citizen

Yes indeed - what ever happened to the stake hitch - I for one think that it has been a tremendous loss - especially since it caught the attention of children and interested them in the arts - and now gone - hopefully to return - but a generation has been sacrificed

clipper

Be sure and read the comments at the end.

http://www.dallasnews.com/sharedcon...ng.3f4df14.html

DFWCRE8TIVE

The Winspear chandelier:

http://www.kera.org/artandseek/cont...ar-opera-house/



The Winspear curtain:

http://www.nytimes.com/2009/10/04/a...ign/04spea.html

Mikle

Great finds; thank-you for posting. Dallas should be very proud of these new additions to the arts district.

DFWCRE8TIVE

Some stress patience as arts center raises hopes for Dallas' downtown
12:39 AM CDT on Sunday, October 11, 2009
By DAVID FLICK / The Dallas Morning News
dflick@dallasnews.com
http://www.dallasnews.com/sharedcon...wn.424631d.html

The new AT&T Performing Arts Center, sprawling across 10 acres of lawn, is big by any standard. The Arts District to which it will be officially joined Monday is the largest in the country.

Yet the entire 68-acre district represents only about 8 percent of Dallas' downtown.

Therein lies the city's biggest challenge in the long march toward revitalizing the center city.

Local urban planners note that the AT&T center is just one of several significant developments happening – or about to happen downtown.

Blocks away from the Arts District, another urban park is nearing completion, several new restaurants are preparing to open and a new hotel just came online. And many more projects are in the works.

But in the vastness of the city's Central Business District, about 832 acres, each one is too far apart to create the joint excitement – or simply the foot traffic – that will create a livable, walkable downtown.

"Until recently, I think that people couldn't see beyond their own noses," said John Crawford, president and CEO of the Downtown Dallas Association. "We had things happen in different areas, and the question now is how to connect them."

The opening of the Winspear Opera House and the Wyly Theatre has attracted the international attention of urban planners and critics. Virtually all, so far, have taken the occasion to lecture local leaders on one of the fundamental tenets of new urbanism, the concept that cultural palaces alone will not create a vibrant city center.

An architectural review in last week's Los Angeles Times was representative: "What's dated here ... is the district's organizing principle – the idea that grouping together institutions for the arts and recruiting an all-star team of leading architects to design them, remains a viable means of coaxing underdeveloped urban neighborhoods to life."

'Give it a chance'

To Crawford, such judgments miss the point.

While the monumental buildings of the Arts District cannot resurrect downtown on their own, he said, they can attract smaller businesses and residents that will eventually do so.

"I read what's been written so far and people say, 'Well, it's a nice district, but this is not going to do anything to help the surrounding area,' " Crawford said.

"My response is to give it a chance. We don't know what's going to happen yet. This takes time. It's not instant gratification."

...

lakewoodhobo

Loved the special coverage in the Sunday paper, so much that I bought my first tickets today. Can't wait till November 14!

Kelley USA

I haven't seen this rendering posted yet of the City Performance Hall...

http://www.som.com/local/common/mod...13&ImageIndex=8

DFWCRE8TIVE

Winspear Opera House: Sleek venue welcomes patrons with sonic, visual intimacy
02:16 PM CDT on Sunday, October 11, 2009
By SCOTT CANTRELL / The Dallas Morning News
scantrell@dallasnews.com
http://www.dallasnews.com/sharedcon....4bc18e2.htm l

The Winspear is a huge presence, spreading a finned sunscreen far beyond its functional footprint. The ruby-red inner drum, rising through the lobby and projecting above, is the Arts District's sole splash of color – and one of far too few anywhere near downtown.

But the Winspear, in effect a sleek modern interpretation of a Greek temple with portico, is also by far the most welcoming building in the Arts District.

That sheltering canopy, 60 feet above placid lawns punctuated with patches of native grasses and wide walkways, draws us in. So does the expanse of ground-to-roof glass wrapping a lobby crisscrossed with free-floating staircases that spin out multiple terraces. Glowing night and day, the red-glass core exudes excitement and mystery.

"Very much at the heart of what we're trying to do," says Spencer de Grey, an opera fan who headed Foster + Partners' design team for the Winspear, "is making the building not one that you have to pluck up your courage and enter, but very transparent."

That part of the design looks like an unqualified success, although visitors will ever wonder why the canopy fins vary so much in density. (Their main purpose is to shade the building from the blazing Dallas sun; they're sparer on the fringes.)

