www.lightingandsoundamerica.com October 2010

$10.00

CityCenter Las Vegas: Viva ELVIS Theatre/Aria Convention Center/HAZE Nightclub

Copyright Lighting &Sound America October 2010 http://www.lightingandsoundamerica.com/LSA.html ARCHITECTURE Copyright Lighting &Sound America October 2010 http://www.lightingandsoundamerica.com/LSA.html

Inside

A stunningly ambitious new Vegas development is a one-stop City destination for Cenmeetingts, er entertainment, and clubbing

By: David Barbour

2 • October 2010 • Lighting &Sound America ven if one fully appreciates the tear-it-down-and-build-it- up-again ethos that prevails along the Strip, it’s hard to grasp the scale and ambition of CityCenter Las Vegas. Others build resorts, casinos, and nightclubs; CityCenter is a major act of urban renewal. Located on 67 Eacres between the Bellagio and Monte Carlo resorts, CityCenter—a joint venture between MGM Resorts International and Infinity World Development Corp, a subsidiary of Dubai World—takes in the Aria resort and casino, Vdara hotel and spa, Crystals restaurant and entertainment district, Mandarin Oriental resort, and a residential area. It’s a kind of city- Above and opposite: CItyCenter makes a glittering addition to the strip. within-the-city; one could conceivably spend an entire visit there without the Viva Elvis Theatre. It all adds up to Elvis has returned seeing the rest of Vegas. a trilogy of projects that are unusual to the building Designed by the architectural firm for their ambition, scale, and for the Regular readers will recall LSA ’s Pelli Clarke Pelli, Aria—the focus of way in which they challenge the feature story on Viva Elvis in the May this story—consists of two curvilinear prevailing Las Vegas style. 2010 issue. The 1,840-seat theatre steel and glass towers; it contains “We essentially had three clients housing the show is the seventh 4,004 rooms, including 588 suites with the owner,” says S. Leonard permanent venue for Cirque du Soleil offering floor-to-ceiling glass Auerbach, president of Auerbach (CDS) in Vegas. (The others are windows. Other features include a Pollock Friedlander and Auerbach Mystère , O, Zumanity , KÀ , The 215,000-sq.-ft. pool deck, 150,000- Glasow French. “Each project had Beatles LOVE , and Criss Angel sq.-ft. casino, an 80,000-sq.-ft. spa, its own timeline; we had three Believe .) APF collaborated with 300,000 sq. ft. of convention space, different teams in-house, with many Cirque, Pelli Clarke Pelli, the MGM ten bars and lounges, many restau - key principal consultants Mirage Design Group, Gensler, rants, large-scale public art works by overlapping. The architect of record, JaffeHolden and HKS to coordinate the likes of Jenny Holzer and Maya HKS, and the executive architect, the technical systems to be Lin, and a theatre featuring the latest Gensler, were the same, but with integrated into the building, imple - Cirque du Soleil spectacular, Viva different management teams for menting the theatre concept created ELVIS . Put it all together and you each project. by Johnny Boivin, of CDS, as well as have the largest privately funded “We started working on Viva Elvis systems involving stage machinery, development in the US. It’s also the first,” Auerbach adds, “and were well theatrical lighting, and audio/video. world’s largest green complex, having along with it when HKS and MGM In some ways, the theatre is a earned LEED certification from the US asked us to step in on the throwback to the showrooms of Green Building Council. convention center. Much later, we Vegas in its glamorous 1950s heyday, A major player in the realization of were approached to consult on with curving aisles, rose woodwork, CityCenter is Auerbach Pollock Haze. It was really a case of having and side wall drapery. The use of Friedlander, Performing Arts/Media three separate projects with the banquette seating in the center of the s a Facilities Planning and Design (APF), same target opening, although, from room is designed to facilitate a g e V r which, working with a number of our point of view, the Viva Elvis communal experience for the e t n e collaborators, provided consulting Theatre was on a much earlier audience. It’s appropriate for a show C y t I

C services on the Viva Elvis Theatre, deadline, to be finished for Cirque du that celebrates one of the greatest f o y s convention center, and nightclub Soleil’s move-in, so it could mount stars of Vegas’ golden era. e t r u o known as Haze. A sibling firm, the production.” Overall, he adds, “It As is often the case with CDS C : s

o Auerbach Glasow French, Architectural functioned as three separate stand- shows, the scale is enormous. The t o h

P Lighting Design, was also involved in alone projects.” show unfolds on the 19,200-sq.-ft.

http://www.lightingandsoundamerica.com • October 2010 • 3 ARCHITECTURE

cruciform stage, which has been engineered to accommodated scenic elements weighing up to 60,000lbs. The rear and side stages are the full height of the 104' grid. The stage’s 80'-wide proscenium opening required the largest curved fire curtain in the world, supplied by Brooklyn- based rigging and drapery specialist Pook Diemont & Ohl. To accommodate the show’s effects, APF developed an infra - structure that includes 17 stage lifts, covering a total surface area of 3,726 sq. ft. The largest, which weighs about 265,000lbs and measures 1,350 sq. ft., can travel at 1' per second; it supports eight additional stage lifts, which can also travel at the same speed. The 20' by 20' center lift travels at 2' per second; it is fitted with a horizontally traversing cover, known as “the sloat,” allowing scenery to be reconfigured in the Viva ELVIS. basement area while new scenery is revealed directly above it. The rigging system was conceived moving scenic elements. the consultants to begin work before on a similar scale: Five motorized The stage lifts, traps, and sliding the show concept has been fully overhead trolleys, integrated with covers were supplied by Show realized. In situations like this, he wireless control to travel at a speed Canada; the winches, tracks, and adds, “Major stage configurations, of 6' per second, transport both trolleys came from Stage which may need to accommodate scenery and performers. The trolleys Technologies. The automation extensive machinery, require bold are fitted with vertical hoists as well system, also by Stage Technologies, decisions and faith in the consultant, as a rotational axis; one trolley unit includes four of the company’s with CDS’ approval, to ensure that, consists of four vertical hoists and Nomad control consoles. The struc - later on, the design intent will not be one trolley rotating assembly, so tural support systems for the impeded. With Viva Elvis , we received performers or scenery can rotate automated rigging were developed in input from Gilles St. Croix, CDS’ while moving horizontally and verti - conjunction with Thornton Tomasetti executive producer, and Stéphane cally. A six-panel motorized LED Engineers, and control of the rigging Mongeau, the VP of production, screen traverses upstage of the system noise was by JaffeHolden. because we had very limited scenery; the six separate projection In addition, the auditorium features knowledge of what [the production surfaces are deployed and retracted an extensive network of technical designer] Mark Fisher would be as needed—in Viva Elvis , large catwalks located over the seating doing, and, at that time, the show’s dimensional scenic pieces and area, to support the front-of-house creative team was not fully on board. projected visual imagery often work technical systems. The control suite We worked closely with Don together. In addition, eight fixed features 1,450 sq. ft. of booth space MacLean, CDS’ technical project winch assemblies are positioned on and 102 linear feet of glass, providing manager, to set the general scope of the grid surface to assist with the a clear view of the onstage action. the project, with certain ‘place - movement of a 60,000lb scenic It’s an incredibly complex network holders’ that would allow Mark Fisher element in and out of the space. Ten of systems, yet, says Auerbach, “We to have the design freedom he n i o

