, trending | Inquirer.net. (n.d.). Copyright (C) 2001-2023

INQUIRER.net. https://newsinfo.inquirer.net/1809212/strong-currents-damage-camiling-

rivers-slope-protection-in-tarlac%20https://www.google.com/url?

sa=t&source=web&rct=j&opi=89978449&url=

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"SEMECARPUS CUNEIFORMIS Blanco 'LIGAS'" , BPI Philippines, Government of the

Philippines, on 2011-07-20, retrieved 2009-02-04

"Ligas, Semecarpus cuneiformis: Philippine Medicinal Herbs". StuartXchange. Pulang Lupa

Foundation Inc. & the Art Guild for Education and Communication Foundation Inc.

"Poverty incidence (PI):". Philippine Statistics Authorit y. Retrieved December 28, 2020.

"Camiling: Average Temperatures and Rainfall". Meteoblue. Retrieved 5 May 2020.

Camiling – 1st District of Tarlac. (n.d.). 1st District of Tarlac.

http://tarlacfirst.com/municipalities/camiling/?fbclid=IwAR2fD_46-5CYK6lB2p8_-

S1Q38iD-L40rBNeNBghJA-9hMAzLxiJ4j7RIeU

Think Hazard - Tarlac. (n.d.). https://thinkhazard.org/en/report/24224-philippines-region-iii-

central-luzon-tarlac

Republic Act. (n.d.). https://republicact.com/docs/statute/1019/pd-1096-national-building-

code-philippines#!

Time Saver Standards For Building Types : Free Download, Borrow, and Streaming : Internet

Archive. (2015, October 6). Internet Archive.

https://archive.org/details/TimeSaverStandardsForBuildingTypes

Who works in a theatre? (n.d.-b). Theatres Trust. https://www.theatrestrust.org.uk/discover-

theatres/theatre-faqs/253-who-works-in-a-theatreTTHEATRE JEAN-CLAUDE CARRIERE

(Montpellier) | Montpellier Tourism. (2023, May 4). Montpellier Tourism.

https://www.montpellier-france.com/stay/leisure-and-activities/all-leisure-and-activities/

theatre-jean-claude-carriere-montpellier-en-3834951/

56
Dix, D. (2018). Theater Acoustics Design Tips. AVANT ACOUSTICS.

https://www.avantacoustics.com/theater-acoustics-design-tips/

Member Profiles

Name: Capala, Jhon Rodolph David

Age: 19 years old

Home Address: 85 Block 5, Barangay San Manuel, Tarlac

City, Tarlac

Birthdate: March. 03, 2004

Email: jr.capala00999@student.tsu.edu.ph

Contact Number: 0956-433-8630

Name: Salise, Ken Salas

Age: 19 years old

57
Home Address: 83 Atis Street, Purok 4 Minane, Concepcion, Tarlac City, Tarlac

Birthday: June. 01, 2004

Email: k.salise00554@student.tsu.edu.ph

Contact Number: 0906-148-5002

Name: Simeon, Aldrin Arcilla

Age: 19 years old

Home Address: 61 McArthur Highway, Sapang Tagalog,

Tarlac City, Tarlac

Birthdate: May. 16, 2004

Email: a.simeon00023@student.tsu.edu.ph

Contact Number: 0912-990-1716

58