PERFORMING ARTS AUDITORIUM MIDLAND, TEXAS A Performing Arts Auditorium Midland, Texas
Presented to Professor W. Laurence Garvin DIVISION OF ARCHITECTURE TEXAS TECH UNIVERSITY
In Partial Fulfillment Of the Requirements of the Bachelor of Architecture Degree
By James Sims
/•/f'-^ TABLE OF CONTENTS
oBACKGROUND 1 Goals and Objectives 3 oSITE ANALYSIS 23 oACTIVITY ANALYSIS 51
oSPACE SUMMARY 61
°COST ANALYSIS 68
"SYSTEMS PERFORMANCE CRITERIA 74
oDETAILED SPACE LIST 82
oBIBLlOGRAPHY 124 oCASE STUDIES 126
Introduction been met. AIM (Auditorium in Midland, Inc.),
organized by a group of interested citizens, has Periodically, Midland's civic leaders have 3 been established to achieve this objective. assembled for a future-planning session to AIM was established two years ago with a establish long-range goals for the city. These single purpose in mind; an auditorium which goal-setting conferences, titled "Objectives for could be used by the Midland-Odessa Symphony and Midland," have provided the initiative for vital Chorale, the Permian Civic Ballet, area school community projects. One of the primary objec music competitions, religious events, touring tives is to "build a civic auditorium with 4 groups, and conventions. Midland has the only seating for approximately 2,000 people designed metropolitan symphony in the United States that specifically for utilization by symphonies, plays in a high school auditorium. Midland is ballet, opera, professional touring theaters, a city which has been growing at an enormous community concerts and other civic, political rate. Its performing arts have been growing and religious events requiring a full-sized right along with it. Practically everything auditorium. Priority consideration should be that's been done in the past 10 to 15 years has given to locating the facility in the central been smaller than the ultimate growth. business district. Support from private sources should be sought to cover a substantial portion
2 of the cost." Although both objectives con ferences recommended the establishment of a civic auditorium, it is one of the only objec tives from both the '70s and '80s which has not Goals and Objectives Objectives:
•The quality of any single performance Goals; should not be compromised to the extent •To create a facility that can successfully that the design elements, used to accom accommodate a variety of performances. modate a variety of performances, detract
.To create an environment that will be from its enjoyment.
conducive to the utmost enjoyment of a •The facility will provide functions for performance. cultural, civic, religious, and school
•To create a facility which can be enjoyed groups.
by the most culturally adept patron of the -The facility will be used to present cul arts or a school child. tural performances in the evening, as well
•To create a facility that will bring new as a place around which people may congre
activity to the central business district gate throughout the day.
at night, as well as create a focal point •The parking garage adjacent to the facil of enjoyment during the daytime. ity must have sufficient parking for the
'To create a facility that can accommodate facility, as well as the federal building
required parking needs, as well as help and the surrounding area.
alleviate daytime shortages. Fig. 1 GENERAL INFORMATION* but the foundation of Midland's population
growth was set. (Fig. 2)
Location:
Midland is located in the Permian Basin of
West Texas midway (300 miles) between Dallas-Ft. 140
Worth and El Paso along Interstate 20. (Fig. 1) / • / • 120 •
Population: / / In 1900, Midland had a population of 1,500 100 persons. At this time. Midland was developing a^ the regional cattle shipping center. During O 80 — /-• o the 1920's. Midland's population had leveled off o /
at about 2,500. At this time, the area con o sisted mostly of farmers and ranchers. However, pulatlo n I x - - - - a. in 1921 when oil was discovered 70 miles south 40 L— east of Midland, its economic base began to shift from ranching and farming to petroleum. 20
The oil boom days were still some distance off.
1950 60 70 80 90 2000 Year *Sources Profile/Midland, Texas (Except where Fig. 2 otherwise noted.) It is estimated that by the year 1985 the tion, the population by the year 2000 is esti combined populations of Midland and Ector Coun mated at almost 400,000 people. ties (the Petroplex area) will be almost 230,000 Since the auditorium will accommodate a people and that by the year 2000 the combined variety of performances and will serve people of population will be over 300,000 people. When all ages, it might be advisable to break down projected population for all of the counties the population by age as well as by sex. Fig. 3 surrounding Midland are taken into considera is just such a graph.
60
50 mm Male D Female O O
40
c
a> ^ 30
o z 20
10
O 4 5-9 10-14 15-19 20-24 2529 30-34 3539 40-44 45-49 50-54 5559 60-64 6569 70+ Age
Fig. 3 Economy; which is one of the largest privately owned
In recent years. Midland has greatly diver banks in the United States, and three savings sified its economy. Today businesses in Midland and loans. The six banks have had an enormous are involved in the manufacturing of steel, increase in deposits in the past 15 years. plastics and clothing, dairy products, and elec (Fig. 4) Bank deposits have increased from tronic calculators and watches. Midland is also $209,182,434 in 1966 to $1,958,134,351 in 1981; highly regarded as a communications and data an increase of $1,748,951,917 or approximately processing center, as well as in the manufac 900 percent. turing of oil tools and equipment for a world Another indication of Midland's growth is market. in the area of new construction. During the
The oil industry and agriculture remain a mid-sixties, construction declined slightly but significant factor in the economy of Midland and has been growing at an astonishing rate ever the surrounding area. Proven oil reserves in since the early seventies. (Fig. 5) In 1981 the Midland production area are 42.2 percent of construction permits exceeded $300 million; the Texas total and 22 percent of the proven $127,883,765 going towards commercial, resources in the United States. Agriculturally, $112,530,929 towards single-family residential, cotton is the principal cash crop; however, and $46,301,000 for multi-family residential. sorghums, alfalfa, and hay are also raised. (Fig. 6)
Midland is also the banking and financial Another indicator of Midland's economic center of the Permian Basin. The city has six growth is the city's expanding office space. progressive banks, including First National Bank 2000-,
300
o o §2 00 o
w 1500-
100
o 80 O O o o Fig. 5 °r 1000
X
(0 O a. «
500-
Year 8^ 66 68 70 72 74 76 78 Single Family Multi Family Year Commercial Residential Residential
Fig- 4 Fig. 6 8 Multi-tenant office space has more than tripled (gross) in additional office space in Midland.
in the past seven or eight years. Surprisingly, Midland is second only to Houston 9 in office space in Texas cities at present. Year Total Sq. Ft. % Change (Gross)* In Effective Buying Income (EBI) in 1980,
1975 2,101,819 Midland ranked 21st in Texas and 254th in the 1976 2,149,006 2.24% 1977 2,149,006 0% nation. In median household, average house 1978 2,273,978 5.81% 1979 2,808,096 23.48% hold, and per capita EBI, however. Midland 1980 3,023,722 7.67% 1981 3,586,532 18.61% ranked quite high. 1982 5,824,196 62.39% 1983 6,530,921 16.29% Median Household EBI $23,979 2nd in Texas *Multi-tenant projects of 10,000 15th in Nation square feet or more, existing or under construction through Septem Average Household EBI $27,909 1st in Texas ber 1, 1982. 10th in Nation
Per Capita EBI $10,143 1st in Texas Of the 6,530,921 total square feet listed in 8th in Nation
1983, 5,824,196 square feet is leasable: 83.94
percent of the office space in Midland has been Culture:
leased or pre-leased; 96.09 percent of con Midland Community Theatre is located in a
structed space has been leased. The average $2.3 million complex and has more than 5,000
rent per square foot is $15.11. A total of 14 members. Seven annual productions are presented
projects have been proposed between September 1, in Theatre I and three smaller productions in
1982 and December 31, 1985. This will be an Theatre II. Midland Community Theatre is also
additional construction of 3,905,616 square feet 40% The Museum also operates the Lancaster Garden
Center and the Marion Blakeman Planetarium which 30%- opened in 1975.
Several other museums are in the Midland 20% area. The Abell-Hanger Foundation's Pliska
Aviation Museum houses one of the state's first io%- planes, built in 1911, as well as other displays
of early aviation in Midland. Another, the 3,000 5,000 8,000 10,000 15,000 25XD00 50000+ -3,000 -4,999 -7,999 -9,999 -14,999 -24999 -49(999 Midland County Historical Museum, is in the Fig. 7 County Library building.
The Permian Basin Museum, Library and Hall involved in a Children 's Theatre School and the of Fame is one of the two major museums in the annual Summer Mummer Melodramas. country concentrating on the oil industry. The Midland-Odessa Symphony and Chorale Sight and sound are utilized to present antique presents 12 subscription concerts plus one tour equipment and original oil paintings. concert. Guest artists from throughout the Midland Center, a 36,000 square foot exhi world are featured frequently, as well as the bit hall, serves as headquarters for conven Permian Civic Ballet. Winners of the annual tions, travelling exhibits and meetings. Young Artists' Competition are also featured. The Midland County Public Library contains The Museum of the Southwest provides many more than 133,000 volumes and 2,900 reels of permanent exhibits of a historical nature, as microfilm, and has an annual circulation of more well as a variety of travelling exhibitions. 10 than 386,000 print and non-print items. The junior high schools, two freshman high schools,
Learning Resource Center on the campus of Mid and two senior high schools. In 1981, approxi
land College, which is open to the public, mately 1,000 students graduated from Midland's houses more than 27,000 volumes. It also in public schools; approximately 70 percent of cludes microfilm, microfiche, films, videotapes which enrolled in a college, university, voca and periodicals. (See map p.) tional or technical school.
