Theatre Design & Technology - Oct 1966 - 40

should not cut them off when he needs their advice
most, but give them a fair chance of success by bringing the users in early enough to learn to use it. The
responsibiliiy of the consultant to his client is, if I dare
say so, to beware of pontification, to beware of departmentalization, which his own specialization may lead ot;
to remember that it is his job, as Miss Rosenthal said,
to explain. He needs patience, and he needs to take the

time to make sure that the client has really understood
what is being proposed to him. He should further avoid
shrouding technicalities which the client won't understand, and not be satisfied
to do. Then. there is the
chance that the consultant's advice may in practice and
in the final result bear some relation to the advice he
gave in the first place.

Gary W. Gaiser

I.R. CODE: architecture - consulting - secondary sch.

I have limited my considerations to the architect, the owner, and the consultant among the four who are so intimately concerned with the building of a theatre.

However, a long written report, several days later. summing results for the benefit of school board. superintendent, and staff. gave an opportunity to re-define and evaluate the problem in the light of the new plans.

There seems to be general agreement that the architect
and the owner have established a proper way of going
about the work of building a theatre, but when it comes
to the consultant this feeling of assurance melts into a
confusing haze of uncertainty alternated by cross currents
of contradictory allegiances and practices. The fact that
there may be irregularities among all parties to this relationship, and that their functions when all are in harmony can be fruitful, should be frequently illustrated.
Since the field of theatre consultation is still largely in
its infancy, and theatres continue to be ruined because
they are built without benefit of such consultation. any
opportunity to demonstrate the advantages of consultation
services is usually seized upon by most consultants. This
is done despite the fact that not infrequently an owner or
architect employs a consultant for one brief session in
order to evaluate an entire theatre complex. Under such
circumstances, the consultant is rightly reluctant to take
on the assignment. However. even these situations have
their justifiable variations.
A high school in a city of fifteen thousand was planning a
theatre. A difference of opinion developed over the
issue: thrust stage or proscenium. The superintendent requested the services of a special consultant to lay bare
the potentialities dnd limitations of both types before
the school board. the architect and his consultant. the
school theatre staff of four, and Interested patrons.
While more light than heat was generated at the meeting.
and while a carefully compared evaluation of the two
types of theatres, thrust or proscenium. resulted in intelligent comments and discussion, the issue was almost
immediately there after confused because the architects
and their consultants then presented another version of
their design with all the complexities of the various floor
plans and elevations on large scale drawings. This was
further complicated by the architects' commitment to a
limited roof design. an inverted saucer shape. which influenced interior design beyond recall. He forgot that
form follows function. not vice versa. That the consultant for the architects was securely in their pocket was
underlined as he unvaryingly supported their reasoning
through thick and thin. To represent such new, undigested material to a group just grasping the complexities of
a situation was fatal The meeting, under the looselyrun chairmanship of the head of the school board, deteriorated to a consideration of trivialities. Even a summation at the end of the meeting by the special consultants could only begin to set matters aright.

40

What emerged from this experience was two-fold. There
is need for continuous informed consultation dedicated to
the wishes of the owner. Furthermore, consultation must
be independent and informed enough to oppose a third
party and even inform the owner when he too is going
wrong. Yet, by the nature of the situation it is still the
owner who must make the final decision. As more in·
formation goes to the owner he has a greater opportunity
to assess many solutions. to his many problems. and his
decisions will be more intelligent.
Some might feel that this works a hardship on the architect. He must forever be changing the designs. It
might be pointed out that it is a byword in any design
field that the first trial is rarely the successful one and
the owner should be given an option among many designs, each seeking to incorporate a solution meeting his
needs and each carried far enough to expose advantages
and disadvantages.
Another illustration of consultation in a high school reflects the problems of incomplete services over the last
half of a project. An architectural firm hired a nationallyknown consultant who provided an excellent design for
theatre facilities. Due to high costs, many of these facilities were labelled, "future," and the building in effect
was a hollow shell. When the time carne to install the
facilities. so much had been changed that are-design
was necessary. Yet. the architectural firm made the
changes without returning to the excellent consultant and
consequently, much of the design was compromised. Having spent a basic allotted amount for a consultant, and
handsomely, the architectural firm was too reluctant to
pay more to complete the job consistently. Had the con·
sultant been asked to revise the original design, It could
have been done judiciously with little more Investment.
Since the change in plans was the fault of the owner.
and since the architect was really not responsible, perhaps we have here an excellent illustration of who should
do the hiring of the consultant. If one considers the cost
in poor design and in efficiency alone. it is obvious
that the owner here missed an opportunity in not hinng
the consultant. despite the increase in fees for the
owner.
Another case has come to our attention in Indiana: the
architect who runs to a consultant to bolster his reasons
for doing what he decided ahead of time would make
the design fetching visually, regardless of function. Such
a situation is even more elusive because there is no

I USITT I

THEATRE DESIGN AND TECHNOLOGY



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1966

Contents
Theatre Design & Technology - Oct 1966 - 1
Theatre Design & Technology - Oct 1966 - 2
Theatre Design & Technology - Oct 1966 - 3
Theatre Design & Technology - Oct 1966 - Contents
Theatre Design & Technology - Oct 1966 - 5
Theatre Design & Technology - Oct 1966 - 6
Theatre Design & Technology - Oct 1966 - 7
Theatre Design & Technology - Oct 1966 - 8
Theatre Design & Technology - Oct 1966 - 9
Theatre Design & Technology - Oct 1966 - 10
Theatre Design & Technology - Oct 1966 - 11
Theatre Design & Technology - Oct 1966 - 12
Theatre Design & Technology - Oct 1966 - 13
Theatre Design & Technology - Oct 1966 - 14
Theatre Design & Technology - Oct 1966 - 15
Theatre Design & Technology - Oct 1966 - 16
Theatre Design & Technology - Oct 1966 - 17
Theatre Design & Technology - Oct 1966 - 18
Theatre Design & Technology - Oct 1966 - 19
Theatre Design & Technology - Oct 1966 - 20
Theatre Design & Technology - Oct 1966 - 21
Theatre Design & Technology - Oct 1966 - 22
Theatre Design & Technology - Oct 1966 - 23
Theatre Design & Technology - Oct 1966 - 24
Theatre Design & Technology - Oct 1966 - 25
Theatre Design & Technology - Oct 1966 - 26
Theatre Design & Technology - Oct 1966 - 27
Theatre Design & Technology - Oct 1966 - 28
Theatre Design & Technology - Oct 1966 - 29
Theatre Design & Technology - Oct 1966 - 30
Theatre Design & Technology - Oct 1966 - 31
Theatre Design & Technology - Oct 1966 - 32
Theatre Design & Technology - Oct 1966 - 33
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Theatre Design & Technology - Oct 1966 - 35
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Theatre Design & Technology - Oct 1966 - 37
Theatre Design & Technology - Oct 1966 - 38
Theatre Design & Technology - Oct 1966 - 39
Theatre Design & Technology - Oct 1966 - 40
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