motorized lighting trusses deliver started the project with only a vague needed. We were then able to design c u A e

lighting gear to the proper elevations idea about the production.” the stage machinery, automation, and i l u J :

and positions. Twenty-one motorized Surprisingly, he suggests, in projects lighting and sound systems to fit the o t o h

multi-line winches are used for of this nature, its not uncommon for production without obstruction.” P

4 • October 2010 • Lighting &Sound America APF has a long history with CDS, dimming and an ETC Net3 network. each single instrument.” which certainly must help. For Wireless Solution’s W-DMX Blackbox Interestingly, Holden adds, “The example, Auerbach says, “The S2000 transmitters and R512 micro huge backstage area is less of a acrobatic rigging concept for Viva receivers send DMX to six roving concern; we filled it up with as much Elvis carried forward developments VL300s and some LED units, as well sound-absorbing material as we we had provided for KÀ , LOVE , and as rope light, MR16s, and red could. The real trick is how to put the ZAIA [a CDS spectacle in Macao]. beacons on stage. right sound in the auditorium. Also, The size of Viva Elvis’ stage and the Cirque du Soleil’s offices are located desire for faster acrobatic tracking Volumes of sound just below the audience seating; there and hoisting pushed us away from Mark Holden, of JaffeHolden, the are some subwoofers built into the previous approaches using cog belts theatre’s acoustician, notes that, in floor, so we created acoustic enclo - and cable drives. This evolved from some ways, the project’s biggest sures to contain the sound, keeping it early criteria, given to us by CDS, challenge was its sheer size. “One from spilling into the offices below.” requiring tracking systems that can think of a couple of backstage Like the APF team, Holden had to crossed one another.” Tom Neville, a areas that are bigger,” he muses, “but deal with the fact that the show was project principal, says, “We worked this theatre just blows your mind. The not fully conceived. “It wasn’t clear if with Stage Technologies to develop a room is such a gigantic volume; you there was going to be an offstage traversing hoist carriage with friction have to find a way to absorb that band or not,” he says. “Therefore, drive, which used motors on each of natural energy on stage. How do you there are music rooms at stage right six friction drive wheels, much like a make a room like that sound bright and left; they’re totally sound- light rail train, and enabled the and clear and intelligible while making isolated, with a kind of box-in-a-box tracking carriage to still have drive sure it has some character to it? construction.” Because the band is purchase and complete position “The designers wanted the room on stage for most of the show, accuracy while moving over the gap to have big poly columns on the side however, he adds, “their function of an intersecting track. The inter - walls, with cutouts built into them,” evolved. They rooms are now used secting tracks were eliminated, but Holden adds. “That could have been for the monitors and the radio we were able to take real advantage an acoustic disaster but, working monitor mix for the musicians.” of the new development for a quiet, with them, we cut big openings in APF’s responsibility also includes precisely controlled carriage with the columns, with drapes, scrims, the design of sound, video, and rotating multiple high-speed hoists.” and acoustic treatments behind communications system, which was The production’s lighting package, them, all of which created a layered developed in concert with Deans, and Auerbach notes, reflects a gradual acoustic effect. On the column it reflects his preference for certain shift at CDS to an ever more concen - exteriors, we have curved wood key brand names, notes Paul Garrity, trated use of moving lighting. The reflectors that bounce sound around APF’s prinicpal sound designer. The lineup of gear, specified with the the room to give it a sense of primary front-of-house sound production’s lighting designers, marc brightness and clarity. reinforcement and effects playback is brickman and Martin Lebrecque, “Behind the scrim, which is handled by a computer-controlled includes 110 Philips Vari*Lite VL3500 acoustically transparent to let sound audio matrix and processing system, FX units, 28 VL3000 Spots, 67 and light come through, are gigantic drawing on a Meyer Sound/Level VL3500 Spots, 24 Syncrolite Syncro acoustic baffles hanging from the Control Systems Cue Console, MX4s, 170 Elation TriPARs, 26 Martin ceiling to the floor. They’re 4' wide including an LX-300 frame, DSP Atomic strobes with scrollers, 36 and 2-3" thick. In the corners of the modules, CueStation software, Wild Solaris Quasar 15K strobes, one room’s attic, we created giant bass Tracks hard disk playback, Apple Mac Solaris T-Light 85K strobe, twenty-five traps, some of the largest ever built. Pro, and Mac Mini computers and T8 Technologies Lumapanels, six They’re almost 20' high, 20' deep, and Cinematic monitors for primary Robert Juliat Cyrano followspots, two 20' on the side, and are located in the playback. The system controls 168 Clay Paky Alpha Spot 700 HPEs, 90 room’s four corners. They are there to sources into 176 matrix outputs. ETC Source Fours in various models totally soak up the low-frequency Modular control surfaces are and degree sizes, 25 James Thomas sound without affecting the room’s deployed for sophisticated live mixing PAR 20s, 30 Altman StarPAR CDMs, clarity. We partnered with Jonathan and routing control of microphones 75 Altman PAR 64s, and 154 Altman Deans [ Viva Elvis ’ sound designer] to and multi-track audio playback. A short-nose PAR 62s. Lighting is create a sound that is very clear and secondary 168 by 176-channel audio controlled by a grandMA console, precise. It’s the opposite of the wall- matrix and processing system from MA Lighting, with ETC Sensor of-sound effect; we want you to hear provides performer in-ear and stage