Midland College offers two years of aca
Communications: demic and vocational studies in more than 30
Radio: fields. The campus includes nine buildings and
4 AM stations: KCRS is fully accredited by the Southern Association KJBC KMND of Colleges and Schools. In addition to Midland KWEL College, there are eight universities, colleges, 4 FM stations: KBAT KKKK and junior colleges within a 150-mile radius of BCNFM KWMS Midland, including the University of Texas of
Television; KOSA (CBS) the Permian Basin in Odessa. KMTD (NBC) KMOM (ABC) Among the people in Midland, 25 years of (13 stations on cable) age or older, the median school years completed
is 12.7; the highest among the nation's Standard Education: Metropolitan Statistical Areas. 68.1 percent of The Midland Independent School District's these people are high school graduates. 22.7 facilities include 19 elementary schools, three percent of Midland's population have college 11 Midland Industrial Park n Museum ol the Soutliwest Kl Nlla Stewart Haley Memorial Library O Interstate Highway mi Permian Basin O U S Highway Petroleum Museum O stale Highway m Theatre Midland — Street (Not all Stiown) degrees, a large number of these holding mas
ter's degrees or doctorates.
Transportation:
Highways: Interstate 20, a four-lane
divided freeway, borders Midland with five two-
way interchange connections. U.S. Highway 80,
with four lanes to Odessa, passes through Mid
land's business district. Two state highways
transverse Midland with connections to smaller
communities in the area. Construction has also
begun on a Midland north loop road (Loop 250)
and a northern connection route (Highway 191)
with Odessa has been approved.
Rail: Midland is on the mainline of the
Missouri Pacific Railroad with terminal connec
tions to all U.S. market centers.
Air Services: Midland Airpark is a general
aviation auxiliary airport. Located only min
utes from downtown, it houses more than 200 13
r^XAS TlzCr corporate and private aircraft. Airpark in 600 cludes three runways. 500- Midland Regional Airport, which is owned O g400 and operated by the city of Midland, is located
10 miles west of downtown Midland. The airport Saoo 0) O) is capable of handling any commercial aircraft c 4) in in now flown. New construction (1978-80) added (f 200
four new passenger departure lounges and jet- 100 ways, two lower-level gates, and second-level
70 72 74 76 78 80 parking, and expanded the ticket counters and Year Fig. 8 waiting areas. The regional airport is served monthly subscription service, a daily flex-route by American, Continental, Southwest, Texas In service, a demand response service, a medical ternational, Trans-Central, and Muse Air air service, and a charger service. lines. There are 31 daily departures, averaging
47,762 passengers per month. (Fig. 8) Only six Climate: Texas cities record heavier traffic among com Midland's climate is a dry steppe climate. mercial airline travelers. Winters are mild and are characterized by fre
Bus Service: Continental Trailways and quent cold fronts, which are usually dry.
Greyhound bus lines provide 26 departures daily- January is the coldest month, with an average of
Midtran is a local bus operation which 22 days having a minimum of 32°F or below. July
operates five different types of service: a 14 is the hottest month with an average daily maxi flowing streams and rivers eroded away soil mum temperature of 94.5°F. Late February material from the Rocky Mountains and carried
through March is a period of extreme surface these sediments eastward. The soils of the High
winds with blowing dust. The prevailing wind is Plains developed from these sediments. The most
from the southeast and the relative humidity is recent soil materials are the dumed and undu
lower in Midland County than in the central and lating Tivoli and Springer soils, deposited by
eastern parts of the state. The county has 218 winds, which lie along Monohans and Midland
freeze-free days a year with the average first Draws. The soil association, of which the
freeze occurring on November 6 and the last downtown area is a part of, is the Amarillo-
average freeze day of April 3. There is little Arvaha-Midessa association.
rainfall, averaging only about 14 inches annual- 13 ly, mostly in the form of thunderstorms.
As stated earlier, Midland's civic leaders
Soils and Geology: have periodically established long-range goals.
Midland County lays in the deepest part of Some of the objectives Midland has set for the
what once was a shallow sea known as the Permian '80s are:
Basin during the Permian period. The underlying
"red bed" sediments were deposited during this Primary Objectives:
period. Later, in the Cretaceous period, a •Encourage orderly industrial develop
shallow arm of the sea deposited sand, clay, and ment in the undeveloped and underde
limestone. During later periods of time, fast veloped areas south, southeast, and 15 east of the central business district from private sources should be sought
and the corridor between Highway 80 and to cover a substantial portion of the 16 1-20 east of Industrial Park. cost.
•Recruit and attract diversified indus
try that is community minded and envi Secondary Objectives:
ronmentally clean and emphasizes good •Explore methods to iirprove traffic
labor management relations. flow, particularly into and out of the
•Continue to promote Midland as an ad central business district, through one
ministrative and technical headquarters way streets, signal timing or other
for the exploration, drilling produc innovative solutions.
tion and distribution of hydrocarbons. •Promote and develop high density park
•Build a civic auditorium with seating ing above and below ground in the down
for approximately 2,000 people designed town area, including consideration of
specifically for utilization by sympho an ordinance providing for adequate
nies, ballet, opera, professional tour parking for each new structure con
ing theaters, community concerts and structed in the downtown area.
other civic, political, and religious •Develop mass transit systems, including
events requiring a full-sized auditor Midtran, van pooling and car pooling,
ium. Priority consideration should be as needed.
given to locating the facility in the •Form an arts council coordinated by a
central business district. Support paid professional director.
16 •Intensify and make available effective
vocational education programs through
cooperation between the MISD, Midland
College, and private industry.
•Continue to support Midland College by
acquisition of additional land to meet
future needs, increasing community use
of Midland College facilities, contin
uing and increasing Midland College/
MISD cooperative programs and course
offerings to a level of real excellence.
•Establish procedures whereby the city,
the school district, and other local
government bodies strive to coordinate
their recreational activities and util
ize our facilities in the most effi
cient and economical manner.
•Undertake a special study to provide
for entertainment and recreational
needs for youth, the handicapped, and
the elderly. 17 18 Theatre Background : tribes gathered around their dancers during a
Since the end of the Second World War, the performance. Its contemporary development, demand for performing arts facilities has sky theatre-in-the-round, provides the most inti rocketed. This demand also stimulated the macy between actors and audience.
most thorough exploration of theatrical build
ing needs that has ever been undertaken. Not
only did individuals have more money, but
institutions and even corporations were more able and willing to play their roles as patrons of the arts. Many municipal and state
governments, spurred on by non-profit organi
zations, were also beginning to help with
grants, tax abatements and preferential legis
lation. All of this new-found interest in the arts made acute the problem of what kind of The Greek theatre was the first truly building an ideal modern theatre should be. architectural form. The audience was arranged
All of the theatres created in this modern in semicircular tiers on three sides of the
era of experimentation can be based on three performing area. Audibility was enhanced and basic theatre forms: arena, Greek theatre, the performer was seen against an architec
and proscenium theatre. The oldest form—the tural background. In contemporary versions, arena—dates back to the times when primitive the Greek seating plan is combined with an 18 Elizabethan open stage or some type of thrust stage extending into the auditorium.
"All of the elaborate spectator-performer
arrangements that have emerged from contempo
Stimulated by the creation of opera and rary drawing boards are combinations of and the increasing emphasis on illusionistic stage variations on these three basic forms." The settings; the proscenium or picture-frame most expensive of these arrangements is the stage developed gradually from the Medieval- large multi-use proscenium theatre. The stage
Elizabethan theatre and from the Greco-Roman requires elaborate facilities to make it ful theatre plan. In this theatre, the audience fill its varied purposes, such as stage sits in a usually darkened room viewing the machinery, complex lighting and sound systems, performing area through a framed opening or scenery construction and storage areas, and arch. adjustable proscenium openings. In the audi- 19 torium, acoustics and visibility must be sat is a modification of the proscenium stage isfactory for all the different arts presented theatre. The proscenium frame is eliminated there. minimizing the line between performer and
Acoustics present the greatest problem for audience. Performance areas are often along
the modern multi-use theatre; the larger the the sides of the auditorium for added flexi auditorium, the greater the acoustical diffi bility in staging. culties. Acoustical adjustability in the auditoriums help to minimize these problems.
Some of the devices used are false ceilings, adjustable ceiling panels or "clouds," adjust able canopies over the proscenium or perfor mance area, and movable wall panels and draperies to change a room's acoustical char acteristics from reverberant to absorptive or vice versa.
"Between the extremes of the arena's sim Several theatres have been constructed plicity of form and the flexible theatre's which contain only peripheral stages surround complexity of form lies a great number of ing the audience. In these theatres, the
spectator-performer relationships which are tiers of seats are mounted on a turntable and being explored in new theatre buildings. One, moved to face different sections of the peri
the ftameless proscenium, or end stage theatre. pheral stage. Some very unusual theatrical 20 effects can be achieved with the stage also on grand approaches. Easier accessibility to the a turntable and moving in the opposite direc building for audience and performer has also tion, or at a different speed in the same become an important consideration. direction. Internally, careful attention is paid to
the physical and psychological comfort of the
audience with spacious lobbies, foyers, and
lounges. Color, lighting, and interior decor
in the best designs make audiences as recep
tive as possible to the performance.
