Theatre Design & Technology - Spring 1975 - 7

THREE TALIESIN THEATRES
WILLI AM H. AIII SON

THE PEN NSYl VANIA STAT E UN IVERSIT Y

THEATRE DESIGN AND TECHNOLOGY wishes to acknowledge John Rattenbury and Charles Montooth,
Architects, Taliesin Associated Architects of the Frank Lloyd Wright Foundation, for their invaluable
assistance in the preparation of this article. They willingly supplied large amounts of information, all of the
drawings and arranged for the photographs by Donald Hill used on this issue's covers. Ed.
The planning of a performing arts facility is, for
most American architects, a rare or unique experience - at the opposite extreme from that of the
permanently organized teams of performing arts
planning specialists practicing in some East European countries. The subtleties of aesthetically critical, formal and spatial relationships, the complex
technology, the sensitive interpersonal professional
dependencies, the unremitting demands for ultimate
conditions of sensory perception - all make such a
project one of the most demanding that the architect
ever encounters. Yet too often the architect approaches that responsibility without specialized qualifying experience, teamed with consulting specialists
who must learn to work together even as they
proceed with the accomplishment of their difficult
task. The record of architectural planning teams that
have developed a significant body of work together in
the United States offers but few examples provocative of careful scrutiny.
The Taliesin Associated Architects qualify for our
attention, both from individual capabilities and from
long-continued team work on many performing arts
projects.
William Wesley Peters, as Chief Architect of the
group, has developed many of Wright's plans to
fruition (most notably the case with the Gammage
Auditorium, Arizona State University), and for projects begun in the years following Wright's death in
1959, he has functioned as Designer and Chief
Architect. 1
The quality of performing arts consulting specialists is on that same high level of promise. The
achievements of Vern O. Knudsen in acoustical
planning have placed him at the top of that
profession. George Izenour's work and example have
earned him a pre-eminent place in the ranks of the
world's technical theatre planners. A seminal force
as teacher, planner, engineer, and inventor, an
earnest and persuasive proponent of the ph ilosophy
and means by which modern technology can free the
artist for maximum accomplishment in the theatre,
Izenour has alternately led and pushed a whole
generation of theatre technicians towards the promise of a space age theatre technology and the estate
of Theatre Engineering.

~

THEATRE DESIGN AND TECHNOLOGY

The range of performing arts projects that have
been undertaken recently by the Taliesin Associated
Architects include these: Grady Gammage Memorial
Auditorium, Tempe, Arizona (completed 1964); Van
Wezel Performing Arts Hall, Sarasota, Florida (completed 1970); Madison Civic Auditorium, Madison,
Wisconsin (bid in 1961 and 1969 but indefinitely
delayed); Marin Veterans' Memorial Auditorium,
San Rafael, California (completed 1971); San Jose
Community Theatre, San Jose, California (completed
1972); and the Regional Arts Center, Danville,
Kentucky (completed 1973). The Gammage Auditorium has been given much descriptive and critical
comment already (e.g., Progressive Architecture,
Nov. 1964 and Oct. 1965). Of the other projects
mentioned above, those three at Sarasota, Madison,
and Danvi lie offer perhaps the best range for
comparative scrutiny.

VAN WEZEL PERFORMING ARTS HALL
Set proudly on the bay at Sarasota, Florida,
resplendent in hues of purple and lavender and
graced by a powerful sea-shell motivated carapace,
the Van Wezel Performing Arts Hall has constituted
the distinguishing principal feature and ornament of
the Sarasota Civic Center since its opening in
January of 1970 (Figure 1). Its daring richness of
color is echoed in plantings of purple and lavender
asters and reflected in the colors of the Sarasota Bay
which embraces it.. In the evening light, it presents
an aspect of rare splendor to the converging
audience, as they view it from across the waters of
the bay. Textures of deeply colored brick and the
powerfully ribbed concrete canopy give frame and
contrast to the cooly reflective invitation of glass at
entrance and lobby areas of the building. Environed
by water from the Sarasota Bay at front and flanked
by a narrow channel connecting to a large lagoon at
rear, accented by pools and fountains and set amidst
a fine profusion of trees, shrubs and floyvers of
knee-deep planting, the building exists in a setting of
superb beauty. The new hall is connected by covered
walkways to the other older buildings that make up
the Civic Center. Parking facilities are ample and
conveniently located, with their functional expanse
softened by the integrating charm of abundant
plantings.

SPRING. 1975

7



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1975

Contents
Theatre Design & Technology - Spring 1975 - 1
Theatre Design & Technology - Spring 1975 - 2
Theatre Design & Technology - Spring 1975 - 3
Theatre Design & Technology - Spring 1975 - Contents
Theatre Design & Technology - Spring 1975 - 5
Theatre Design & Technology - Spring 1975 - 6
Theatre Design & Technology - Spring 1975 - 7
Theatre Design & Technology - Spring 1975 - 8
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