http://www.lightingandsoundamerica.com • October 2010 • 5 ARCHITECTURE

loudspeaker monitoring. (See pg.122 analog matrix, is capable of switching soft patterned light. Downlights to learn about the Optocore 512- 288 stations into eight party lines. mounted between the architectural channel fiber-optic redundant audio The system provides 20 channels of ceiling panels supplement the pattern transport system.) wireless intercom feeding 40 wireless lighting without washing out the The main loudspeaker system of belt packs. In addition to the Clear- pattern effect. Pathway illumination is arrays and overhead boxes consists Com RS-601 and RS-602 belt packs provided by low-level LED lighting of Meyer Sound MICA, MTS-4A, CQ- and KB-7-2 loudspeaker stations, and fluorescent aisle lighting. High- 1, and UPJ units. The subwoofer there are Telex BRT-800 wireless base intensity color-changing LED fixtures component includes Meyer M3Ds and stations and TR-800 belt packs. are incorporated into side wall 700-HPs, along with Danley Sound Backstage monitoring and paging is openings, lighting the room’s Labs TH-115 boxes. The surround controlled by a Dynacord draperies. Before show time, the side system includes Meyer MSL-4s, ProAnnounce system feeding over wall lighting is restrained, comple - UPQ-1Ps, UPJ-1Ps, UPJuniors, 135 Electro-Voice 409-8T and EVID4- menting the rest of the architecture. M’elodies, M1Ds, and Innovox FS-V2 DT loudspeakers and allowing for As the show starts, the side walls units. More M1Ds are found on the paging from portable stations or burst into color, surrounding the stage edge, with Meyer SB-2s digital matrix intercom systems. A audience with pulsing color changes. functioning as stage monitors. Listen Technologies LT-800-216 The showroom lighting makes use Portable speakers include UPJ-1Ps, wide-band wireless FM assistive of ETC Sensor dimmer racks, UPQ-1Ps, and M1Ds. Signal listening system is available for the SmartSwitch relay panels, Cisco fiber- processing is handled by Meyer’s hearing-impaired. Middle Atlantic optic and Ethernet switches, an ETC Galileo and Waves MaxxBCL. racks are use throughout the venue to Emphasis console, ETC Net3 Providing power where needed are store equipment. gateways, MA Lighting grandMA NSPs Crown MA-12000i and CTs 4200 More than 20 Panasonic AW-E560 and replay units, Creston TMPC-SX amplifiers. Monitoring is provided by and CP480 production fixed-focus wireless handheld-touch-screen Meyer’s RMS (remote monitoring and AW-560 remote-controllable controllers, and a Doug Fleenor Design system) with iLon Ethernet adapters. color video cameras are routed 1211 optical isolation amplifier. The sound gear package was through a 26-channel modulated Speaking of the theatre’s supplied by Montreal-based Solotech. video system for monitoring of spectacular lobby, Auerbach adds, A wireless performer tracking performers, musicians, and critical “Johnny Boivin’s concept included a system, supplied by TiMax, provides backstage systems. dynamic lighting wall that sprung real-time three-dimensional performer from an idea that envisioned sculp - positioning. The information is sent to Lighting the tured glass and changing light the front-of-house reinforcement auditorium and lobby sources. Our architectural lighting system for automated panning across Auerbach, noting that the look of the department [AGF] was also architec - all channels. The microphone system theatre and the lobby were the work tural lighting designer for the lobby.” includes 36 channels of wireless of Johnny Boivin, CDS’ architectural The outer entry lobby features a mics, 26 channels of stereo in-ear designer, says, “His intent was to curving glass soffit internally illumi - monitoring, two channels of IFB create a harmonious audience nated by more than 6,000 RGB color- (interruptible foldback), with 40 environment with comfortable changing LEDs. The soffit changes wireless receivers. Sennheiser seating, so that intimate groups could color throughout the day, with EM3732 dual UHF receivers with sit together. We worked with him and changes becoming more frequent and SK5212 body packs and SKM5200 the interior designer, Cleo Design, to vivid as show time approaches. The handheld transmitters are used. develop a custom seat that inner lobby features a 44'-high ceiling; All spaces, including rehearsal functioned well and met the building located 12' above the theatre entries halls, technical offices, training code. We also had mock-ups built to is a 150'-long glass wall, internally rooms, dressing rooms, shoe and confirm the ergonomics and illuminated by 357 RGB fixtures made costume maintenance, greenrooms, mechanical functions for the up of 5,355 LEDs. The glass wall, and the technical grid are connected banquette seat.” referred to as the Diamond Wall, is with sound, video, and communica - As the audience arrives in the comprised of lenticular lenses behind tions systems from the stage area. An showroom, the house lighting, fluted vertical glass panels. The n i o c

80-port Clear-Com Eclipse Median 80 designed by Auerbach Glasow lenses’ teardrop forms move in juxta - u A e i digital matrix intercom system, inter - French (AGF), includes theatrical ellip - posed images with the angle of view, l u J : s

connected with a digitally controlled soidals with circle pattern templates creating an effect of color and o t o h

Clear-Com TCVS-2700 eight-channel to provide general illumination via a movement behind the lenses. P

