Theatre Design & Technology - Spring 1976 - 14

enz) Ziegfeld Room has three stage lifts of exceptional
versatility and power designed and installed by Otis
Elevator Company.
Each stage lift platform measures 10 feet wide by 36
feet long, forming a stage 30 by 36 feet when the three
units are at the same level. The front unit has one platform while the other two are double-deckers. The three
lifts can operate independently or locked together in
various configu rations.
Each of the lifts can raise a live, 80,000-pound load
at 40 fpm and lower it at 45 fpm, record lifting capacity
for an installation of this type. The single-deck unit can
carry a swimming pool 8 feet wide by 8 feet high by 20
feet long; 75,000 pounds of water and a 5,OOO-pound
tank. The double-deck lifts can carry a full 80,000-pound
live load on either the upper or lower platform or distributed between the two in any ratio. When the lifts
are secured to the hatchway by a system of locking bars,
each can support a 90,000-pound load. The bars engage
openings at one-foot vertical intervals in the hatch framing.
From a property storage level 20 feet below the fixed
stage, where performers and sets are loaded on and off the
lifts, the platforms rise to and above the fixed stage level.
The lower platforms of the double-deck lifts can rise to
five feet above stage level.
The single-deck lift can be stopped at any of six principal levels and each double-deck lift, at ten levels. These
stops; at which the lifts are held by the hydraulic system,
are in addition to the positions at one-foot increments
throughout the hoistway where locking bars can hold the
lifts.
Four hydraulic rams near the corners of the platform,
raise and lower each lift. The rams move in four cylinders
into which five electrically-powered pumping units force
oil at a design pressure of 400 pounds per square inch.
The five-unit hydraulic machines develop a total of
300 horsepower. All three machines - with a total of 15
motors and 15 pumps - can be interconnected by motoroperated ball valves and electrically interlocked circuits.
Each machine can operate its lift at different speeds to
suit the requirements of the show. Up speeds are, 8, 16,
24, 32 and 40 fpm; down speeds, 9, 18, 27, 36 and 45
fpm. The oil reservoir has a capacity of 5,440 gallons.
When a lift is loaded with much weight concentrated
on one part of the platform, the uneven, "eccentric"
loading pushes down that part while the opposite part
rises. In these units the size of the platform and the
weight of the load magnify the effect of eccentric loading.
Conventional elevators have guide rails that resist the toppling tendency. In stage lifts, the rails would restrict the
useful area of the stage and obstruct the view of the
audience. Guide rails, therefore, do not extend above the
stage, but the double-deck lifts with their heavy loads
must be kept level even when they rise 25 feet above the
fixed stage. Instead of full-length guide rails, Otis utilized
a system of rope equalization to offset the effect of
eccentric loading. An unbalanced load on one side of the
platform is transmitted through the platform down a long,