And bully for de Grey's insistence that even patrons parking in the underground garage enter the opera house through the same front doors as people walking in off the street. The elevators and escalator from the garage open into a glass-roofed porte-cochère leading into the lobby.

Apart from that ruby-red drum, rotated off the entrance axis, everything in the lobby is silver or gray. But stand just about anywhere on the ground floor and look up, and you'll see a lively counterpoint of grids and fan shapes. If the building draws you in from outside, on the inside it seems to draw all of Dallas inside, too. Views in all directions are exhilarating.

On the east side of the lobby will be a cafe, with three sections of glass wall that can be raised for an 84-foot opening to the outdoors. Above will be a sit-down restaurant, with smart flying-saucer lights hung overhead. A compact lecture-and-performance hall opens to the lobby and the outdoors.

But an opera house is only as good as its sightlines, acoustics, stage and backstage amenities.

Inside the Winspear, de Grey, acoustical consultant Robert Essert and Theatre Projects Consultants agreed on the time-honored horseshoe opera-house shape, with four levels of wraparound balconies above the orchestra floor. Unlike many older houses, though, this one should provide good sight lines from virtually every seat.

On Wednesday afternoon, onstage conversations were clearly audible in the highest seat of the top balcony. Heavy curtains can be drawn into the hall to deaden the sound for amplified speech or music.

The orchestra pit can be raised and lowered in two sections, to accommodate anything from a compact baroque-opera orchestra to 100 instrumentalists for Wagner and Strauss. Raised to floor level, it can add 100 seats to the 2,200 seat count.

That's a third fewer than at Fair Park Music Hall, the Dallas Opera's home for all 52 of its previous seasons, but it yields far better visual and sonic intimacy. Compared to the Music Hall, the Winspear feels downright cozy, although acrophobes will avoid the upper balconies.

Visually, though, after all the lobby's openness and energy, the interior is a drab brown letdown. Lighted by cylindrical sconces, the silvery gold leaf on the rippling balcony fronts is a nice touch, but the dark brown walls behind sap the soul.

The boldly grained walnut floors and seat backs are handsome, but the sloping aisles may prove hazardous to slick-soled shoes and vulnerable to high-heeled assaults. After the luxurious rocking seats at the Music Hall, the Winspear's crisply angled versions are very European – stiff and upright.

As yet unseen are the stage curtain, decorated with colored squiggles by Argentine artist Guillermo Kuitca, and the chandelier, an inverted cone of 320 lighted acrylic tubes that can retract into pinpricks of light.

How the Winspear meets its ultimate acoustical tests won't be known until this week's first performances, and, really, until the Dallas Opera mounts its season-opening Otello, starting Oct. 23. But reports from an initial tryout rehearsal are glowing.

DFWCRE8TIVE

Wyly Theatre: Top to bottom, a vertical display of industrial rawness
02:24 PM CDT on Sunday, October 11, 2009
By DAVID DILLON / Special Contributor to The Dallas Morning News
http://www.dallasnews.com/sharedcon...n1.4bc2ac5.html

The Wyly packs a lot of architectural punch into a small space. At nine stories – roughly 130 feet – it looks much taller than it is. That's because a little height goes a long way in the horizontal Arts District and because its silvery aluminum skin flows upward to a line of skyscrapers in the background, borrowing height from its neighbors.

Knowing that the Wyly could be upstaged by the Meyerson Symphony Center and the Winspear, architects Rem Koolhaas and Joshua Prince-Ramus chose to go up rather than out, stacking lobby, stage, costume shop and offices on top of one another like hat boxes. Koolhaas has been playing the vertical city game since the publication of Delirious New York in the 1970s, and here was his chance to try it in the Wild West.

It is an unconventional plan, intriguing and high-risk, and right now it's impossible to know whether to grade it an "A" or an "F." The Wyly has been designed as a machine for performance that will challenge directors and probably confound some patrons with its industrial rawness and tight interior spaces, especially the single narrow staircase connecting lobby to main stage and a set of small, pokey elevators.

The moment you walk down the dust pan ramp from Flora Street to the lobby –one of the strangest theater entrances ever – you feel you've entered an engine room. No sofas and swag and warm soothing colors; only concrete floors and walls, sleek aluminum canopies and bare fluorescent tubes hanging from the ceiling like Luke Skywalker light sabers. This is tough, take-that architecture, uneven in its craftsmanship – the perfect joint has never been Koolhaas' grail – yet executed with admirable consistency from bottom to top. It's not just another trendy decorator touch, but a total aesthetic.

