Theatre Design & Technology - Summer 2009 - 28

accountability
in

AcousticAl
design
by Dennis Paoletti

John von Szeliski's excellent and intriguing article entitled
"Accountability in Performing Arts design" in the Fall 2008
issue of TD&T hooked me. There are not very many things
that keep me awake, but the night following my reading of
John's article, all I could think of was responding to John's
challenge. I had the good fortune to work on a number of
significant performing arts projects early in my career in what
must now be considered the Golden Age of performing arts
design, between about 1965 and 1985.
John and I collaborated on the Orange County Performing
Art Center in the early eighties and, like he did, I admit my partiality. It was an extraordinary experience. When a consultant
can call on the principal architects and other major engineers
and consultants more than twenty-five years after a project has
been completed and be welcomed as friends, it says a lot about
their relationship and their mutual project experience.
When I began to read John's article I first thought I was
rereading some of his writings in TD&T many years ago bemoaning the poor sightlines frequently encountered in courtyard type theatres. However, as I read on and saw that John
was espousing other issues related to performing arts facility
design, and that he was encouraging other viewpoints and dis-

26

theatre

design

&

technology

S U M M E R

2009

cussion, I realized that although I concurred with many of his
points I did have another perspective-from an acoustical
consultant's viewpoint.

The Consulting Team
I agree with John in that it would be good if more architects
were knowledgeable in both theatre and architecture. However, I am of the opinion that every project has its own personality; and every project team has its own personality. We
are all driven by our innate make-up (or professional dNA),
and personal passion for what we do.
The selection of the architect and his or her design team
is worthy of much separate discussion and debate with some
very interesting personal stories to be told (probably best
done over a few beers). There is also some serious potential
research that can be done in this area to hopefully enhance
the way teams are selected for optimum results. As we well
know, design teams are often formed based on relationships and past experience. So, how does a young consultant
or designer break into the field of performing arts design
these days, armed primarily with passion but without the
experience? Some of the ways include:



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2009

Contents
Theatre Design & Technology - Summer 2009 - 1
Theatre Design & Technology - Summer 2009 - 2
Theatre Design & Technology - Summer 2009 - 3
Theatre Design & Technology - Summer 2009 - Contents
Theatre Design & Technology - Summer 2009 - 5
Theatre Design & Technology - Summer 2009 - 6
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