Theatre Design & Technology - Fall 1996 - 35

conjunction Irith programmed absorption in
the auditorium and an automated acoustical
shell on the stage.
Of a total of thirty projects. all but 1\\0
\I'ere continentally seated (after Bayreuth).
The continental seating system and the resulting peripherallobbr that permits fore and aft
control of seating capacity therebr aroiding
ingress and egress trarerse of the cut-off portion of the auditorium. The lertical configuration of orchestra, grand tier. "Oring"
balconr(s) and the concomitant displacement
for seating articulated \I'ilh morable ceilings
(after the Chicago :\uditorium Theater) set me
on course for a thirty year derelopment of
contemporary engineering methods for the
programming and control of visuall'Olume.
seating capacity and reverberation.
The 60s and -Os Iritnessed municipallroriented projects \I'hich tended to incorporate
larger-sized auditoria areraging 2.300 in the
maximum seating mode. Seating geometries
utilizing one or more balconies racillated betlreen mutations of the fan and the shoebo\.
The 80s and 90s hare seen mostlY educational
institution projects demonstrating a marked
tendency to\l'ard smaller-sized auditoria areraging 1.300 in the m;L\imum seating mode.
Oyerall. seating geometries. sans balconies. Irhen combined \rith the efficiency of
cominental seating, favor the shoebo\ and
structural simplicity of Boston Srmphony Hall.
This. more than anI' other factor, was responsible for the rescue of eight medium and
smaller-sized recent projects which Irere raraged by budget constraints. These, as a group,
can best be defined as a series of ongoing
schemes for an ere I' more progressive "fooling of the ere but not the ear" that became
erer more sensitive to ever more tightening
budget situations.

D

Y:'\A:-'IIC E:'\GI:'\EERI:'\G
..\.:'\0 ACOUSTICAL
OESIG:,\

From the rery beginning of mr consulting
practice. it Iras of crucial importance to determine an economiGlI solution to the acoustical
problem of determining minim;lI critiGlI mass
and surface hardness of the facing materi;t1s
essential to the design of acoustical substructures (Iralls and ceilings) in the auditorium
and the acoustical shell on the stage.
To this end. I Iras the instigator of two
separatc acoustical cngineering studies Irhich

Irere carried out independentlr br Bolt
Beranek and 'ielrman prior to the design of
Jones /-Iall in 1963 and br \'ern O. Knudsen at
LCL-\ prior to the design of Thomas Hall in
1968. The studies I'ielded identical results.
TIro pounds per square foot Iras determined to be the critical mass and the surface
hardness of pl\\rood: g:vsum board and
dampened mild carbon steel of this unit mass
Irere approred equals. For reasons of structural design flexibilitl. for the obrious economies gained by not mi~ng bUilding trades
plus the adrantages accrued from off-site fabrication and ease of on-site erection. I chose
mild carbon steel.
Despite sly innuendoes lereled at me br
certain members of the acoustics and theater
consulting fraternities. I continue to Slick to
mr guns. In over thirty rears. I hare not designed other than ;1Il automated dampenedsteel acoustical shell.
There is an amusing aside concerning
use of dampened-steel and acoustical perception that over time has acquired the staws of
an apocryphal "in joke" among mrself ;Uld mr
associates. Some rears ago. a multiple-use
concert h;lil-theater Iras dedicated Irith a pel'
formance by one of the major metropolitan
svmphoIl\' orchestras, conducted by a renOlmed Irorld-class musician. Glancing
around the auditorium prior to the rehearsal.
the conductor noticed \I'hat appeared to him
as wood paneling bm \\'hich was acwallr
dampened sheet steel covered over Irith a
Irood-grained vinyl Irall covering material. A
treatment which ever since has been referred
to "tongue-in-cheek" as aconslical uĀ·allpaper.
At the conclusion of the rehearsal. the
conductor MtS glowing in his praise of the
acoustics. !llost particularlr. he I\'aS pleased to
reassert the "old Sail''' that Irood Iras the
ideal material Irith Irhich to line a concert
hall. "Ho hum", said I, so//o !'Oce. Some
rears later. this time in a hall Irith nothing
more than a coat of paint on an identical
dampened-steel paneling srstem. the music
critic of one of the large metropolitan nelrspapers commented on the bass response of
this "steel-lined" hall:
"The opening had a lI'onde/jnl sense
ofgmndelll: lI'ilh ils groll'ling bmss
and Ihe u'onde/jnl nse of Ibe bass
dl'lllll 10 nnderscore Ihe r/mllia. In
Ihe balcon)'. )'on could acluall)' feel
Ihe l'ibmlions frOIli Ihe softl)' p/r~)'ed
dl'lllll. A I'e/T illipressil'e acouslical
accolliplishlllen I. "

De~ign 1I.IIfiilii

BUIld II.

Install II.

10&1

F

..\

I

T~~~:~~~ce
That Makes
ADifference.



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
Theatre Design & Technology - Fall 1996 - 16
Theatre Design & Technology - Fall 1996 - 17
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
Theatre Design & Technology - Fall 1996 - 35
Theatre Design & Technology - Fall 1996 - 36
Theatre Design & Technology - Fall 1996 - 37
Theatre Design & Technology - Fall 1996 - 38
Theatre Design & Technology - Fall 1996 - 39
Theatre Design & Technology - Fall 1996 - 40
Theatre Design & Technology - Fall 1996 - 41
Theatre Design & Technology - Fall 1996 - 42
Theatre Design & Technology - Fall 1996 - 43
Theatre Design & Technology - Fall 1996 - 44
Theatre Design & Technology - Fall 1996 - 45
Theatre Design & Technology - Fall 1996 - 46
Theatre Design & Technology - Fall 1996 - 47
Theatre Design & Technology - Fall 1996 - 48
Theatre Design & Technology - Fall 1996 - 49
Theatre Design & Technology - Fall 1996 - 50
Theatre Design & Technology - Fall 1996 - 51
Theatre Design & Technology - Fall 1996 - 52
Theatre Design & Technology - Fall 1996 - 53
Theatre Design & Technology - Fall 1996 - 54
Theatre Design & Technology - Fall 1996 - 55
Theatre Design & Technology - Fall 1996 - 56
Theatre Design & Technology - Fall 1996 - 57
Theatre Design & Technology - Fall 1996 - 58
Theatre Design & Technology - Fall 1996 - 59
Theatre Design & Technology - Fall 1996 - 60
Theatre Design & Technology - Fall 1996 - 61
Theatre Design & Technology - Fall 1996 - 62
Theatre Design & Technology - Fall 1996 - 63
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Theatre Design & Technology - Fall 1996 - 65
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Theatre Design & Technology - Fall 1996 - 67
Theatre Design & Technology - Fall 1996 - 68
Theatre Design & Technology - Fall 1996 - 69
Theatre Design & Technology - Fall 1996 - 70
Theatre Design & Technology - Fall 1996 - 71
Theatre Design & Technology - Fall 1996 - 72
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