Exploration and experimentation have freed theatre from its nineteenth-century design stereotyping both inside and out. Contemporary theatre's external form is more likely to be designed by its internal function. Much more attention is being given to site planning.
The festive atmosphere of theatre going is enhanced by landscaped plazas, promenades, and 21 14 Footnotes Ibid., p. 40-1. 15 Ibid., p. 2. Paula Gaboon, "Executive Comment: What Can Be Done to Improve Midland's Recreational 1 /: and Cultural Facilities?" Midland/82, Vol. 4, "Objectives for Midland". 17 No. 3, Third Quarter (1982), p. 10. Ibid. 2 Objectives for Midland/The Eighties, 18 Midland Chamber of Commerce. Maxwell Silverman and Ned A. Bowman, Contemporary Theatre Architecture (New York: Gaboon, p. 10. New York Public Library, 1965). 4 Interview, Rusty Arnold, Feb. 17, 1983.
Ed Todd, "Their Aim—An Auditorium," Midland Reporter Telegram, 24 Nov- 1981, p. 2A.
Ibid., p. lA.
Profile/Midland Texas, Midland Chamber of Commerce.
Midland Office Study, September 1982, Midland Chamber of Commerce.
The Majic of Midland, Midland Chamber of Commerce.
10Museu m of the Southwest, Museum of the Southwest. ^4bid.
Midtran Flex-Route Transit System, Midtran. 1 3 Soil Survey of Midland County, Texas (United States Department of Agriculture Soil Conservation Service, April 1973), p. 41-2. 22 SITE ANALYSIS 24 r" '1 C1ima t e : 1 1 The climate is typical of a semiarid region.
j Droughts occur with monotonous frequency. Most i 1 of the annual precipitation in the area comes as i 1 . ^ • • - --'^ • tl 1 A
•^ ,7" ^".,1," " - - a result of very violent spring and early summer
thunderstorms, usually accompanied by winds,
1 /' excessive rainfall over limited areas, and some
\\\ ' .:• '
• times hail. Due to the flat nature of the \ country side, local flooding occurs but is of
- .^ •, ™.n. V.,. short duration. (Fig. 2) Fig I
Location:
Midland County is in the western part of
Texas and is on the southeastern edge of the
High Plains. The southernmost third of the county grades into the Edwards Plateau land resource area. Midland, the county seat, is in the north-central part of the 600,320 acre county. (Fig. 1) The elevation of Midland is Jan. Feb. Mar. Apr. May June July Aug.Sept. Oct. Nov. Dec 2,851 feet. The latitude is 31°56'N and the Max. Normal Min Monthly lotal Monthly longitude is 102°12'W.^ Fig. 25 There is very little precipitation in the winter 100 and infrequent snow. Fog and drizzle, due to \ / \ \ 90 V \ the upslope from the southeast, occur frequently \ / \ \ during night hours, but generally clear by noon. 80 . / / \ / \ / \ / \ Daytime temperatures are quite hot in the / \ / \ 70 v ^^ \ summer, but most nights are comfortable. The / 4 t \\ / / ^ 60' • / normal daily maximums in the summer months range / \ \ in the low to mid-nineties, with normal minimums /' \ 50 / \ / \ in the upper sixties. Winter temperatures range / \ ^ / from the fifties to the low and middle thirties. 40 \ (Fig. 3) The temperature usually first drops \ 30" Jan. Feb.Mar. Apr. May JuneJuly Aug.Sept.Oct. Nov. Dec. below freezing in the fall about the middle of Monthly Daily .Daily November and the last temperature below freezing Average Minimum Maximum Fig. 3 in spring is in early April.
Winters are characterized by frequent cold periods followed by rapid warming. Springs have and early spring months, dust storms occur very very violent thunderstorm activity. Summers are frequently. Dust in many of these remains sus hot and dry, with variable weather occurring pended in the air for several days after the during the fall. storm has passed. The sky is occasionally ob
The prevailing wind direction in this area scured by dust, but in most storms visibility is from the southeast. During the late winter will range from one to three miles. (Fig. 4) 26 Mean Number of Days
Mean Sky Cover, Tenths Partly Month Sunrise to Sunset ear Cloudy Cloudy
Jan. 5.1 13 6 12
Feb. 5.0 12 6 10
Mar. 4.8 13 8 10
Apr. 4. 7 13 8 9
May 4.J 13 9 9
June 3.. 9 15 10 5
July 4,. 6 12 12 7 6 Aug. 4,. 4 14 11 7 Sept. 4. 1 15 8 8 Oct. 3 .8 17 6 9 Nov. 4 .3 15 6 10 Dec. 4 .6 14 7
Year 4.5 166 97 102
Fig. 5
27 Jan. Feb. Mar.
May June July
Sept. Oct. Nov. Dec. Fig. 4 [Wind Direction /Speed I 28 Sun Angles
Date Sun Time Bearing True Altitude
June 21 9:00 AM 90° East 49° 12:00 0° 82° 3:00 PM 90° West 49°
May 21/ 9:00 AM 84° East 47° July 21 12:00 0° 78° 3:00 PM 84° West 47°
Apr. 21/ 9:00 AM 74° East 43° Aug. 21 12:00 0° 69° 3:00 PM 74° West 43°
Mar. 21/ 9:00 AM 63° East 37° Sept. 21 12:00 0° 57° 3:00 PM 63° West 37°
Feb. 21/ 9:00 AM 53° East 29° Oct. 21 12:00 0° 46° 3:00 PM 53° West 29°
Jan. 21/ 9:00 AM 46° East 23° Nov. 21 12:00 0° 32° 3:00 PM 46° West 23°
Dec. 21 9:00 AM 43° East 20° 12:00 0° 34° 3:00 PM 43° West 20°
29 Soil; bedrock is between 20-40 inches. The permeabil
The central business district, of which the ity of the Arvana is 2-6.3 inches per hour. The
sight is a part, is in the Amarillo-Arvana- available water capacity is .11-.13 inches per
Midessa association. More specifically, the inch of soil. The shrink-swell capacity is low.
CBD is a part of the Arvana series. The Arvana The degree of limitations for foundations for
series consists of moderately permeable upland low buildings is moderate to fair bearing capac-
soils that are moderately deep over indurated
caliche. These soils developed in loamy, cal
careous sediments. Topography:
In a representative profile, the surface The site is virtually flat. The block on
layer is reddish-brown, fine sandy loam about 10 the east end of the site is covered by a parking
inches thick. The next layer is reddish-brown lot. The block on the west side of the site is
sandy clay loam in the upper 15 inches and covered by a parking lot and several small yellowish-red, calcareous sandy clay loam in the stores. Views to the west, looking towards the
lower seven inches. The underlying material is downtown, are quite favorable. Towards the east undurated caliche to a depth of 34 inches. is is not quite so favorable. (Fig. 6)
The Arvana soils are well drained. The available water capacity is moderate. Arvana Access: soils are in a hydrolic group which consists of As has already been stated, the site is soils that have a slow infiltration rate and a accessible from all four sides by Main, Texas, slow rate of water transmission. The depth to Wall, and Weatherford streets. Wall receives
30 the most traffic. Midland recently changed most Considerations:
of the downtown streets from two-way to one-way; All of these aforementioned elements must be
however, only one street bordering the site is taken into consideration in the design of the
one-way, the rest being two-way. (Fig. 7) Any auditorium. Because of some adverse weather
change in curb cuts must be submitted to and conditions, especially in the spring and early
approved by the city engineer. summer months in the form of dust storms and
thunderstorms, some means of protection will be
Utilities: necessary between the auditorium and parking
Utility easements run through the alleys on facility. This will be in the form of a tunnel,
the site. Electricity for Midland is supplied a bridge, or covered walkways.