6 • October 2010 • Lighting &Sound America Mirrors line the opposite wall, reflecting the images created in the glass wall; Holden notes that the mirror wall consists of 5mm-thick Mylar stretched over acoustical panels. “It looks like a hard piece of glass, but it isn’t; it’s a sound trans - parent skin over fuzz,” he says. “It controls the sound in the lobby, which otherwise consists of hard surfaces.” Also, says Matthew Ezold, APF’s sound project manager, “To provide pre-show music and announcements in the reverberant, high-ceilinged lobby while concealing the The Viva Elvis auditorium recalls the showrooms of Vegas’ early glory days. loudspeakers, we broke the system into two segments. Overhead direc - fluorescent steplights; a Bruck flexible project manager, theatre tional ceiling loudspeakers and track system, ETC ellipsoidals; Kurt construction, architecture; Steve subwoofers provide the higher SPL Versen MR16 downlights, compact Dubuc and James Tomlinson, project desired to get the audience excited, fluorescent downlights, and T4 managers, theatre construction, TSE, and a second set of loudspeakers, at downlights; Light Control fluorescent Carol Rexhouse, construction super - head height hidden behind the lobby’s wall slots; Lightolier pendants and visor; Stéphane Lemay, technical decorative finishes, increases intelligi - MR16 downlights; Lumiere surface- support director; Robert Levac, bility and pulls the audience toward mounted MR16 downlights; Philips sound and video communications the theatre entrance.” The lobby Color Kinetics RGB LED fixtures and and projections technical advisor; effects system includes a Digigram LED white cove units; Q-trans low- Éric Bouchard, lighting technical hard disk and Tascam CD playback; voltage transformers; Sistemalux advisor; and Michel Demers and the loudspeaker rig includes Electro- Iguzzini LED recessed steplights; and Jeremy Hodgson, automation Voice C4.2 and V10.1, Innovox FS-V2, Tivoli LED undercounter task lights. technical advisors. Also from APF, and Atlas Sound FA136T87 Many others were involved in the Howard Glickman handled lighting loudspeakers, along with Crown CTs project. From CDS, key personnel system design. From AGF, Patty 12000 CTs 2000, CTs 4000, and CTs included Anik Patry, director, theatre Glasow was project principal and 8200 amplifiers. Control and digital projects; Jean-Francois Lavalée, Marlene Lieu project manager. signal processing are via a BSS BLU assistant director, theatre projects; By all accounts, Viva Elvis looks system, with a Calypso Systems Pro Ray Forton, administrator, theatre like another CDS hit; interestingly, the I/O with touch panel. projects; Nathalie Thibeault, project show, which celebrates Vegas’ gaudy Lighting gear in the lobby and manager, theatre design; Jean- past, is an anchor of fun in the middle auditorium include Alko undercounter Nicolas Rousseau, project manager, of its city’s newest place to eat, fluorescent task lights; Bega compact theatre development; Danah Abarr, sleep, and play.

Two views of the lobby, with the color-changing wall.

http://www.lightingandsoundamerica.com • October 2010 • 7 ARCHITECTURE

Thince Las VeAgas isrtheiwaorld’s Ccounoterwenight svcheeme nthat wtouild onLightinCg conterolsnare stegemenr ted to pre-eminent convention city, otherwise be required with the coordinate with the ballroom S you can never have too many building’s limited loft height. The operable partitions and the convention centers. The Aria automated rigging permits for a signifi - individual cove elevations of the Convention Center features 300,000 cantly reduced load to the building’s ceiling. Controlled architectural sq. ft. of meeting and convention structure and results in more efficient loads include dimmed halogen space, which can accommodate use of the limited stage floor area; it downlights, dimmed halogen gatherings ranging in size from 10 to also provides ongoing savings in decorative chandeliers, dimmed 5,000 attendees. There are four turnover time and staffing linear fluorescent cove fixtures, ballrooms, three offering fully The fully equipped stage has a dimmed LED wall art elements, functioning theatrical stages ranging proscenium opening of 22' 6" high by relay-switched fluorescent and HID from 21,000-50,000 sq. ft., and 38 48' wide. The stage ceiling is 49' 11" work lights, and relay-switched meeting rooms, each ranging from above the stage floor. All of the stage fluorescent blue light running lights. 800-2,000 sq. ft. Auerbach Pollock rigging, provided by Stage Two dimmer rooms, located at the Friedlander (APF) planned and Technologies, is automated, including ballroom catwalk level, provide for designed the theatrical and event the main curtain, four dedicated efficient load distribution to the services elements of the facility, electric battens, and 21 general- ballroom stage, theatrical-purpose, developed the ballroom and meeting purpose electric battens, each of and architectural lighting loads. room rigging concept, and designed which is 58' long. For basic meetings, load-ins, load- the theatrical systems, including the Event rigging provisions within the outs, and cleaning, the lighting can ballroom stage rigging systems and ballroom are fully integrated in to the be controlled from local touch panels architectural lighting control systems ceiling design. More than 300 and by a snapshot memory system. in the public spaces. concealed hatches provide access to For larger and/or more complex The most technically complex rigging beams located in the catwalk events, the stage and architectural venue in the convention center is the space above. Lighter weight lighting can be operated by theatre- Bristlecone Ballroom, located on Level decorative and signage elements may style consoles, which, thanks to the One. It provides 51,561 sq. ft. of be supported from approximately network in place, can be located meeting space, seating up 5,100 7,000 linear feet of load-rated strut anywhere in the ballroom. people in its theatre layout. The room integrated into the ceiling. There are three other ballrooms of is divisible into as many as ten Rob Hill, APF’s project manager, varying sizes. The Pinyon Ballroom separate segments, each of provide says the stage lighting provisions contains 38,301 sq. ft. of meeting provides a clear ceiling height of 24' 3". include four on-stage dedicated space, seating up to 3,800 in theatre The room is designed for rapid electric battens, two on-stage side mode. It can be divided into eight load-ins, thanks to dedicated truck lighting galleries, and three front-of- segments, each with a clear ceiling docks conveniently located next house stage lighting positions height of 24' 3". In terms of stage door—so convenient, in fact, that integrated into the ballroom’s ceiling. layout and facilities, it is identical to when carpet protection is installed, Theatrical-purpose lighting distri - the Bristlecone. The Ironwood full-size trucks can be driven directly bution is available, concealed Ballroom is identical in size and onto the ballroom floor. Dual throughout the ballroom ceiling to capacity to the Pinyon and in Megavator freight elevators provide provide for decorative lighting of technical facilities to the Pinyon and for direct loading access to the over- dining tables and décor elements. A the Bristlecone. Because it is located ceiling concealed catwalk system. full complement of conventional and on Level Three, load-in is achieved For the ballroom stages, APF moving lights is available. using Megavators; three dimmer proposed automated rigging to avoid All lighting systems are integrated rooms on this level supply power. use of a conventional double-purchase and managed as a cohesive whole. The smaller Juniper Ballroom

