Editing Entertainment (section)

=== Architecture for entertainment ===
Purpose-built structures as venues for entertainment that accommodate audiences have produced many famous and innovative buildings, among the most recognisable of which are [[Theatre (structure)|theatre structures]].<ref>{{cite book|last=Newhouse|first=Victoria|title=Site and sound: the architecture and acoustics of new opera houses and concert halls|year=2012|publisher=Monacelli Press|location=New York|isbn=978-1-58093-281-3}}</ref> For the ancient Greeks, "the architectural importance of the theatre is a reflection of their importance to the community, made apparent in their monumentality, in the effort put into their design, and in the care put into their detail."<ref>Green, J.R. "The Theatre of Paphos and the Theatre of Alexandria: Some First Thoughts" in {{cite book |title=The Library of Alexandria |year=2002 |publisher=The American University in Cairo Press |location=Cairo |isbn=978-977-424-710-1 |editor=MacLeod, Roy}} p. 115.</ref> The Romans subsequently developed the stadium in an oval form known as a [[Circus (building)|circus]]. In modern times, some of the grandest buildings for entertainment have brought fame to their cities as well as their designers. The [[Sydney Opera House]], for example, is a [[World Heritage Site]] and [[The O₂ (London)|The O₂]] in London is an entertainment precinct that contains an indoor arena, a music club, a cinema and exhibition space. The [[Bayreuth Festspielhaus]] in Germany is a theatre designed and built for performances of one specific musical composition.

Two of the chief architectural concerns for the design of venues for mass audiences are speed of egress and safety. The speed at which the venue empty is important both for amenity and safety, because large crowds take a long time to disperse from a badly designed venue, which creates a safety risk. The [[Hillsborough disaster]] is an example of how poor aspects of building design can contribute to audience deaths. [[Sightline]]s and [[acoustics]] are also important design considerations in most theatrical venues.

In the 21st century, entertainment venues, especially stadia, are "likely to figure among the leading architectural genres".<ref>{{cite book|last=Sheard|first=Rod|title=Sports Architecture|year=2001|publisher=Spon Press|location=London|isbn=978-0-419-21220-1}} p. xvi.</ref> However, they require "a whole new approach" to design, because they need to be "sophisticated entertainment centres, multi-experience venues, capable of being enjoyed in many diverse ways".{{sfnp|Sheard|2001|p=xvi}} Hence, architects now have to design "with two distinct functions in mind, as sports and entertainment centres playing host to live audiences, and as sports and entertainment studios serving the viewing and listening requirements of the remote audience".{{sfnp|Sheard|2001|p=xvi}}

<gallery class="center" widths="180" heights="150" caption="Architecture for entertainment">
File:Colosseum in Rome, Italy - April 2007.jpg|[[Colosseum]], Rome (70–80&nbsp;AD), Roman venue for mass entertainment
File:Palais Garnier's grand salon, 12 February 2008.jpg|The Grand Foyer in the [[Palais Garnier]], Paris (1875), influenced architecture around the world.
File:Maracana-predefinicao.jpg|[[Estádio do Maracanã|Maracanã]], Rio de Janeiro, at inauguration (1950) the world's largest stadium by capacity
File:Flamingo Spa Vesipuisto.jpg|[[Flamingo, Finland|Flamingo Entertainment Centre]], [[Vantaa]] (2008), includes a variety of entertainment activities (e.g. a cinema, [[spa]], [[bowling]], [[laser game]]s, virtual experiences), 40 different stores and a hotel.<ref>{{cite web |url=http://www.kauppakeskusyhdistys.fi/attachements/2013-02-12T08-24-17189.pdf |title=Kauppakeskukset: Finnish Shopping Centers 2013 |author=<!--Staff writer(s); no by-line.--> |date=12 February 2013 |website=Kauppakeskusyhdistys |publisher=Suomen Kauppakeskusyhdistys ry |access-date=15 June 2020 |archive-date=16 October 2013 |archive-url=https://web.archive.org/web/20131016075214/http://www.kauppakeskusyhdistys.fi/attachements/2013-02-12T08-24-17189.pdf |url-status=dead }}</ref>
</gallery>