by Texas Electric Service Company. Any one of Orientation of lobby, foyer, and other areas
several standard secondary voltages or primary possibly containing large amounts of glass will
or transmission voltages are available. Gas is have to be considered. In summer months, high
supplied by Energas. The company has one of the temperature extremes can reach 100°F. As
best long-range gas supplies in the industry. stated, this auditorium will cater to a variety
They now have an adequate 12-year supply of of functions; functions which will take place o not only at night, but during the day as well. reserves. Both of these use alleys as ease A lobby, crowded during intermission, could ments and quite probably might need to be 9 create a burden on the air conditioning system moved. Sewer and water also run through the alley.^° (See Fig. 8-9.) if solar aspects are not taken into considera
tion. 31 GOOD
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Will nnmlditi P. .iinnHiiii Iiitg .• I MIA MM.Ml.,11 M. l>i-., .ivr.|> Pli- .liri,j..1 11 ( ••'•MM 1i 1,1 • ni.i'i Hii IS l WARHINdTON AVf NKC Fig. 12 38 Ponding, and even light flooding, must also east toward Baird Street. A multi-story parking be considered in the design of this structure. garage will be located on the block to the east Level terrain and a fairly shallow water table of Baird. This block is presently owned by the could create problems. Federal Government and is used as employee park ing for the Federal Building to the south of the Master Plan; site. In exchange for the land, the Federal The site on which the auditorium will be Government would be allotted parking spaces for located will be bounded by Texas, Weatherford, its employees. (Fig. 13-B) Wall, and Main streets and is bisected by Baird The auditorium and parking garage will not Street. The city owns a majority of the land to only be physically connected to each other; the the west of Baird; however, some businesses parking garage will be connected to the Federal remain on the block. The city council is nego Center to the south across Wall Street and the tiating the relocation of Pryor Shoes. The auditorium will be physically connected to Mid strip of businesses that includes Lone Star land Center across Main Street. These connec Barbershop, Wall Street Bar and Grill, and El tions will be in the form of overhead or under Petro might be moved to city land on a block of ground walkways. Midland Center was designed to Main Street to the north of the site. (Fig. 13- have a tunnel running beneath it. (Fig. 13-C) A) Midland Center had been originally designed to Baird Street, which bisects the site, will be a full-service convention facility with an be closed. The auditorium will be situated on auditorium. Voters, however, rejected it on a the western part of the site and will extend bond issue and the plans were scaled down, along 39 with the cost, before it was approved. Midland Midland's growing number of downtown hotel Center has meeting and reception facilities accommodations. which will be used in conjunction with the audi torium. The connection between these two build ings must not detract in any way from the exper ience of the performance. Plans are being developed for a three- building package to be constructed on the two blocks to the north of the site. The county has approved a private development corporation to assist in the development of a county office building, a hotel, and a parking garage. These would also be connected to the auditorium and parking garage. This entire project will in volve city, county, and federal government. It will create a central core for the city, county, and federal governments, as well as for the auditorium and Midland Center. (Fig. 13-E) This will also reinforce the need for an assem bly place, due to the fact that it will add to 40 Fig. 13A m TEXAS ST. I'^J-W-iWHilii^iil. SITE p i i'i|i<' CO o w OC O u. OC < Q UJ OC B X •»w»t»»wt*nf iriiiiin < I- . :C- i>:i m UJ 5 WALL ST c • Fig. 13-B (A O OC < TEXAS ST. J t CO , I CO Q AAI>LTHL{EV6L OC A^^tTOnHIM O I I u. < OC I I ui .mt^ X t r if ••!..::..'••. till WALL ST. c • Fig. 13C /IA.H>LAND CENTEft MAI N ST . •'///A c Fig. 13-D CO a OC < m 7. ^^ fcMi* III I.* TEXAS ST. W C3 OC O u. OC UJ X I<- UJ 5 WALL ST. c ^^mmmkMU: FEDfiRAl. CENTER :^•^>>-:'•^v.^'jj•:l:l!OXOX'.OX'.M.il^.!^j•!.VCO!lX • J- ^ I Fig.lBE 1 1. t > ' • . J- > 1 ' J- 1 t HOTEl, AND 1 1 ' < r 1 1 ' 1 1 I < 1' t j- « 1 1 1 1 ' 1 ^ TEXAS ST 1 WEATHERFOR D ST . z •:W.-/ 1 I 1 % #i i^yHK^y.., . i-ii AW -ri f.;'_J_. ^ ji.. 10 49 Footnotes Soil Survey of Midland County, Texas (United States Department of Agriculture Soil Conservation Service, Apr. 1973), p. 1. \ eather of U.S. Cities, Gale Research Company, Detroit, Michigan, 1981, Vol. 2, p. 1025. ^Ibid., p. 1022-23. 4 Soil Survey of Midland County, p. 2. Ibid., p. 6. Ibid., p. 6. Ibid., p. 28. p Profile/Midland Texas, Midland Chamber of Commerce. 9 Phone call, Energas & Texas Electric. City Planning Office. Land Cunningham, "Their Aim: A Performing Arts Auditorium for Midland," Midland Reporter Telegram, 22 Aug. 1982, p. 4-A. 50 ACTIVITY ANALYSIS 51 Introduction: Activity Analysis:* I stated in the beginning of the program Audience: that the primary users of this auditorium "The word 'culture' is an encompassing one would be the Midland-Odessa Symphony and which signifies everything man does and is in Chorale and the Permian Civic Ballet. I must his time and place and society. The word stress, however, that they are a small part of gathers together the fine and performing arts, the varied forms of entertainment. Another crafts and the artifacts of science as they set of primary users which must not be for are presented in buildings designed for their gotten, possibly the most important, is the display." The patrons visual experience audience themselves. The two go hand-in-hand, should begin with the site of the facility and therefore the auditorium must be designed with increase with the climax of the performance. both the audience and performer in mind. After all, what is one without the other. The Brief Audience Activity Description: citizens have demonstrated their enthusiasm 1. Visual sighting of building for the arts through such groups as AIM and 2. Parking the overwhelming attendance of performances. 3. Entrance Groups such as the symphony and ballet demon strate their devotion to the audience through their performance. ''General information from Theatres and Auditoriums and interviews with George Esparza . 52 4. Meet friends Parking: Visit displays Nothing should be done to detrimentally Toilets affect the "majic" of the evening. This in 5. Enter auditorium cludes the frustration of trying to find a 6. Experience performance parking space. There should be a structure 7. Intermission capable of accommodating 1,000 cars. 8. Discuss performance Entrance: Browse Transition from the parking area to the Visit bar interiors of the building must be protected. Toilets Upon entering the building, those who have not 9. Experience performance already bought tickets will purchase them. 10. Reception The ticket office must be placed in the foyer 11. Exit in such a way as to not create a barrier to 12. Drive away people who have prepurchased tickets. Visual Sighting: Lobby Activities: The patrons' experience should begin here. A variety of activities will be carried They should be drawn towards the building. out here. Upon entering the lobby, many pa The patron should feel some pride that the trons will discard overcoats and hats at the performing arts are beginning to come to such coatroom. Some will then wait for friends t( prominence and should begin to feel some ex arrive or carry on conversations with citement about the performance to come. 53 acquaintances. Others will view displays Experience Performance (Conclusion): around the lobby. All of the elements discussed earlier remain in effect; sight lines, etc. Enter Auditorium : The balance of the audience will enter the Reception: auditorium shortly before the performance. The reception following the concert may be Here they may carry on conversations begun in held in one of two places. It might be held the lobby, read the program, or siroply sit in the practice hall of the auditorium or may quietly and await the performance. be held in one of the rooms of Midland Center across the street. This further reinforces Experience Performance: the idea that the physical connection must be This is, afterall, the purpose for which more than just a passage way but must be an everyone has gathered. There should be opti integral part of the overall design. The mum sight lines, acoustics compatable with the reception is an important element of the per performance, and physical comfort. forming arts. It allows key donors to get to Intermission: know the performers and guest artists. During this time, some people iray remain Exit: in the auditorium and sit quietly or discuss Patrons will pick up coats and hats and the performance thus far. Most will exit to then exit to the parking facility. the lobby and view displays or go to the lounge and get a drink at the bar or use restroom facilities. 