8 • October 2010 • Lighting &Sound America The sleek design of the Aria Convention Center allows for plenty of sunlight.

features 20,275 sq.-ft. of space, and over 900 heavy rigging points. were driven by the scale of the can seat up to 2,000 in theatre Kenneth Fause, of APF, says, “The convention center. We defined a total mode; it can be divided into four convention center rigging was of eight dimmer rooms to keep segments, each with a clear ceiling designed with drops distributed over branch circuits to reasonable length height of 20'. The technical support each of the ballroom floors, with for voltage drops and for reasonable includes concealed heavy load access through the ceiling designed economics. For the architectural rigging points, strut rigging as a 10 ' grid spacing. This grid lighting control system used for load- integrated into the ceiling, theatrical- conforms to standard lighting in, load-out, cleaning, and basic purpose lighting distribution, and trusses, permitting locations meetings, we had a preview of the agile lighting control systems. anywhere within the space. A proposed ETC Paradigm products The various meeting rooms can secondary steel support structure is well ahead of release. ETC committed accommodate between 70-195 coordinated with the drop points and to deliver on the project schedule and people, depending on the room, and is accessed from a catwalk system implemented specific control features each has 14' clear ceiling. Each from which you can hang chain the project required. ETC and Creston features strut rigging integrated into hoists at any 10 by 10 drop point.” cooperated to produce driver the ceiling and distribution for The lighting systems use 3,752 software to operate the Paradigm theatrical lighting. Two pre-function channels of ETC Sensor dimmers, control platform from the touch spaces and an atrium are also set up 432 channels of ETC Unison universal panels that were part of the scope of in much the same way. fluorescent dimmers, 72 channels of the AV system.” The rigging systems for the DMX control for LED decorative ballrooms employ 12 Stage lighting elements, more than 1,000 Convention sound s

a Technologies Big Tow 390 and 65 Big Ethernet taps on the theatrical and The sound package for the g e

V Tow 250 zero-fleet winches, three architectural lighting control network, convention center makes use of a r e t n

e Stage Technologies Nomad control 17,000 linear feet of two-circuit staggering amount of Harman C y t I

C systems, three H&H Specialties/Stage theatrical-purpose bus track, and Professional gear. The loudspeaker f o y Technologies draw curtain machines, more than 1,000 theatrical-purpose tally includes 606 JBL Control 332C, s e t r u and 24 SSRC pantograph systems. bus track tapoff receptacle devices. 446 Control 432CT, 192 Control o C :

o Overall, the project called on 30,000 Regarding the lighting systems, 328C, 14 Control 227CT, and 14 t o h

P linear feet of ceiling rigging strut with Fause says, “The design challenges Control 26Ct units. The amplifier

http://www.lightingandsoundamerica.com • October 2010 • 9 ARCHITECTURE

The entrance to the convention center.

count includes five Crown CT 4200 Entertainment Systems Designs. the same voicing.” USPCN, 262 CTs 2000 USP3CN, 113 Smith says, “Harman offered my only He adds, “There were three criteria CTs 1200 USP3CN, and three Crown option to satisfy my vision and the that were the decisions makers: 1.) 1160A units, and, for digital signal project requirements, specifically with code compliance, 2.) sound quality processing, the BSS London BLU London. The size of the project and matching voicing out of speakers system, including 80 BSS London dictated that equipment rooms be that fit the application to maintain the BLU Blu Net 0x16 outputs and 109 spread out all over the campus, with continuity of design, and 3.) and the Blu Net 16x0 inputs. Also available complete interconnectability and total package, to streamline design are 44 JBL VerTec 4887APD line array inter-routeability of any an all sources, process and purchasing. Harman won elements, 18 JBL VerTec 4881APD and that meant that we theoretically #3 hands-down; it was the only subwoofers, 24 JBL VP7212/64 needed all of the BSS BluLink manufacturer that could provide powered delays, 54 VP7212M channels plus all of the CobraNet amps, processing, and speakers from powered stage monitors, and 36 dbx channels. We could not come up with a single source. It also won #2 hands- in-ear monitor processors—and, for a solution using any other platform.” down, with the vast product line and control, three Soundcraft Vi6 ninety- Smith adds, “We evaluated several commitment to deliver product that six channel digital consoles top manufacturers’ speakers and a was still in the design phase at the Darren L. Smith, at the time a few not-so-well-known manufac - time. Number one was also won by senior consultant for PMK turers. The top two choices were Harman, as JBL has nailed the UL Consultants—he is now CEO of Tannoy and JBL. JBL won out due to and fire process in functional and s

Vegas-based Entertainment Systems the package. No other manufacturer good-sounding back cans and a g e V

Design—reports that he was respon - had ceiling speakers for every appli - integrated can speakers.” r e t n sible for the entire AV system design cation/condition that we encountered, Smith says, “I believe that it is the e C y t I

for the Aria Casino and Conventional complete with UL-listed and fire-rated best-sounding property in Las Vegas. C f o y

Center, as well the Vdara Hotel. His back boxes and sleek and sexy grills Ultimately, the sound quality delivered s e t r u

colleagues were Andy Weaver and coupled with the supporting product from the BSS DSP through the Crown o C : s

Scott Bray, now also partners in lines in cabinet-style speakers with amps and out the JBL speakers is a o t o h P

