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此外，剧院周围的可变区域由八个隔音门、十字形的场景停靠点/集会处以及外围的循环环路组成，可以将这些区域中的任何一个分配为前厅或后厅，形成意想不到的大厅和演出前厅。四部电梯/楼梯也可单独使用或组合使用，从大堂开始形成不同的循环序列。由于这种巨大的灵活性，纽约 PAC 不断给观众带来惊喜，成为一个 "神秘的盒子"，其体验完全由每位导演的想象力编排。
urther, a zone of mutability around the theaters—composed of eight acoustic doors, the cruciform of scene docks/assemblies, and a peripheral circulation loop—allows any of these areas to be allocated as front- or back-of-house and form unexpected lobbies and performance antechambers. Four elevator/stair couplets can also be used individually or in combination, creating diverse circulation sequences from the lobby. As a result of this immense flexibility, PAC NYC is a constant source of surprise for patrons, a “Mystery Box” whose experiences are scripted entirely by each director’s imagination.
为了在灵活多变的环境中（观众席的大小和比例可变；舞台和观众席的位置可变；声音和乐器可扩音或不扩音）提供卓越的室内声学效果，剧院的设计在听觉上类似于一个无边界、漫无边际的 "林间空地"。四周的树墙--随机的实体和空隙--保留了声能，但没有留下明确的听觉特征：这是一个理想的环境，可以为每种表演配置量身定制特定的声景。
To provide exceptional room acoustics within a radically flexible environment (with variable auditorium sizes and proportions; manifold possible stage and audience locations; and voices and instruments, both amplified and unamplified), the theaters are designed to aurally resemble a boundaryless, diffuse “forest clearing.” A perimeter wall of trees—with its random solids and voids—retains acoustic energy without imprinting a defined auditory signature: the ideal environment into which specific soundscapes can be tailored for each performance configuration.
为了模仿林中空地的几何形状，我们使用皇冠造型刀从胡桃木上切下了三块木板，分别有一个、两个和三个 "勺子"，这样做非常经济有效。由于每块木板边缘的勺子半径一致，因此无论木板如何排列或旋转，都能相互连接。这样，木板的组合方式就有 258 种。木板的几何形状、排列方式以及它们之间的空隙都是由声学专家和建筑师反复设计和测试的，目的是以一种经济有效的标准化方式形成一个有效的随机表面。
To emulate a forest clearing’s geometry, a system of three planks—with one, two, and three “scoops”—were cost-effectively ripped out of walnut using crown molding knives. Because the scoops at the edge of each plank are of consistent radius, the planks always marry regardless of their arrangement or rotation. This enables 258 permutations of plank combinations. The plank geometries, their arrangements, and the voids between them were iteratively engineered and tested by the acoustician and architect to form an effectively random surface in a cost-effective and standardized manner.