54 Driving Away: 9. Change The visual and sound experience should 10. Attend reception remain with the patron. Setting Up: Setting up will usually begin about two Orchestra: and one-half hours before the performance. The Midland-Odessa Synphony and Chorale Chairs are set up, lighting and acoustics are includes some of the most talented musicians checked, curtains are adjusted, low level in the Southwest. The symphony presents 12 amplification is checked, and recorders are subscription concerts and one tour concert set up (all performances are recorded). annually, frequently featuring guest artists 4 from throughout the world. Orchestra Arrival: The orchestra will begin arriving approxi Brief Orchestra Activity Description; mately one-half hour before the concert. Some 1. Setting up will arrive even later than this. It is 2. Orchestra arrival therefore essential that the orchestra have 3. Changing their own entrance backstage to facilitate 4. Warming up speed in preparing for the performance. 5. Performance 6. Intermission Changing: 7. Performance The Midland-Odessa Synphony usually arrives 8. Put up instruments dressed. For the benefit of touring companies, 55 however, there must be chorus dressing for 75 Intermission: to 100 and private dressing facilities for at During the intermission, many of the mem least the conductor and concert master as well bers will go to the greenroom or use rest- as guest performers. rooms. There must be sufficient lounge and restroom facilities to accommodate the 85 Warming Up: members of the orchestra in 15 minutes. After changing, the orchestra will uncase their instruments (adequate storage must be Perf oirmance: available for storage of instrument cases, Conclusion. grand piano, tympanny, etc.) and then proceed Put Up Instruments: to the stage, or pit, and begin to warm up. Members of the orchestra will pack their Performance: instruments. Some will take their instruments Wliether performing on stage or accom while others will store them at the auditorium, panying a ballet or opera in an orchestra pit, Change: acoustics must be able to enhance the perfor Requirements of space for changing have mance. Both the stage and the pit must be of already been discussed. After performing on sufficient size to accommodate the musicians stage under hot lights, shower facilities will comfortably. (The Midland-Odessa Symphony be required. These will be in the form of uses 85 members for performances.) grouped showers for the chorus dressing rooms and private shower facilities for principles' dressing rooms. 56 Reception: Arrival: This is an important function of the eve The company will begin arriving approxi ning. It allows key donors to get to know the mately three and one-half hours before the musicians and guest artists, which aids in the performances. ongoing support for the arts. Make-Up and Change: After arriving, performers will put on Ballet: make-up and change. Performers less experi The Permian Civic Ballet is featured in enced in make-up will need to have their make several symphony appearances each year. The up applied in a make-up room. It must be ballet, in terms of expense and number of noted that many ballet performers must have performers, is second only to the opera. their costumes literally sewn on so costume Brief Ballet Activity Description: facilities must be provided. 1. Arrival Warm Up: 2. Make-up and change The ballet may either warm up on stage or 3. Warm up in the practice room. 4. Performance 5. Intermission Performance: 6. Performance The ballet requires a more "springy" stage 7. Change for their performance. It should also be 8. Attend reception constructed of bare wood. 57 Intermission: Other Activities: Basically, use of restroom facilities for Scene Construction: those who have been on stage. Material for scenes will be received at a Performance: loading dock backstage. It will then be taken Conclusion. to the workshop where scenery and props are constructed. Scenery will then be painted in Change: the workshop and moved to the stage. After Shower facilities and dressing rooms are production has ended, scenery and props will similar to those of orchestra. be put into storage. Reception: Concessions: The reception is also important to the Cash bars are a prime source of income and ballet so that they may meet primary donors. should be located conveniently in lobby or lounge areas. Sound Engineer: Many times the sound engineer is located almost as if it is an afterthought. The engi neer should be located in the audience so that he may adjust the sound for optimum audience enjoyment. 58 Backstage Crew: Footnotes To carry out lighting and staging Mildred F. Schmertz, "Designing for activities. Culture," Architectural Record, May 1978, p. 124. 2 Security: Theatres and Aud. 3 For the safety of the audience and the Interview, Jorge Esparza. protection of displays as well as the struc Profile/Midland Texas, Midland Chamber of Commerce. ture itself. ^Ibid. Administration: Many of the administrative offices will be in Midland Center; however, additional office space will need to be created. Camera Crew: It should also be noted that some of the performances are broadcast locally. There should be space for positioning of cameras near the front of the auditorium so as not to interfere with audience enjoyment of the per formance. 59 SPACE SUMMARY 60 Summary: ^Public Areas 35,630 "Stage and Support 15,647 '^Performer Support 7,679 ^Administration 1,690 '"'^Workshop and Support 4,800 ^Mechanical 4,909 *Net 70,355 '•'Gross 100,507 61 PUBLIC AREAS Assignable # Description Occupancy Area/Occup. Area Authority 1 2,500 01 Foyer Varies 1^ Theaters & Auditoriums 02 Lobby 1,200 —b 6,000 Preference 03 Auditorium 2,500 8^ 20,000 Graphic Standard 04-07 Lounge (4) 400 4,000 Estimate 08 Checkroom 5 200 Dodge 09 Ticket Booth 4-6 150 Dodge 10-13 Cash Bars (4) 4-8 1,800 Dodge Graphic Standard 14-15 Toilets (Male) (2) Varies 400 Mechanical Engineering 16-17 Toilets (Female) (2) Varies 400 Estimate 18-20 Janitor's Closet (3) None 180 Subtot al 35,630 a: based on audience seating x area/occupant b: based on 1.8 x audience seating + 1,500 sq. ft. for exhibition 62 STAGE AND SUPPORT Assignable Description Occupancy Area/Occup. Area Authority 21 Stage Varies 2,000 Human Factor 22 Support Varies 7,986 Theatres & Auditoriums 23 Trap Varies 2,661 Theatres & Auditoriums 24 Orchestra Pit/Lift 85 10 1,000 Theatres & Auditoriums 25 Ghairwagon Storage 1,000 Theatres & Auditoriums 26 Tower Storage 1,000 Case Studies Subtotal 15,647 c: based on 10 sq. ft. per musician + 100 sq. ft. for piano + 500 sq. ft. 63 ^PERFORMER SUPPORT 1 Assignable // Description Occupancy Area/Occup. Area Authority 27-34 Principle/Guest Dressing (8) 8 120 960 Dodge 35-42 Chorus Dressing (8) 115 25 2,875 Preference 43 Make-up Varies 100 Theatres & Auditoriums 44 Green Room Varies 300 Theatres & Auditoriums 45 Rehearsal Varies 2,000 Theatres & Auditoriums 46 Fitting Room Varies 100 Theatres & Auditoriums 47 Costum Storage None 210 Human Factor 48-49 Lavatory/Showers Varies 1,134 Graph. St. & Mech. Eng. Subtotal 7,679 64 ADMINISTRATION Assignable Description Occupancy Area/Occup, Area Authority 50 General Manager 1 225 Time Saver 51 Accounting 2-3 200 Time Saver 52 Publicity 1-2 200 Time Saver 53 Reception 1-4 300 Time Saver 54 Conference 6 225 Time Saver Time Saver 55 Lighting 2-3 400 Estimate 56 Sound 1-2 140 Sub tota l 1,690 65 WORKSHOP AND SUPPORT Assignable Description Occupancy Area/Occup. Area Authority 57 Receiving Varies 200 Theatre & Auditoriums 58 Workshop Varies 2,000 Human Factor 59 Scene Storage None 1,000 Time Saver 60 Property Storage None 600 Estimate 61 Instrument Storage None 1,000 Estimate Subtotal 4,800 Mechanical 4,909 Parking (1,000) Net (excluding parking) 70,355 70,355 _ 1 Gross .7 Gross 100,507 66 Footnotes Harold Burris->feyer and Edward C. Cole, Theaters and Auditoriums (New York: Reinhold Publishing Corpor ation, 1964). Ramsey and Sleeper, Architectural Graphic Standards, 6th ed., (New York: John Wiley & Sons, Inc., 1970). Dodge Construction Systems Costs, 1982 (New York: McGraw-Hill, 1981). McGuinness, Stein, Reynolds, Mechanical and Elec trical Equipment for Buildings, 6th ed. (New York: Jolin Wiley & Sons, 1980). Joseph De Chiarra and John Hancock Callender, ed., "Time-Saver Standards for Building Types" (New York: McGraw-Hill, 1980). Wesley E. Woodson, "Human Factors Design Handbook" (New York: McGraw-Hill, 1981). 67 COST ANALYSIS 68 The following estimate is a preliminary analysis of the probable cost of the Performing Arts Auditorium for Midland, Texas. Average Building Cost Estimate* Building System /S.F. % Total Foundation 1.63 2.4 Floors on Grade 3.06 4.8 Superstructure 11.70 18.6 Roofing 1.45 2.3 Exterior Walls 5.41 8.6 Partitions 5.16 8.2 Wall Finishes 2.77 4.4 Floor Finishes 2.33 3.7 Ceiling Finishes 1.57 2.5 Specialties 1.26 2.0 Fixed Equipment 5.03 8.0 HVAC 8.43 13.4 Plumbing 3.27 5.2 Electrical 9.87 15.7 Gross Building Cost $62.90 100% *Taken from Dodge Construction Systems Cost. 69 The following estimate is a preliminary analysis of the probable cost of the Performing Arts Auditorium for Midland, Texas. Average Building Cost Estimate''' Building System $/S.F. Z Total Foundation 1.63 2.. 4 Floors on Grade 3.06 4 .8 Superstructure 11.70 18, .6 Roofing 1.45 2,. 3 Exterior Walls 5.41 8,. 6 Partitions 5.16 8,. 2 Wall Finishes 2.77 4, ,4 Floor Finishes 2.33 3, .7 Ceiling Finishes 1.57 2,, 5 Specialties 1.26 2,. 