10 • October 2010 • Lighting &Sound America One of the convention center’s ballrooms is set up for a banquet. winning combination for this project. processing was via dbx Drive Rack scaler/switchers, six Multidyne EOS- Given the number of amps, speakers, 4800s. A 60-piece orchestra was on 4000 HD-SDI switchers, 240 and processors, there have been very the main stage, with a five-piece Multidyne HD-3000 fiber-optic few failures, which is often more band in the round on the center transport links, one Ashly Audio MX- important than sound quality in a stage. The first set featured the 508 mixer, 24 Crestron PRO2 dual- project of this magnitude.” orchestra alone; the second set was bus control system, 71 Crestron Interestingly, he says, “Recently, I a combination of the two groups, TPMC-8L wired touch panels, and 16 was given the opportunity to contract with the third featuring the five-piece TMPC-8X wireless touch panels. services for a couple of shows in the band alone. The system needed to Speaking of its work on the Aria Aria Convention Center as a front-of- function as one rig, and, with careful and Vdara, Smith adds, “This is house engineer, working with the speaker placement and delay rumored to be the single-largest VerTec rigs that we specified for the alignment, it was great-sounding, a consolidated AV system design in Convention Services Department. dream to use, and incredibly easy history. Sixty venues, thousands of The most recent show included two to tune.” ceiling speakers, three complete 10-box hangs of 4887DP with eight Also on the audio video gear list concert line array systems, 20-plus 4881ADP and eight 4881ADP subs, are 36 Shure PSM700 in-ear monitor equipment rooms, thousands of runs plus VP7212 delays and center fills, systems, 24 Symetrix 581E distri - of fiber infrastructure, hundreds of VP7210 front fills, and VP7212DP bution amplifiers, 80 Furman PL-PRO input/output panels. The list goes on wedges. The consoles were a power conditioners/surge protectors, and on and on. The battle was a long [Soundcraft] Vi6 for the front of house 42 Da-Lite screens, 42 Christie one, but the winner, hands-down, on and another Vi6 for monitors; extra HD10K projectors, 80 Extron ISS-506 this project is the client.”

http://www.lightingandsoundamerica.com • October 2010 • 11 ARCHITECTURE

a city overrun with gimmicky, design, installation, and programming Hahighz-coencept nighntclubs, thofelightingNsystemsi.) ght In Haze stands alone. A 25,500- As Matthew Ezold, project manager sq.-ft space on two levels with an and theatrical systems designer for enclosed VIP lounge and three full- APF on Haze, notes, the moving service bars, it has something entirely ceiling is the thing: “Articulating novel to offer: Conceptually developed trusses above the dance floor and an by the interior design firm ICrave, it’s a extensive motorized video screen wall spatially variable club, thanks to five allow the view from the dance floor to oval articulating overhead truss units, shrink and expand, connecting the suspended over the dance floor and dance floor to the VIP area by recalling housing the performance lighting rig. system presents or allowing operators The dance floor ceiling height can be to create new looks on the fly.” Lyons adjusted from 11' 6" to 21', with a adds, “The moving ceiling allows you nearly infinite number of possible to change the look of the space, as ceiling configurations, thanks to well as the orientation of the lighting, individual and group truss control many times each night. With a from the DJ booth. retractable video wall, you can change According to Steven Friedlander, of the focus of the room as well.” Auerbach Pollock Friedlander (APF), The rigging system’s custom oval Crave developed the concept to truss units were fabricated by Total “explore the relationships between Structures; each is supplied with four guests in different areas of the Stagemaker BGV-C1 variable-speed which is handled by a Creston nightclub. By using larger-than-life hoists, customized by Niscon for the control interface, is also integrated props and performance areas dotted project, allowing for multi-axis into the performance lighting throughout the dance floor and circu - positioning, with tolerances of ¼", Crestron master control touch lation areas, ICrave was working to controlled by a Niscon MK2 console panels, permitting individual screen constantly redefine guests as both control surface with Raynok software. height adjustment and overall performers and voyeurs.” An Ethernet network constantly system preset recall. Friedlander adds, “To reinforce these monitors the truss speed, acceler - “I had done a number of moving relationships and to allow for dramatic ation, positioning, and loading. The truss systems in the past, and I felt changes to the dance floor volume, a truss units incorporate DMX distri - they had been done ad nauseam ,” lighting and rigging package was bution equipment for the performance says Lyons. “One thing I wanted to designed by John Lyons Systems that lighting gear, with hanging points achieve at Haze was a system that would allow complete control of the located throughout the structure. moved quickly and smoothly and nightclub systems from a single control In addition, a fixed perimeter truss articulated gracefully. The drive area in the DJ booth. Working with system, also supplied by Total system for this truss set it apart from John Lyons Systems [JSL, credited Structures, surrounds the dance the others. The Niscon MK2 console also with audio visual design] and floor (and lower-floor VIP seating control surface with Raynok software Fisher Marantz Stone [architectural area), providing positions for the does things in three dimensions. lighting design], we detailed a flexible performance and architectural These trusses don’t just pan and tilt; lighting and rigging system that inter - lighting units. Ten motorized perfo - they have four different types of faced with the surrounding architectural rated screens cover the front face of movement. When they work in sync lighting.” (Lyons’ company, John Lyons the performance catwalk, allowing with each other, there are 20 motors Systems, consists of two divisions: for large-scale projections and in action, each of them getting unique Avalon Sound, specializing in the sales, theatrical scrim effects highlighting information about movement and design and installation of audio dancers on the performance catwalk. speed. For example, you can create a systems, and Moonlighting, for sales, Control of the motorized screens, wave movement. It’s pretty wild to

12 • October 2010 • Lighting &Sound America Haze encompasses 25,000 sq. ft. on two levels, with an enclosed VIP lounge and three full-service bars.