The main stage, seating 600, is directly above and packed with winches, pulleys, cables and catwalks. Seats can be flown up to the ceiling at the touch of a button; the stage floor can be configured from flat, proscenium or thrust in a few hours.

One explanation for all this machinery is that it's faster and cheaper than hiring an army of stagehands. Another is that Koolhaas and Prince-Ramus love hitting technical licks, whether for a public library in Seattle or a Prada boutique in Greenwich Village.

The architects point out that much of the technology is now standard in arenas and convention centers, that it's just a step or two beyond the automated garage door. Yet garage doors stick and cables break and sometimes technology gets too expensive. The Wyly's original design called for the lobby walls to fold up so that audiences could spill out onto the plaza during intermission; they've now been replaced with simpler and cheaper pivot doors. As with the sloping entrance and the narrow stairs, we'll have to wait and see.

The Wyly is an edgy presence in a subdued limestone and travertine neighborhood. Corners peel back, exposing massive X braces that support floors cantilevered at gravity-defying angles. Koolhaas prizes provocative over pretty – and in a 21st-century arts district, that's a healthy attitude to have.

At the same time, the Wyly tries to engage the larger city, to pull it in or frame it in new ways. At ground level, the aluminum skin gives way to large panes of glass that look out on a small landscaped plaza, a grassy plinth really, and the passing parade on Ross Avenue.

From the black box theater on the sixth floor, the view is across to the Winspear, bracketed by the Meyerson and the Booker T. Washington High School for the Performing and Visual Arts, classical music on one side, theater and dance on the other, a tableau of future possibilities.

And from the balcony of the ninth-floor rehearsal hall, neatly carpeted in green Astroturf, there's a sweeping vista to the west, taking in Guadalupe Cathedral, the brooding Trammell Crow Center and beer-bellied Hunt Oil headquarters and several steel skeletons off in the distance. Past, present and future, art and commerce, all condensed into a single image.

DFWCRE8TIVE

A list of the grand opening activities can be found here:

http://www.dallasperformingarts.org/grandopening/

Speedbump Joey

Beautiful.

DFWCRE8TIVE

Some photos I found on Flickr

Winspear Opera House:

http://www.flickr.com/photos/dallas...57622543407900/

SDORN

I have a few shot of the arts district here Taken on Oct 7, 2009

http://www.flickr.com/photos/sdorn/

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Scott Dorn
Hitting the streets with the cam
http://www.flickr.com/photos/70886669@N00/
http://homepage.mac.com/sdorn/dallas_shots
http://www.myspace.com/177586541

carousel

anyone have any renderings of the third structure that is under construction?

lakewoodhobo

The City Performance Hall looks amazingly boring compared to the Winspear and Wyly. But I'm glad it doesn't try to compete.

http://www.som.com/content.cfm/dall...erformance_hall

msutton

I like the (exterior) design better than the Wyly, actually -- but definitely agree with you on its simplicity.

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Times weighs down on you like an old, ambiguous dream. You keep on moving, trying to slip through it. But even if you go to the ends of the earth, you won't be able to escape it.
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Double Wide

I think its is a very simple design that will impress in its own right. It think it will fit in well with the other 3 theaters.

R1070

Yes all of the windows facing the street make it look very nice.

Columbus Civil

I like that design a lot.

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vman

This is the first ground level rendering I've seen. I think it looks awesome. It will be a fine addition to the district.

Double Wide

It will hold its own against Wyly and Winspear.



Speaking on Winspear. I love the Neon Red lighting that they use to spell out the theaters name. Awesome detail that adds to the building in so many ways.

cowboyeagle05

I was at the commencement and had a great time gathering a lot of content on the event. I made some quick Panorama's with my iPhone camera and Photoshop CS4. I'm still processing the content but here's the first thing done.

Both are non-dramatic or pretty panorama's meant to show how the street and the Park hard scape areas merges the venues.

I also added most of my pictures to my Flickr stream im still tagging, titling, and adding descriptions to them so you'll have to be your own guide. I did take pictures of the City Performance Hall site in its current condition as well.





I also decided not to crop this one so you can see all the stuff I captured and merged into this one image.