0 Fixed Equipment 5.03 8. ,0 HVAC 8.43 13. ,4 Plumbing 3.27 5, ,2 Electrical 9.87 15, .7 Gross Building Cost $62.90 100% ^Taken from Dodge Construction Systems Cost, 69 Summary: '•'Public Areas 35,630 *Stage and Support 15,647 '^Performer Support 7,679 '''Administration 1,690 '•'Workshop and Support 4,800 ^Mechanical 4,909 *Net 70,355 *Gross 100,507 70 4/83 7/84 10/85 Escalation: Program Midpoint Project Completion •Project completion was decided upon based on the desire to open the theater during Midland's 1985 centennial. Escalation = ^2% per month x 15 months = 12.5% Gross Square Footage 100,507 sq. ft. Cost/Sq. Ft. $62.90 Escalation 12.5% Cost (Midpoint) $70.76 Building Cost $7,111,875 71 Site Development Cost Est. Site Acquisition -0- Site Preparation 1% $ 71,118.75 Parking and Drives 3% $213,356.25 Utilities 1% $ 71,118.75 Sidewalks and Terraces 3% $213,356.25 Walls and Screens 2.5% $177,796.88 Storm Drainage 1% $ 71,118.75 Landscaping 2% $142,237.50 Total $960,103.13 72 Euiidin- Coot: .p/, 111,' 75.OC ..^Jte Develupir.ont: + j; ^'CO .Vo': .-^^^ Cubto bal: ',;, P, 0 7I , 97P. CO Locality AdjusLii.ent: x . 8P i3u"blotal: ^7,103,340.00 r.oveal;!.. Equipment: $ ;^CB,?/7.20 Irofesslonal ,"ees: .,; 426,200.40 OonLirigencies (lO/o): +4^ 710,334.00 Total Cost: ;1;&,808,141.60 r ootnct;:^: "Dodc;e ConstructAon Syi^tems Gos+,., 1932" (lie'..' Yorii: ricGravr-illll, I98I) ./illieuu 1 ena,"irobleni 2eekinf;;" \,Lobton: Cahners Loolcs International, 197?) 73 SYSTEMS PERFORMANCE CRITERIA 74 Systems Performance obstructions. A clear space free of columns 3 The fact that this is a multi-purpose is very important. As well as the audi auditorium creates several unique design ele torium, the stage and support must be free of ments. The theater must be flexible enough to obstacles. The stage must be designed for 4 accommodate a variety of performances. It rapid changes of scenery during performances. must be kept in mind, however, that the qual Not only is an unobstructed floor area of ity, either acoustically or visually, of any importance, but unobstructed height is of single performance must not be compromised. equal importance. The upper-most seat in the "Dramatic majic can be created in the most balcony must have clear sight to the stage. unlikely places and in utterly uncompromising In the stage, large pieces of scenery must be surroundings. Nevertheless, good buildings flown into the loft. These pieces of scenery can give full rein to the creativity of those must also be accommodated during construction who use them and can enhance the experience of in the shops. The stage floor must be capable those who come to watch and listen." of supporting loads of up to 150 pounds per square toot. Many of the spaces housing various func tions of the theater require long span ceil Environment ings. The maximum distance of seating from "The quality of an individual's experience the stage for drama is approximately 66 feet of a live performance depends partly on the 2 and for musicals and opera is 98 feet. fact that it is an experience shared with The audience vision must not be impaired by others." The experience of the individual 75 is intensified by the combined reactions of mance to the listeners' positions throughout the audience. Auditorium atmosphere is depen the house at the same time and with the same dent on the quality of the design, involving Q characteristics of spectrum and intensity." practical as well as aesthetic factors. In an acoustically well-designed auditorium, There should be no visual obstacles or ceiling and walls will reflect a substantial other distracting features between audience portion of the sound to the audience. (See and performers. An example of this might be a Fig. 1.) Non-symmetrical walls, convex balcony projection from the wall near the stage or by a balcany coming too low over the lower level back seats. Materials, textures, and colour also have an effect on auditorium atmosphere. They should help create a receptive frame of mind in the audience before the performance, but must not distract the audience after it has begun. They should have no negative Fig. I quality during the performance. fascia, ceilings with reflective panels which Acoustics: slope progressively downward toward the back "The objective of architectural acoustics of the house, are common devices to break up and of mechanical and electronic sound control multiple reflections and reinforce the sound is to get the auditory element of the perfor 9 in the areas farthest from the stage. 76 0.2 0.4 0.6 0.8 1.0 1.2 1.4 1.6 1.8 2.0 2.2 2.4 2.6 2.8 3.0 3.2 3.4 "T T" T" T" I I I I I I i I I Liturgicai-orciiestra, chorus, or organ Symphony ("romantic" works) I I I IlillMIIIIIMMIII 11 I I Secular choral works \ Opera ( I I I 11 Contemporary orchestral works, recital and chamt>er music I I I I I I I "Semiclassical" concerts and choral groups, using sound system I IIMiaHMHIMMIIIIIIII II I I I I I I I I I I I I I I Touring "Broadway" musical comedies, operettas, Gilt>ert and Sullivan "Dance" bands, etc. using sound system I I I I inillHMMMII I I I Churches Cathedrals General purpose auditoriums High school auditoriums I I I II ({•••••••••••••II11 Small theaters I I I ••••••••••II M I a. in Cinema I I IIIIHI Lecture and conference rooms I {••{•••••••••mil I I I I I I I I I I Playhouse, "intimate" drama production I ••••••••••••nil I Elementary classrooms I {••{(•••••••Mil I I i I Recording and broadcast studios for speech only • •••••••nil I I I I I I I I i _L _L _L 0.2 0.4 0.6 0.8 1.0 1.2 1.4 1.6 1.8 2.0 2.2 2.4 2.6 2.8 3.0 3.2 3.4 Reverberation Time in Seconds Fig. 2 77 Reverberation will improve acoustic condi Sight Lines: tions in the auditorium provided it is neither In a multi-purpose theater there are many too much nor too little. For speech, the variables which must be looked at when plan averge reverberation time with an audience ning the seating. Take, for example, the present should not be more than one second or performance of a symphony on lifts in front of less than .5 seconds for highest intelligibil the proscenium. The seating might be similar ity- For music, longer reverberation times to that shown in Fig. 3a. If a drama were to are required, depending on the type of music be performed in this same auditorium within being performed (Fig. 2). the stage house, the number of useable seats All sound in a theater continues to be would be greatly reduced (Fig. 3b). The di reflected until it is absorbed. Materials versity of performance requirements must such as carpet and drapery will absorb a sub always be kept in mind. stantial amount of sound as opposed to plas ter, concrete, and brick which absorb little. The audience themselves make a substantial difference in the absorption of sound. (Note: An accoustical consultant should be used throughout design phase.) Fig 3a Fig 3 b 78 The individual s vision must also be un impaired by other audience members' seated Position of proscenium false proscenium or From the back of the highest tier pelmet affecu extreme It should b€ possible to see a upper sight lines toward the stage. Two possible ways of performer standing on a rostrum at the back of the acting area achieving this are raked seating (Fig. 4) and 12 staggered seating (Fig. 5). Note in Fig. 4 that persons seated in the uppermost seats must not be impaired by the top of the proscenium opening. Fig. 4 Mechanical: A theater must have a mechanical plant designed so that the total background, in cluding all external noise, level does not exceed 20 dBA for larger auditoriums. Attention must also be paid to such things as flushin^1 u- g lavatories-, • , etc. 13 Life Safety: The greatest hazards in the prosceniimi type of theaters are those arising from fire. The proscenium wall is made to provide fire Fig- 5 and smoke separation between auditorium and 79 stage. This must by equiped with a safety tate a panic. Potential hazards to the audi curtain. • .1 ^ ence may be considered under two headings; The automatic smoke vent or stage lantern, tire and panic. located above the stage, is one of the most Panic can probably be held responsible for important fire safeguards. If fire breaks out over 90 percent of the many thousands killed on stage, the stage lantern is opened. This, in theater disasters. "The borderline between coupled with the fact that ventilation of the a rapid, but orderly, evacuation and a disas- auditorium must maintain a flow of air towards terous panic is dangerously narrow and every the stage at all times, will help keep the detail, however insignificant, is important." fire from the audience. The safety curtain The architect should bear in mind that the will also be lowered and a drencher turned on problem is as much a psychological as a physi to keep it from buckling. Automatic sprin cal one.. All possible causes of alarm, such klers above the stage will also come on. as fire, smoke, alarms or photoflashes, should Because safeguards are designed to contain be kept to a minimum. Measures which inspire the fire backstage, artists and backstage confidence, such as maintained safety lighting staff have only a very short time to escape. and a clear view of exits and exit notices 17 This should be kept in mind when planning from all parts of the house, should be taken. exits. The backstage area must also be de signed to make certain that if a fire does occur, that it is isolated so that no sign can reach the stage itself where it could precipi 80 Footnotes 16 Ibid., p. 46. 17 Roderick Ham, Theater Planning (London: Ibid., p. 47, The Architectural Press, 1972), p. 9. 2 Ibid., p. 16. 