Theatre Design & Technology - Fall 1996 - 41

T

ODAY'S PERSPECTIVE

Tllis auditorium, together with its counterpart in the Zoellner
Perfornling Arts Center at Lehigh University and two others
now in design are representative of the ultimate scheme for
"fooling the eye but not the ear." The room dividing element
(fig 21) is a flown trans-sondant visual barrier fabricated of
Hansen cloth (scrim) on which a grapllic simulation of the
18th century Aubusson tapestry is rendered in aniline dyes
and framed in a forced perspective Baroque arcllitectural setting. With the trans-sondant "wall" lowered in place and appropriately front-lighted, in combination with the painted
forced perspective soffit of the nlid-auditorium hollow beam
housing the control and projection rooms, this scheme imparts an overall painted trompe I'aiel effect to the auditorium
(fig 22) that is purposely in sharp contrast to the natural constructed diminishing perspective of the large auditorium (fig
23).

To my knowledge, tllis is the first single-hall scheme
anywhere which provides both a large and a small auditorium
in either music or stage speech modes without altering the
room acoustics. Asmall-sized, yet acoustically live concert
hall precludes a student recitalist from ever haVing to suffer
the intinlidation of performing in an oversized hall that is
t1uee-fourths empty. The longitudinal perspective sections
(figs 24 and 25) and the photographs (figs 26 and 27) indicate the music and stage speech modes. In these auditoria,
mosquito netting vs. dampened steel-based schemes for
"fooling the eye but not the ear" achieve their climax.

A

TECHNOLOGICAL SIDEBAR

There is yet another aspect of these projects deserving mention. In the 1960s and 70s, there was no such thing as an "off
the shelf' digital computer, induslIial controller or other device suitable for progranlming and moving these ceilings,
shells, and absorption systems. The theatrical riggers who fabricated and installed these dynanlic substructures had not the
foggiest notion of what controls for these automated articulated systems were all about.
It was at this juncture that my laboratory at Yale took
over as a subcontractor to the riggers. We designed, built,
and installed the analog computers, relay logic systems, and!
or industrial type controllers in Jones, McCain and Thomas
hall, among others. It was not until the 80s and 90s that off
the shelf digital computers and commercially-designed industrial control systems were made available and adopted for use
by the rigging industry.

Fig. 24

Fig. 25
TD&T

F

ALL

1

9

9

G

39



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
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