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MarkL2023

I don't see a single bench in your panos. That is a shame

DFWCRE8TIVE

I noticed that too. It's not much of a park without benches. Are the patrons, dressed for the performance, going to plop down on the grass? Main Street Garden has a ton of benches awaiting installation. The good thing is that this park is far enough away from residences that the grass should be dog-free and clean to sit on.

msutton

Great photos... But man, the "park" elements are pretty awful. Where are the benches? Fountains? The reflecting pool looks like an afterthought... And some more trees, along with maybe even some moderate changes in terrain, would be very, very welcome.

If it's going to look like this, why not just leave the whole thing paved with stone?

__________________
Times weighs down on you like an old, ambiguous dream. You keep on moving, trying to slip through it. But even if you go to the ends of the earth, you won't be able to escape it.
Haruki Murakami

DFWCRE8TIVE

Foster's Dallas opera house aims to break down barriers
Ed Pilkington in New York
guardian.co.uk, Wednesday 14 October 2009 17.33 BST
http://www.guardian.co.uk/artanddes...era-house-opens

When the mezzo-soprano Denyce Graves and her fellow American baritone Thomas Hampson take to the stage at the Winspear Opera House in Dallas tomorrow night, they will be marking the attempt by the British-based architecture firm Foster + Partners to design an opera theatre for the 21st century.

The singers will stand before a capacity audience of 2,300 in Lord Foster's purpose-built oval design, the first opera house by his firm. With the project, the architects hope to break down elitist barriers and entice a younger, more diverse crowd.

The Winspear is the centrepiece of a $354m (£222m) art project, the AT&T Performing Arts Centre, that covers 19 blocks of central Dallas and was opened this week with events that featured Bruce Willis, singer Patti LuPone and Foster. It is billed as the most ambitious arts centre in the US since New York's Lincoln Centre, which is celebrating its 50th anniversary.

...

They reduced the number of seats from 3,300 in Dallas's old opera house to 2,200 – slightly more than Covent Garden but substantially fewer than New York's Metropolitan Opera – mainly to enhance the dramatic experience, but also partly in recognition that in this age, seats have to be larger. "People want wider seats, as basically they have bigger bottoms," de Grey said. "It's a very compact space. People can't believe it has so many seats in such a small area."

The theatre itself is swathed in 43,000 sq ft (13,110 sq m)of glass panels coloured in a rich, blood red: an inverted allusion to the deep red often found in the interior upholstery of opera houses and plastering it on the outside as a beacon. The architects avoided a grand entrance through a neo-classical portico; instead, the theatre is surrounded by a circular shade-giving canopy and a huge glass wall that can be raised in temperate times to open up the entire structure to the outside. "We have tried to prevent this being an elitist building. We wanted to create a democratic one, so that it's not an act of courage to go through the front door."

The Foster partnership hopes the Winspear will be used as a communal facility following in the footsteps of the firm's design for the Sage in Gateshead and the Great Court of the British Museum in London. But the centre has attracted some criticism. The architecture critic of the LA Times has deemed the multivenue arts complex out of date, saying the opera house and adjacent venues seem detached from one another and from the city.

lakewoodhobo

LMAO at the Brits who read this article (in their British accents): "People want wider seats, as basically they have bigger bottoms..."

sterling

Review in the New York Times for your dining and dancing pleasure today.

DFWCRE8TIVE

^

http://www.nytimes.com/2009/10/15/a...allas.html?_r=1

US75Guy

Deep in the Art of Texas
By Cathleen McGuigan | NEWSWEEK
Published Oct 2, 2009
From the magazine issue dated Oct 12, 2009


When President Eisenhower stuck a silver shovel in the dirt at the groundbreaking for Lincoln Center in 1959, he talked about America's desire to share "the good things of life with all our citizens." The architects of the arts complex apparently didn't get the message. Built on an urban-renewal site—West Side Story was filmed there just before the bulldozers arrived to tear down the tenements—Lincoln Center turned its back on the neighborhood. Its travertine, colonnaded buildings were set high on a podium with fortress-like walls, creating an Acropolis of the arts that might as well have posted a NO LOITERING sign for any Sharks or Jets still hanging in the 'hood. Patrons of opera or ballet could drive into its vast garage underneath the various performance spaces and never set foot on the surrounding mean streets.

