Theatre Design & Technology - Fall 1996 - 33

by

\ 1\\

George C. Izenour
schemes, all of which recognize and account for an inherent
and widely differing make-up of spectator and performer venues and room acoustics in the concert hall, opera house and
theater. That these differences are d~~lamic and that they can
and sbonld be compensated for in the design, sizing and engineering of the auditorium and the stage is the main thrust of
this essay.

M

LTIPLE USE FACILITY DESIGN AND
REALITIES

ECONO~IIC

Putting programming, design and engineering considerations
aside for a moment, a concern of ever-mounting importance
is the effect of the economy on the average-sized municipality
and educational institution. The budget crunch is ever-worsening and stringent budgetary restrictions continue to restrict

building projects for the performing arts. The d)~aJllic design of projects discussed in tltis essay has been the result of
early-on and deliberate, willful decisions by the owner and
tltis consultant as reprogranlmed fall-back positions, compensating for a lack of funding or the owner's inability to realize sufficient funding for separate facilities. These decisions
have been made either prior to or simultaJleously with the
engagement of the architect.
I have no quarrel with the arcltitectural profession per
se; but e.rperience sbows tbat if a multiple-usejaciliO' is
not programmed in tbeater engineering detail ~)' a knoll'ing consnltant prior to arcbitectural design, and if tbe
building is not designedjrom tbe inside Ollt, tbe project
is in jor serio liS trouble. And over the past 30 years, myexperience demonstrates conclusively that for a given project,
the degree to which either a particular dynanlic or static solution succeeds is dependent on three factors:
I. The design professional (architect or consultant)
who has the initial prograJllmatic control of the project.
2. The ingenuity of the theater design-engineering aJld
acoustics scheme, about wltich the architectural envelope is
developed. This sets the design paraJneters for the building,
inclusive of the built-in structural electro-mechanical means
for economical and efficient long-term operation of tile facility.
3. It is accepted that operation of a successful multiple-use concert hall-theater requires that the theatrical
stage be converted to tile acoustically hard-surfaced SllI~
round of a concert platform.
Tltis tltird factor leaves the adjustment of visual volume,
seating geometry and acoustics of the auditorium aside aJld
focuses in on a problem ininticalto both dYllamic and static
approaches to theater design: the multiple-use aJld convel~
sion of the stage or "sending end" of the auditorium. Under
normal use, the stage must be converted from a fully-rigged
and Lighted theatrical environment to the acoustically hardsurfaced surround of a concert platform. This third factor
breaks down into three consulting approaches which directly impact the capital cost, operating expense and overall
stage function in a facility:
1. An approach wltich favors old-fashioned, time-consuming manual stagecraft whereby a maJl-haJldled, takeapart acoustical shell places the ceiling, broken-up into
transverse units, in the counterweighted rigging system.
When not in use, the ceiling elements severely restrict use of
the flying system. Sidewalls are broken-up into castermounted maJlually-moved units which either clutter up the
stage or require specific off-stage storage space which must
be prorided for them. Overall, this lab01~intensive cycle of
erect, strike aJld store is substantially expensive aJld promises to be never-ending aJld costly to the operations budget
of the facility.
2. Another scheme relies on aJl all-of-a piece structure
requiring a hangar-sized area adjacent to the stage for storage. Transport of this acoustical surround is either maJlhandled on air casters or electro-motively driven on tracks.
While less labor intensive, this approach adds expensive
long-spllll cubage to the bUilding.
TD&T

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31



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1996

Contents
Theatre Design & Technology - Fall 1996 - 1
Theatre Design & Technology - Fall 1996 - 2
Theatre Design & Technology - Fall 1996 - 3
Theatre Design & Technology - Fall 1996 - Contents
Theatre Design & Technology - Fall 1996 - 5
Theatre Design & Technology - Fall 1996 - 6
Theatre Design & Technology - Fall 1996 - 7
Theatre Design & Technology - Fall 1996 - 8
Theatre Design & Technology - Fall 1996 - 9
Theatre Design & Technology - Fall 1996 - 10
Theatre Design & Technology - Fall 1996 - 11
Theatre Design & Technology - Fall 1996 - 12
Theatre Design & Technology - Fall 1996 - 13
Theatre Design & Technology - Fall 1996 - 14
Theatre Design & Technology - Fall 1996 - 15
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Theatre Design & Technology - Fall 1996 - 18
Theatre Design & Technology - Fall 1996 - 19
Theatre Design & Technology - Fall 1996 - 20
Theatre Design & Technology - Fall 1996 - 21
Theatre Design & Technology - Fall 1996 - 22
Theatre Design & Technology - Fall 1996 - 23
Theatre Design & Technology - Fall 1996 - 24
Theatre Design & Technology - Fall 1996 - 25
Theatre Design & Technology - Fall 1996 - 26
Theatre Design & Technology - Fall 1996 - 27
Theatre Design & Technology - Fall 1996 - 28
Theatre Design & Technology - Fall 1996 - 29
Theatre Design & Technology - Fall 1996 - 30
Theatre Design & Technology - Fall 1996 - 31
Theatre Design & Technology - Fall 1996 - 32
Theatre Design & Technology - Fall 1996 - 33
Theatre Design & Technology - Fall 1996 - 34
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Theatre Design & Technology - Fall 1996 - 58
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Theatre Design & Technology - Fall 1996 - 62
Theatre Design & Technology - Fall 1996 - 63
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Theatre Design & Technology - Fall 1996 - 70
Theatre Design & Technology - Fall 1996 - 71
Theatre Design & Technology - Fall 1996 - 72
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