see the entire ceiling move as one rack-mounted DMX nodes, two 6911 consists of 192 Elation OPTI Tri 30 single plane. If it tips from left to right, portable enclosures, fourteen 6901 LED PAR units plus 12 Martin Atomic there are 20 motors moving at standard enclosures, 14 Uno fixed strobes, mounted on a unistrut grid different rates of speed, but it looks one-port DMX nodes type EN1, and and fed with switched power and dead solid, like a unified structure. It 18 C-Series 6202 two-port DMX portable network nodes. “It’s a very moves fast and slows down gently. nodes type EN2. powerful effect,” says Lyons. “I wanted I’ve never seen that kind of elegant Lyons notes that the lighting gear it to read as a dot matrix.” Providing movement before in a club.” was chosen in part for the way it atmospheric effects are a Martin The dance floor is lit with approxi - could be stored into the truss. “I Professional Hydra distributed head mately 150 performance lighting wanted the truss to look empty,” he fog system, three Look Solutions units—a broad range of moving says. “When it moves, all you see is a Unique 2 hazers, and three Martin AF1 mirror, fixed lens, moving head, nice clean ceiling. The Miniscans are DMX-controlled fans. strobe, and LED wash fixtures. The placed inside the truss. On the The performance lighting system is lineup includes ten Clay Paky Alpha perimeter, we needed something with powered from a single rack of 96 ETC 700 HPE Beams, 20 Clay Paky punch and fast movement, which is Sensor dimmers and four 42-pole Miniscan HP3 intelligent DMX mirror how we chose the Golden Scan. The motorized breaker panels, supplied scans with irises, 24 Clay Paky lighting industry as a whole has by Siemens. Completing the set-up is s

a Golden Scan 4 intelligent DMX mirror moved away from making mirror- a set of switched and dimmed ETC g e

V scans, and 10 Martin Atomic 3000 scanning fixtures, but Clay Paky had power distribution devices. A portion r e t n

e DMX strobes, outfitted with Atomic what we needed. We wanted to have of the architectural lighting system, C y t I

C Colors scrollers. Lighting gear was a beam fixture and, since Clay Paky which consists of 25 ETC Source f o y supplied by PRG. The DMX network makes a smooth, fast, lightweight Fours in various models and degree s e t r u for the lighting gear is entirely by beam fixture, we ended up with that.” sizes, is also powered from here. o C :

o Pathway Connectivity. It includes Another distinctive feature in Haze Architectural and performance t o h

P Pathport Manager Plus 5301 four-port is the wall-of-light system, which lighting control is provided by two

http://www.lightingandsoundamerica.com • October 2010 • 13 ARCHITECTURE

It’s pretty wild to see the entire ceiling move lineup includes ten JL-CCX 12 P 12" “ coaxial boxes, six JL-XL high-output as one single plane. I’ve never seen that kind of dance mid-highs 16 JL-M dual 12" elegant movement before in a club. ” — John Lyons biamp DJ monitors, 28 JL-S dual 8" coaxials, 28 JL-P single 8" coaxials, six JL-115 single 15" subwoofers, 17 separate control systems working in the 70' screen.” Completing the JL-215 dual 15" subs, and ten JL Sub tandem over a multi-universe network visual system are four Panasonic 121 dual 21" subs. Speaking of the DMX distribution system. WV-CS954 PTZ cameras, one latter units, he adds, “we have them Performance lighting and dance floor Panasonic WV-CU650 PTZ camera arrayed in a concrete bunker under systems are controlled by the controller, eight Kramer VP419xl the DJ booth, making a single source ShowCAD Artist computer-based video scalers two Kramer VP 12 x 8 for the dance floor, with Gunness lighting playback software, with VGA matrix switchers, two Denon processing. It’s really powerful and Novation, Korg, and MOTU MIDI DN-V210 rack-mount Pro DVD clean, a sound you’ve never heard on control hardware and surfaces. It was players. The BenQ projectors are a dance floor before.” chosen by Richard Worboys, of JLS, MP771 3,500-lumen units. Other gear in the club includes because “we wanted the operator’s eight JBL Control 322 C 12" coaxial interface to be user-definable,” says Clear Sound in Haze ceiling speakers; 36 QSC AD- Lyons. “Also, ShowCAD has a pixel- For the loudspeaker system, Lyons C152ST 6" ceiling speakers; ten mapping engine that allows you to went with gear from Fulcrum Community Professional Veris 210 take complex lighting plots—like the Acoustics. It’s a new company, dual 10" subs. The amplifiers, all LED wall of light—and treat it as one founded in 2008 by Chris Alfiero, from Crown, include three I-Tech surface. With ShowCAD, you can David Gunness, and Stephen Siegel, 4000, 30 Macro Tech-I 5000, seven effortlessly create animations that go who previously were part of such Marco-Tech-I 9000, three CDi 4000, up the wall and across the ceiling.” A well-known companies as EAW and and one CTs 600 units. On the Crestron user-interface system with Electro-Voice. control side, a system from BSS touch-panel control handles the Lyons’ association with the includes two BLU-160 DSP network architectural lighting. Fulcrum team goes back some time. processors, one BLU-320 and one Explaining the projection systems, “I collaborated with EAW on the BLU-120 processors, and three BLU- Lyons says that there are ten development of the Avalon 10 remote controls. Programming of screens, each of which is 7' wide. loudspeaker series,” he says. “While I the audio network was by Bradley (They were supplied by Stage was there, two engineers I worked Drummond, of JLS. Filling out the list Technologies with Skyco Shading with started Fulcrum. I got together are four Technics 1200 M5G Systems, Inc.) “They’re motorized with them on boxes that are now part turntables; two Pioneer DJM-800 DJ and they come together to create a of Fulcrum’s product line. With them, audio mixers; two Pioneer CDJ 1000 70'-wide screen. We have five BenQ I was able to create products that and two DVJ 1000 CD players, two projectors, which are tied together to were specifically suited to Haze.” Formula Sound AC2 volume limiters, create a single large image. To do Among other things, he says, “I and two Rane SL.3 Serrato Scratch this, we use a media server program wanted high-output, high-fidelity Live units. called Xnth; it was developed by sound out of a small box. We were Other key players include Anne Mark McCall, who works at Avalon, a able to achieve that using Tovatt, senior designer of JLS, club that I own in Hollywood.” He processing with an algorithm that Thornton Tomasetti (structural adds that Xnth allows one to create Dave Gunness came up with to engineer), PMK (acoustics 3-D images, by which he means correct the distortions inherent in consultant). Haze, which opened in imagery containing multiple planes of coaxial design when moving that December, is off to a flying start. surfaces. (Think of an image of much mass at high SPLs. He put it Lyons, who owns clubs, is well- tumbling dice, which allows you to in a nice enclosure, allowing us to versed in the Vegas scene, having see three surfaces at once.) “You can put a lot of speakers into a small designed nine clubs there. “I know do some really trippy graphics as the space.” The result is “the kind of where the high-water mark is in music is happening,” he says. “The sound you get in your living room Vegas, and I try to make each one club’s VJ creates live video on the fly, with esoteric high-fidelity speakers, different,” he says. “I’ve been back to working with live imagery and stock but extremely high output; that’s Haze five or six times. Even now, with footage, combining them to create an hard to achieve on a dance floor.” the ceiling rigs and the lighting and infinite number of visual effects on The Fulcrum Acoustic loudspeaker sound, I still get chills.”