3 Eldon Elder, Will It Make A Theatre (New York: Drama Book Specialists, 1979), Illustrations p. 21. 4 Ham, p. 71. ^" T4cGuiness, Stein, & Reynolds., "Mechanical and Electrical Equipment for Harold Burris-Meyer and Edward C. Cole, Buildings," 6th ed., (New York: John Wiley Theaters and Auditoriums, 2nd ed., (New York: and Sons, 1980), p. 1188. Reinhold Publishing Corporation, 1964), p. 213, ^^^' ^Roderick Ham, "Theater Planning," Ham, p. 26. (London: The Architectural Press, 1972), p. 32. Ibid . , p. 26 . Fig. 5 Q Ibid., p. 35, Harold Burris-Meyer, Vincent Mallory, and Lewis S. Goodfriend, Sound in Theatre (New York: Theatre Arts Books, 1979), p. U. 9, Ibid., p. 12. 10 Ham, p. 39. 11 Meyer, Sound, p., 12. 12 Ham, p. 31. 13 Ibid., p. 239. 14 Ibid., p. 43. 15 Ibid., p. 44. 81 DETAILED SPACE LIST 82 Title Assignable Area 01 Foyer 2,500 02 Lobby 6,000 03 Auditorium 20,000 04-07 Lounge (4) 4,000 08 Checkroom 200 09 Ticket Booth 150 10-13 Cash Bars (4) 1,800 14-17 Toilets (4) 800 18-20 Janitor 's Closet (4) 180 35,630 83 Facility Number: 01 Descriptive Title: Foyer Assignable Floor Area: 2,500 sq. ft. Functional Description: Provides protection against the elements for people purchasing tickets or waiting for friends, as well as a trasitional space from exterior to lobby. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 12 ft. Lighting: 25 f.c. Sound Isolation Criteria: STC 47 Floor Covering: Stone or tile HVAC: Need only heat to 60°F or to cool to 5° lower than outside. Forced air must not be recirculated. Furnishings: Ticket takers' boxes (portable) 84 Facility Number: 02 Descriptive Title: Lobby Assignable Floor Area: 6,000 sq. ft. Functional Description: The lobby will provide a place where theater goers may join in conversation or view displays before, during, and after a show. It also acts as a point of dispersal to and from the auditorium and lobby. Expected Number of Occupants: 1,200 Environmental Requirements: Ceiling Height: 50 ft. Lighting: 20 f.c. Sound Isolation Criteria: STC 47 Floor Covering: Carpet Furnishings: Benches End Tables Mirrors Wall Hangings Display Cases 85 Facility Number: 03 Descriptive Title: Auditorium Assignable Floor Area: 20,000 sq. ft. Functional Description: The auditoriiom is where the audience views the performance. The auditorium atmosphere must be conducive to the greatest enjoyment of the performance as discussed in systems performance. Expected Number of Occupants: 2,500 Environmental Requirements: Ceiling Height: 70-90 ft. Lighting: .1-5 f.c. Sound Isolation Criteria: STC 52 Floor Covering: Carpet Furnishings: Seating for 2,500. (Seats should have approxi mately the same acoustical absorption capabilities as a person.) 86 Facility Number: 04-07 Descriptive Title: Lounge Quantity: 4 Assignable Floor Area: 4,000 sq. ft. Functional Description: Provide areas adjacent to bars for theater or concert goers to sit and enjoy conversation or a drink before a performance or during intermission. Expected Number of Occupants: 400 Environmental Requirements: Ceiling Height: 12 ft. Lighting: 30 f.c. Sound Isolation Criteria: STC 47 Floor Covering: Carpet Furnishings : Tables and Chairs Wall Hangings Benches 87 Facility Number: 08 Descriptive Title: Checkroom Assignable Floor Area: 200 sq. ft. Functional Description: Provide an area for concert and theater goers to leave coats and hats previous to perforiiHnce and then to return to and pick up after the performance. Must be staffed by attendants and convenient to lobby. Expected Number of Occupants: 5 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 50 f.c. Sound Isolation Criteria: STC 47 Floor Covering: Carpet Furnishings: Racks for coat and hat storage 88 Facility Number: 09 Descriptive Title: Ticket Booth Assignable Floor Area: 150 sq. ft. Functional Description: Area for the dispensing of reserve tickets and current sales before performances, as well as season tickets. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 9 ft. Lighting: 70 f.c. HVAC: Requires own thermostat to offset blasts of cold air. Sound Isolation Criteria: STC 47 Floor Covering: Tile Furnishings: Change drawers Automatic change machines Racks for tickets 89 Facility Number: 10-13 Descriptive Title: Cash Bars Quantity: 4 Assignable Floor Area: 1,800 sq. ft. Functional Description: Space for the storing, preparing, and selling of drinks to theater and concert goers. Expected Number of Occupants: 4-8 Environmental Requirements: Ceiling Height: 12 ft. Lighting: 30 f.c. Sound Isolation Criteria: STC 52 Floor Covering: Tile Hot and Cold Water Furnishings: Shelves Mirrors Sink Bar Accessories 90 Facility Niimber: 14-17 Descriptive Title: Toilets Assignable Floor Area: Viale - 400 sq. ft, Female - 400 sq. ft Functional Description: Personal hygiene. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 9 ft. Lighting: 30 f.c. Sound Isolation Criteria: STC 52 Floor Covering: Ceramic Tile Hot and Cold Water Furnishings: Male: Female; Lavatories: 5 Lavatories: 5 Urinals: 5 Water Closets: 6 Water Closets: 5 Sufficient Stalls Sufficient Stalls 91 Facility Number: 18-20 Descriptive Title: Janitor Closet Quantity: 3 Assignable Floor Area: 180 sq. ft. Functional Description: Storage area for equipment necessary for the maintenance and upkeep of interior areas. Expected Number of Occupants: None Environmental Requirements: Ceiling Height: 9 ft. Lighting: 5 f.c. Sound Isolation Criteria: STC 42 Floor Covering: Concrete Cold Water Furnishings: Sink 92 ''^ Title Assignable Area 21 Stage 2,000 22 Support 7,986 23 Trap 2,661 24 Orchestra Pit/Lift 1,000 25 Chairwagon Strg. 1,000 26 Tower Strg. 1,000 15,647 93 Facility Number: 21 Descriptive Title: Stage Assignable Floor Area: 2,000 sq. ft. Functional Description: That part of the auditorium in which the performance is presented to the audience. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 120 ft. Lighting: Dependent on production. Wide range needed. Sound Isolation Criteria: STC 52 Floor Covering: Hard Wood Furnishings: Dependent on type of performances. 94 Facility Number: 22 Descriptive Title: Stage Support Assignable Floor Area: 7,986 sq. ft. Functional Description: To provide an area out of site of the audience to facilitate the quick changing of scenery and props, as well as the entrance and exit of performers, Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 120 ft. Lighting: 30 f.c. Sound Isolation Criteria: STC 52 Floor Covering: Concrete Furnishings: Dependent on type of production. 95 Facility Number: 23 Descriptive Title: Trap Room Assignable Floor Area: 2,661 sq. ft. Functional Description: Area beneath the stage which allows performers to exit and enter the stage through traps. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 8 ft. Lighting: 20 f.c. Sound Isolation Criteria: STC 47 Floor Covering: Concrete Furnishings: Trap lifts 96 Facility Number: 24 Descriptive Title: Orchestra Pit/Lift Assignable Floor Area: 1,000 sq. ft. Functional Description: A hydralic platform which can be lowered to create an orchestra pit or raised to create an addition to the stage. It may also be equiped with chair wagons and raised to audience level for additional seating. Expected Number of Occupants: 85 Environmental Requirements: Ceiling Height: Lighting: Facilities to accommodate stand lighting Sound Isolation Criteria: Floor Covering: Hard Wood Furnishings: Chairs Music Stands 97 Facility Number: 25 Descriptive Title: Chair Wagon Storage Assignable Floor Area: 1,000 sq. ft. Functional Description: Storage for chair wagons adjacent to orchestra pit/lift. Expected Number of Occupants: None Environmental Requirements: Ceiling Height: 7 ft. Lighting: 10 f.c. Sound Isolation Criteria: STC 42 Floor Covering: Concrete Furnishings: 98 Facility Number: 26 Descriptive Title: Tower Storage Assignable Floor Area: 1,000 sq. ft. Functional Description: Storage area adjacent to stage where towers may be roled to and stored. May also be used in conjunction with towers to create reverberation chamber. Expected Number of Occupants: None Environmental Requirements: Ceiling Height: 42 ft. Lighting: 10 f.c. Sound Isolation Criteria: STC 52 Floor Covering: Concrete Furnishings: 99 '* Title Assignable Area 27-34 Principle/Guest Dressing (8) 960 35-42 Chorus Dressing (8) 2,875 43 Make-up 100 44 Green Room 300 45 Rehearsal 2,000 46 Fitting Room 100 47 Costume Strg. 210 48-49 Lavatory/Showers 1,134 7,679 100 Facility Number: 27-34 No. of Units: 8 Descriptive Title: Principle/Guest Dressing Rooms Assignable Floor Area: 960 sq. ft. Functional Description: Provide a place for principle and guest performers to change, relax, and entertain guests. Expected Number of Occupants: 1 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 30 f.c, plus additional lighting around mirrors (100 f.c.) Sound Isolation Criteria: STC 47 Floor Covering: Carpet Furnishings: Make-up Table Mirrors Couch Shower Lavatory Water Closet Chair 101 Facility Number: 35-42 No. of Units: 8 Descriptive Title: Chorus Dressing Room Assignable Floor Area: 2,875 sq. ft. Functional Description: Provide room for the chorus and and musicians to prepare for the performance. Expected Number of Occupants: 115 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 30 f.c., plus additional lighting around mirrors (100 f.c.) Sound Isolation Criteria: STC 47 Floor Covering: Tile Furnishings: Make-up Tables Mirrors Cloths Racks Chairs 102 Facility Number: 43 Descriptive Title: Make-up Assignable Floor Area: 100 sq. ft. Functional Description: Make-up of performers not experienced in the application of make-up themselves. