• adamwildi

The Challenges of - Limited finance for a theatrical commercial venue.

Updated: Dec 18, 2020

Lack of a suitable temporary replacement venue

Producers cannot put on the productions they want to, globally.


‘Smart’ Venues


A solution (shown above) is a design we developed last year at the Serious Group of companies in Hong Kong, called TH 2.4:

Flexible solutions for an expanding market

Creates new opportunities for long term, big production and touring shows

A demountable but permanent, fully attenuated venue



Am I talking about the future of theatrical architecture? Yes and no. Look at the Bridge Theatre in terms of its internal flexibility and technical brevity. Look at Garsington (pictured here), built spectacularly on a shoestring by Unusual; also the various touring Globe Theatre concepts worldwide.

What I am saying is that for years the live event fraternity have been innovating, engineering- wise, to make extraordinary and cost-effective shows and buildings. This makes us uniquely qualified to provide the venues that the industry needs.


The venues just mentioned are indoor-outdoor structures. TH2.4 is a climate-controlled fully attenuated building putting it in a different league cost-wise.


So, talking about cost... As we know, a new build theatre complex can cost a fortune and it isn’t demountable; a relatively modest figure would be $120million (US Dollars).


TH2.4 (shown above), full spec, can be realised for less than a third of that, and the audience member will get the same performance experience.


In conclusion, we are saying that modern, event-based, fast track engineering techniques can produce innovative and sustainable, cost-effective venues that will provide for audiences that are otherwise deprived in one way or another.


Adam Wildi is a consultant and project director engaging with artists, architects, developers and engineers to provide
Public Realm installations, pavilions and interventions.