14

SPRING,1976

rigid equalizer strut to one end of a rope fastening. The
equalizer strut is long enough to keep the rope sheaved
in the pit taut when the lift is as high as it can rise, so that
it transmits the load as a pulling force.
The steel ropes go over the sheave in the pit next to the
equalizer strut, across the pit to the other side of the platform under sheaves next to a similar equalizer strut, and
up to fastenings under the platform. Here, the ropes
pull down the side of the platform with a force equivalent
to the unbalanced load on the other side. As a result, the
platform remains level. F ront-to-back, as well as side-toside, equalization was accomplished with equalizer equipment at all four corners. Positions at which the ends of
the ropes are fastened to the ends of the struts were calculated to balance the pulls exerted so they would act
only to compress the strut, not to bend it. Rollers on each
strut keep it from binding on the housing in which it
moves.
Pre-stretching keeps rope stretch within a fraction of
an inch. The rope was cut to length and high-strength steel
thimble rods fastened to it. The rope was then stretched
to 50 percent of its breaking strength and a tracing line
placed on the rope in this position to avoid possible twisting when it was installed on the job. Tension in the rope
was calibrated precisely on each thimble rod to assure
proper tension setting in the field.
The equalizer ropes and 14-inch double-bearing ram
are attached to each corner of the platform. The equalizer equipment and the cylinder in which the ram moves
are housed in a casing 54 inches in inside diameter and as
much as 55-feet long. The 12 casings, four under each lift,
are the largest ever installed by Otis.
The casings extend 55 feet into the ground below the
pit in an arrangement planned to fit tight space limits.
One of the pit walls is at the end of the pit, forcing the
arrangement inward, yet the hydraulic rams must be as
far out as possible to support each platform near its
corners; at the same time, casings for each stage lift cannot extend beyond the edge of the lift, to avoid interfering with equipment for the adjacent lift.
To minimize the possibility of a performer catching
a heel in the opening, clearance between adjacent platforms is limited to 3/8 inches; between platforms and the
stage floor, 3/16 inches. These huge lifts must therefore
operate with clearances much closer than the usual elevator run-by of 1-1/4 inches.
Rubbing strips on the lift frame uprights prevent interference between lifts and rollers used as part of the coupling mechanism also guide each lift up and down in a
straight line. As a result, adjacent stage lifts will be pushed
away from each other or from the stage floor should they
be on a·collision course.
Platforms have hardwood flooring, into which is recessed a system of tracks running side-to-side and frontto-back. These mate with stationary tracks in the building floor at the prop storage and stage levels. With the
track systems, wagons carrying floats, scenery and heavy
props can be rolled on to a lift at the storage level, raised
to the stage level or higher, and rolled upstage, downstage

THEATRE DESIGN AND TECHNOLOGY

I

USITT

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1976

Contents
Theatre Design & Technology - Spring 1976 - 1
Theatre Design & Technology - Spring 1976 - 2
Theatre Design & Technology - Spring 1976 - 3
Theatre Design & Technology - Spring 1976 - Contents
Theatre Design & Technology - Spring 1976 - 5
Theatre Design & Technology - Spring 1976 - 6
Theatre Design & Technology - Spring 1976 - 7
Theatre Design & Technology - Spring 1976 - 8
Theatre Design & Technology - Spring 1976 - 9
Theatre Design & Technology - Spring 1976 - 10
Theatre Design & Technology - Spring 1976 - 11
Theatre Design & Technology - Spring 1976 - 12
Theatre Design & Technology - Spring 1976 - 13
Theatre Design & Technology - Spring 1976 - 14
Theatre Design & Technology - Spring 1976 - 15
Theatre Design & Technology - Spring 1976 - 16
Theatre Design & Technology - Spring 1976 - 17
Theatre Design & Technology - Spring 1976 - 18
Theatre Design & Technology - Spring 1976 - 19
Theatre Design & Technology - Spring 1976 - 20
Theatre Design & Technology - Spring 1976 - 21
Theatre Design & Technology - Spring 1976 - 22
Theatre Design & Technology - Spring 1976 - 23
Theatre Design & Technology - Spring 1976 - 24
Theatre Design & Technology - Spring 1976 - 25
Theatre Design & Technology - Spring 1976 - 26
Theatre Design & Technology - Spring 1976 - 27
Theatre Design & Technology - Spring 1976 - 28
Theatre Design & Technology - Spring 1976 - 29
Theatre Design & Technology - Spring 1976 - 30
Theatre Design & Technology - Spring 1976 - 31
Theatre Design & Technology - Spring 1976 - 32
Theatre Design & Technology - Spring 1976 - 33
Theatre Design & Technology - Spring 1976 - 34
Theatre Design & Technology - Spring 1976 - 35
Theatre Design & Technology - Spring 1976 - 36
Theatre Design & Technology - Spring 1976 - 37
Theatre Design & Technology - Spring 1976 - 38
Theatre Design & Technology - Spring 1976 - 39
Theatre Design & Technology - Spring 1976 - 40
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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