14 • October 2010 • Lighting &Sound America ABOUT AUERBACH POLLOCK FRIEDLANDER, Performing Arts/Media Facilities Planning and Design

Auerbach Pollock Friedlander are design consultants for performing arts projects worldwide, including opera houses and profes - sional repertory theatres, concert halls, performing arts training facilities, museums, planetariums, and popular entertainment venues in theme parks, casinos, cruise ships and night clubs. Services cover all aspects of theatre design, from planning and programming through design, documentation and construction administration to the detail development of all theatrical systems, including sound, video and communications.

Selected Projects: Aspen Music Festival and School, Benedict Music Tent • Berkeley Repertory Theatre, Roda Theatre and Thrust Stage • Boston Conservatory • Brigham Young University, BYU-Idaho Center Auditorium • Carnegie Hall, Judy and Arthur Zankel Hall • California State University San Bernardino, Valley Performing Arts Center • Carnegie Mellon University, Purnell Center for the Arts • Celebrity Cruise Lines • Conference Center for the Church of Jesus Christ of Latter-day Saints • Cyprus Cultural Centre • Denver Art Museum, Frederic C. Hamilton Building • Emerson College, Cutler Majestic Theatre, Paramount Center and Tufte Performance and Production Center • Emerson College, Los Angeles • Guggenheim Abu Dhabi Museum • Hayden Planetarium, Rose Center for Earth and Space • Joseph Meyerhoff Symphony Hall Renovation • Mesa Arts Center • MGM Grand Hotel and Casino, KÀ ™ for Cirque du Soleil • MGM Mirage, Cirque du Soleil LOVE™ • New York New York, Zumanity, Another Side of Cirque du Soleil • Oregon Shakespeare Festival, Elizabethan Theatre, Allen Pavilion • Qatar National Theatre and Convention Center • San Francisco Conservatory of Music • San Francisco Symphony Center, Expansion of Davies Symphony Hall • San Francisco War Memorial Opera House • Santa Fe Opera Theater • SF Jazz • Shanghai Grand Theatre • Signature Center • Sonoma State University, Green Music Center • Space Center Houston, NASA Visitors Center • Sun Valley Music Pavilion • The Historic Salt Lake Tabernacle of the Church of Jesus Christ of Latter-day Saints renovation • The Venetian Macau, ZAIA™ for Cirque du Soleil • United States Capitol Visitor Center • University of California, Robert and Margrit Mondavi Center for the Performing Arts • University of California, Nanosystems Institute • University of Denver, Newman Center for the Performing Arts, Lamont School of Music • Verizon Wireless Amphitheatre at Encore Park • Yerba Buena Center for the Arts, Novellus Theater, Esplanade, Galleries and Forum.

ABOUT AUERBACH GLASOW FRENCH, Architectural Lighting Design and Consulting

Auerbach Glasow French provides comprehensive architectural lighting design and consulting services for a wide range of projects including municipal and commercial exteriors, exhibits, museums, attractions, public spaces, corporate offices, theaters, large insti - tutional projects, retail, and hospitality. From project design and management to the design and documentation of custom decorative luminaries, optics and control systems, Auerbach Glasow French synthesizes the technical and aesthetic requirements of a project to achieve lighting designs which realize the goal of lighting as a defining element in architectural space.

Selected Projects: A.C.T. Geary Theatre • Berkeley Repertory Theatre, Roda Theatre • Brigham Young University, BYU-Idaho Center Auditorium • California Palace of the Legion of Honor • Carnegie Hall, Judy and Arthur Zankel Hall • Conference Center for the Church of Jesus Christ of Latter-day Saints • Contemporary Jewish Museum of San Francisco • David Brower Center • Epic Systems Corporation • Euro Disneyland Resort Center/Lake District Site • Fisherman’s Wharf Exterior Renovation • Fox California Theatre • Hayden Planetarium, Rose Center for Earth and Space • Lotte Hotel, Seoul • MGM Grand Hotel and Casino, KÀ ™ for Cirque du Soleil • Nautilus Theatre Sea World • New York New York, Zumanity, Another Side of Cirque du Soleil • Oakland Museum of California Renovation • Oregon Shakespeare Festival, Elizabethan Theatre, Allen Pavilion • Philadelphia Academy of Music • Pixar Animation Studios, Building l and Phase 2 Production Building • Rice University, Shepherd School of Music • San Francisco Conservatory of Music • San Francisco War Memorial Opera House • San Jose Convention Center • San Jose Greater Downtown Exterior Lighting Master Plan • Shanghai Grand Theatre • Space Center Houston, NASA Visitor’s Center • The Metropolitan Museum of Art, The Wrightsman Galleries • Toledo Museum of Art, Sculpture Walk and Campus Master Plan • Transbay Transit Center • University of California, Law Building • University of California, Robert and Margrit Mondavi Center for the Performing Arts • University of Cincinnati, Eden Quad, CARE and Medical Sciences Buildings • Vancouver International Airport, New International Wing • Willamette University, Mary Stuart Rogers Music Center • Yerba Buena Center for the Arts, Galleries and Forum.

www.lightingandsoundamerica.com • October 2010 • 15 San Francisco New York Minneapolis 225 Green Street 266 West 37th Street 6113 Arctic Way San Francisco, 10th Floor Edina, California 94111 New York, Minnesota 55436 1 415 392 7528 New York 10018 1 952 930 0818 1 212 764 5630

www.auerbachconsultants.com [email protected]

16 • October 2010 • Lighting &Sound America