Lincoln Center is still the country's premier cultural complex, but it's getting competition from an ambitious project in—are you ready for it, New Yorkers?—Dallas. This month the Dallas center for the performing arts is unveiling a new 2,200-seat opera house designed by Foster + Partners and an innovative theater by Rem Koolhaas and Joshua Prince-Ramus, the culmination of an ambitious plan that already includes three museums, a concert hall, and an arts high school. Dallas has managed to avoid the grandiose errors of its New York forebear with a pedestrian-friendly layout, generous public spaces, and architecture that begs for your attention. You get a sense of that openness in the new Winspear Opera House, with its gigantic drum covered in blood-red glass panels that encloses the house and backstage. Around it is a glassed-in lobby and café that will open onto a park, shaded by a four-acre solar canopy, de-signed to lure people out of the Texas sun and into the opera house. "We were very keen to break down the barriers between inside and outside," says the project architect, Spencer de Grey. "We wanted this not to be a temple to high culture but to invite everyone in."

No one would deny what a stunning addition the new theater and opera house are to the cultural landscape. The Wyly Theatre is a radical design that stacks the technical necessities above and below the performance area, rather than around it. The flexible ground-floor performing space is turned into a fishbowl, walled on three sides in soundproof glass that can open to the outdoors. But the new performing complex, which cost $354 million, is about more than art for art's sake. When the entire arts district was mapped out in a Dallas city plan in the 1980s, the site was a sea of parking lots wedged between a freeway and the business district. De Grey, a Londoner, recalls one of his first trips to Dallas, when he emerged from "a downtown restaurant at 9 o'clock and there wasn't a soul on the street." More recently, downtown has become home to young urbanites lured by gentrification; the expanded arts center has surely helped spark the trend and is expected to attract more development. "On a Saturday morning you can go downtown and everyone is out on the street, walking their dog, going to the gym," says Lawrence Speck, former dean of the University of Texas architecture school. "It's miraculous." But that miracle raises some questions: Can culture really do double duty as an urban-renaissance project? And should that be central to the mission of arts companies?

Certainly it can be—in some places. The most startling example is Bilbao, the gritty Spanish city that became the cultural equivalent of Lourdes when Frank Gehry and his shiny Guggenheim museum came to town. Two years ago the Seattle Art Museum opened the waterfront Olympic Sculpture Park; in Chicago, Renzo Piano's design for a new wing of the Art Institute included a pedestrian bridge to link it to Millennium Park. Even Lincoln Center has seen the error of its original plans. The dark, mean lobby of Alice Tully Hall has been transformed into a soaring, glassed-in space with a public bar and café that's become a hot neighborhood hangout. Elsewhere, some of the center's entrances and plazas are being remodeled. "All the gestures have to do with making good on the 'publicness' of public spaces," says Liz Diller of Diller Scofidio + Renfro, the architects overseeing the renovation. Of course, Chicago, Seattle, and New York already had a vibrant street life; opening arts buildings to the city is as much an effort to address the mistakes of the past as to alter the future. Dallas audiences will certainly explore the new complex and the surrounding public space. But weaving it all together to create a dense and urbane neigh-borhood requires more than dramatic buildings by famous architects. Ask the people in another car-centric city: Los Angeles, where the vaunted Disney Concert Hall (also by Gehry) has had almost no effect on creating a street life downtown, even though Gehry proposed a plan, never instigated, to help do just that. "It's almost impossible to design a city," Piano, architect of the Nasher Sculpture Center in the Dallas arts district, once said. "What makes a city beautiful is that it's not designed. Time makes cities beautiful."

What about the heart of the matter—the art? Clearly, the people running Lincoln Center, the Dallas center, and other cultural complexes are trying to entice audiences away from their iPods, plasma screens, and laptops. Arts institutions can't afford to be lonely islands of high culture, which is why we now have Madama Butterfly simulcast in movie theaters, and late date nights at museums. But it's debatable whether the arts themselves profit, other than at the box office. Sure, Dallas has created a destination for culture vultures, especially those who want to look at pretty buildings. But what about what's going on inside? All those millions could buy a lot of topflight performing talent and galleries full of art. But we've come to expect ultracool design in our temples of culture, even if we no longer put them on a pedestal.

© 2009

DFWCRE8TIVE

The Architects' Journal:

http://www.architectsjournal.co.uk/...209537.article#

Building.co.uk:

http://www.building.co.uk/story.asp...ode=3150975&c=0

lakewoodhobo

Leaving work last night, I passed by Pearl Station which was busting out with fairgoers, then drove by the usually empty parking lots around Ross and Routh, which were full of cars. The square on One Arts Plaza was red to match the Winspear. It was quite a sight.

MarkL2023

I was out with some friends last night talking about Sunday's free events and I realized just how smart the organizers are. They scheduled all the free events for the masses on the Cowboys bye week. Genius.

mjblazin

Traffic was much worse than normal at rush hour yesterday. If not attending the shows, you should avoid streets going through Arts District or feeding it from north or east. With every seat filled and 99+% of attendees driving, it adds a problem to that small area of the city.

MarkL2023

The base of the crane for City Performance Hall is up

Speedbump Joey

Very promising!

citizen

Yes indeed, quite exciting that we could have this type of traffic problem in Dallas.

ancientshoes

Went over to the Arts center yesterday and was very impressed...it looks like something you'd see in NYC or chicago. The only thing I was disappointed about was the "pool" looking thing wasn't actually a "pool" but some pieces of granite with a thin layer of water floating on top of them.

cowboyeagle05

That/s because its been built so they can scribe more names on the granite for more donations for the Arts Center. The sad part is they ended up with no other water features of any kind beyond that granite thing. For the sake of adding some life during the day I wish they had come up with some kind of animated water feature with at least some water jets. It doesn't have to be as complicated as the Fair Park Esplanade fountains just something more than calm water on a granite slab. I believe the Fair Park Esplanade now wins in that category.

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JohnMcKee

I was just laying on my sofa watching Top Chef when an amazing fireworks show started off the roof of the Winspear and Wyly, it was absolutely amazing to see it.

Here is the video I captured from my balcony with my iPhone:

jsoto3

Norman Foster and Spencer de Grey of London's Foster + Partners talk about the Winspear Opera House:

DFWCRE8TIVE

our view of the fireworks at the celebration tonight!

DFWCRE8TIVE

AT&T Performing Arts Center's Wyly Theatre and Winspear Opera House impress crowds at free downtown Dallas fest
12:18 AM CDT on Monday, October 19, 2009
By JOY TIPPING / The Dallas Morning News
jtipping@dallasnews.com
http://www.dallasnews.com/sharedcon...se.3f73e36.html

Scott Whittall practically vibrated with excitement as he strolled down Flora Street during the AT&T Performing Arts Center's "Sunday Spotlight" event, which topped a weeklong celebration of opening festivities for the center.

"They've created this amazing walk through the center of the arts," said Whittall, 45, of Dallas. Gesturing around at the crowds, he compared the vibrancy to that of New York City. "This is such a huge day for Dallas," he said. "We're so metropolitan now – with the opening of this center, Dallas has landed."

Thousands of visitors attended the daylong festival, which included tours of the new Wyly Theatre and Winspear Opera House, free admission at Arts District museums, hands-on art activities, and more than 50 free performances of dance, music, acrobatics and more.

Maria May, public relations director for the AT&T Performing Arts Center, estimated that the crowd numbered at least 25,000, based on the number of programs and other materials that volunteers handed out. But since not everyone got a program, that number is probably low, she said.

...

Mikle

The venues in this exciting district are great. The citizens of Dallas should be very proud.

ancientshoes

i'm wondering if "flora street" will one day be synonymous with the arts like "broadway" is for theater

Lakewooder

GuestDallas

Went to the Dallas Arts District for the first time on Sunday for the grand opening. Loved the architecture and what this could mean for Dallas. I did however agree with some of the critics regarding a few things. Not a lot of thought was put into having the area be its own self-sustaining destination. It felt as if the planners wanted people to drive in, see a show and drive out back to the burbs or wherever. As already pointed out, very few benches outside to sit down and just enjoy the day, no water features, and no connectivity to the rest of downtown. My wife and I were starving, and could find no info on restaurants within walking distance, no clear signs of other downtown areas. It would be great if you could just grab the dart to Pearl Street, have some drinks at a nice bar, walk to a show in the Arts District, and have dinner later, also within walking distance before grabbing the dart back. There is so much potential there, I just hope planners capitalize on it, and don't keep it cut off.

Lakewooder

Dallas "A STAR is born""

http://www.dallasnews.com/sharedcon...ll.3ce5470.html

gshelton91

"GuestDallas" yeah you can do that... if you took DART to Pearl Station --- the new DRAFT Sports bar is right there... and you walked by a hotel with several restaurants and a bar.... you also walked by Steven Pyle's new restaurant and his old one is just down the street and still open... as are several other places to eat...

in the district itself is the Nasher Cafe' the DMA cafe the Winspar will have a restaurant open all the time and several places at the One Arts Plaza at the end of the district.

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