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 9 ft. Lighting: General, 30 f.c; mirrors, 100 f.c. Sound Isolation Criteria: STC 47 Floor Covering: Tile Furnishings: Make-up Tables Chairs Mirrors 103 Facility Number: 44 Descriptive Title: Green Room Assignable Floor Area: 300 sq. ft. Functional Description: Space where performers and staff may go to relax during intermission or when not on stage. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 12 ft. Lighting: 30 f.c. Sound Isolation Criteria: STC 47 Floor Covering: Carpet Hot and Cold Water Furnishings: Tables and Chairs Couches Wall Hangings Concession Area 104 Facility Number: 45 Descriptive Title: Rehearsal Room Assignable Floor Area: 2,000 sq. ft. Functional Description: Serve as practice area for various groups. May also serve as reception area. Expected Number of Occupants: 85 Environmental Requirements: Ceiling Height: 15 ft. Lighting: Adjustable Sound Isolation Criteria: STC 52 Floor Covering: Hard Wood Furnishings: Chairs Stands 105 Facility Nunber: 46 Descriptive Title: Fitting Room Assignable Floor Area: 100 sq. ft. Functional Description: Used for the repairing and sizing of costumes. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 9 ft. Lighting: 100 f.c. Sound Isolation Criteria: STC 52 Floor Covering: Tile Furnishings: Cutting Tables Sewing Machine 106 Facility Number: 46 Descriptive Title: Fitting Room Assignable Floor Area: 100 sq. ft. Functional Description: Used for the repairing and sizing of costumes. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 9 ft. Lighting: 100 f.c Sound Isolation Criteria: STC 52 Floor Covering: Tile Furnishings: Cutting Tables Sewing Machine 106 Facility Number: 47 Descriptive Title: Costume Storage Assignable Floor Area: 210 sq. ft. Functional Description: Storage of costumes used for theatrical productions. Expected Number of Occupants: None Environmental Requirements: Ceiling Height: 9 ft. Lighting: 20 f.c Sound Isolation Criteria: STC 42 Floor Covering: Tile Furnishings: Racks Hanger Bars 107 Facility Number: 48-49 Descriptive Title: Restrooms and Showers Assignable Floor Area: 1,134 sq. ft. Functional Description: Personal hygiene for performers and staff. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 9 ft. Lighting: 30 f.c Sound Isolation Criteria: STC 52 Floor Covering: Tile Hot and Cold Water Furnishings: Male: Female: 8 Showers 8 Showers 3 Water Closets 5 Water Closets 2 Urinals 5 Lavatories 5 Lavatories Sufficient Stalls Sufficient Stalls 108 # Title Assignable Area 50 General Manager 225 51 Accounting 200 52 Publicity 200 53 Reception 300 54 Conference 225 55 Lighting 400 56 Sound 140 1,690 109 Facility Number: 50 Descriptive Title: General Manager's Office Assignable Floor Area: 225 sq. ft. Functional Description: Provide office space for the general manager. Expected Number of Occupants: 1 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 70 f.c Sound Isolation Criteria: STC 37 Floor Covering: Carpet Furnishings: Chairs Desk Couch Wall Hangings 110 Facility Number: 51 Descriptive Title: Accounting Office Assignable Floor Area: 200 sq. ft. Functional Description: Provide area for the upkeep of records related to finances. Expected Number of Occupants: 2-3 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 150 f.c Sound Isolation Criteria: STC 37 Floor Covering: Carpet Furnishings: Chairs Desks File Cabinets 111 Facility Number: 52 Descriptive Title: Publicity Office Assignable Floor Area: 200 sq. ft. Functional Description: Provide area where the booking and advertising of performances can be carried out. Expected Number of Occupants: 1-2 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 70 f.c Sound Isolation Criteria: STC 37 Floor Covering: Carpet Furnishings: Chairs Desks Filing Cabinets Drafting Table Stool 112 Facility Number: 53 Descriptive Title: Reception Assignable Floor Area: 300 sq. ft. Functional Description: The dispersal of people to admin istrative offices and general records keeping. Expected Number of Occupants: 1-4 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 70 f.c. Sound Isolation Criteria: STC 37 Floor Covering: Carpet Furnishings: Chairs Desk Filing Cabinet Wall Hangings Couch 113 Facility Number: 54 Descriptive Title: Conference Room Assignable Floor Area: 225 sq. ft. Functional Description: Meeting place for administration and staff. Expected Number of Occupants: 6 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 70 f.c. Sound Isolation Criteria: STC 42 Floor Covering: Carpet Furnishings: Table and Chairs Wall Hangings 114 Facility Number: 55 Descriptive Title: Lighting Booth Assignable Floor Area: 400 sq. ft. Functional Description: Room for the control of lighting on stage and in the auditorium. Expected Number of Occupants: 2-3 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 20 f.c. Sound Isolation Criteria: STC 52 Floor Covering: Carpet Furnishings: Light Control Equipment Chairs 115 Facility Number: 56 Descriptive Title: Sound Room Assignable Floor Area: 140 sq. ft. Functional Description: Area for the control of stage sound. Expected Number of Occupants: 1-2 Environmental Requirements: Ceiling Height: 9 ft. Lighting: 30 f.c. Soimd Isolation Criteria: STC 52 Floor Covering: Carpet Furnishings: Sound Control Equipment Chairs 116 # Title Assignable Area 57 Receiving 200 58 Workshop 2,000 59 Scene Strg. 1,000 60 Property Strg. 600 61 Instrument Strg. 1,000 4,800 117 Facility Number: 57 Descriptive Title: Receiving Assignable Floor Area: 200 sq. ft. Functional Description: Receiving of equipment and materials. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: 18 ft. Lighting: 20 f.c. Sound Isolation Criteria: STC 47 Floor Covering: Concrete Furnishings: 118 Facility Number: 58 Descriptive Title: Workshop Assignable Floor Area: 2,000 sq. ft. Functional Description: Area for the construction and painting of scenes and properties. Expected Number of Occupants: Varies Environmental Requirements: Ceiling Height: Lighting: 100 f.c. Sound Isolation Criteria: STC 52 Floor Covering: Concrete Furnishings: Benches Power Tools Paint Equipment 119 Facility Number: 59 Descriptive Title: Scene Storage Assignable Floor Area: 1,000 sq. ft. Functional Description: Area for storage of scenery not in use. Expected Number of Occupants: None Environmental Requirements: Ceiling Height: Lighting: 10 f.c Sound Isolation Criteria: STC 42 Floor Covering: Concrete Dehumidifiers for Paint Furnishings: Scenery Racks 120 Facility Number: 60 Descriptive Title: Property Storage Assignable Floor Area: 600 sq. ft. Functional Description: Area for the storage of properties constructed for productions. Expected Number of Occupants: None Environmental Requirements: Ceiling Height: 12 ft. Lighting: 10 f.c. Sound Isolation Criteria: STC 42 Floor Covering: Concrete Furnishings: Racks Shelves 121 Facility Number: 61 Descriptive Title: Instrument Storage Assignable Floor Area: 1,000 sq. ft. Functional Description: Area for the storage of larger musical instruments, including grand piano and tympani. Expected Nimiber of Occupants: None Environmental Requirements: Ceiling Height: 9 ft. Lighting: 20 f.c. Sound Isolation Criteria: STC 42 Floor Covering: Carpet Furnishings: Shelves of various sizes. 122 Footnotes Harold Burris-Meyer and Edward C. Cole, Theaters and Auditoriums (New York: Reinhold Publishing Corporation, 1964). Ramsey and Sleeper, Architectural Graphic Standards, 6th ed. (New York: John Wiley & Sons, Inc., 1970). Dodge Construction System Costs, 1982 (New York: McGraw-Hill, 1981). McGuiness, Stein, Reynolds, Mechanical and Electrical Equipment for Buildings, 6th ed. (New York: John Wiley Si'Sons, 1980). Joseph DeChiarra and John Hancock Callender, ed., Time-Saver Standards for Building Types (New York: McGraw-Hill, 1980). Wesley E. Woodson, Human Factors Design Handbook (New York: McGraw-Hill, 1981). 123 Bibliography The Majic of Midland, Midland Chamber of Commerce. Burris-Meyer, Harold, Vincent Mallory and McGuiness, Stein, Reynolds. Mechanical and Lewis S. Goodfriend. Sound in the Electrical Equipment For Buildings, 6th Theatre. New York: Theatre Arts Books, ed. New York: John Wiley & Sons, 1980. 1979. Midland Office Study, September 1982, Midland Burris-Meyer, Harold and Edward C. Cole. Chamber of Commerce. Theaters and Auditoriums, 2nd ed. New York: Reinhold Publishing Corporation, "Midtran Flex-Route Transit System," Midtran. 1964. Museum of the Southwest, Museum of the Gaboon, Paula. "Executive Comment: What Can Southwest. Be Done To Improve Midland's Recreational and Cultural Facilities?" Midland/82, Objectives For Midland/The Eighties, Midland Vol. 4. No. 3, Third Quarter (1982). Chamber of Commerce, Chiarra, John De and John Hancock Callender. Pena, William. Problem Seeking. Boston: Time-Saver Standards for Building Types. Cahners Books International, 1977- New York: McGraw-Hill, 1980. Phone Call, Energas & Texas Electric City Map, Midland, Texas. Profile/Midland, Texas, Midland Chamber of City Planning Office, Midland, Texas. Commerce. Department of Traffic, Midland, Texas. Ramsey and Sleeper. Architectural Graphic Standards, 6th ed. New York: John Wiley Dodge Construction System Costs, 1982. New & Sons, Inc. , 1970. York: McGraw-Hill, 1981. Schmertz, Mildred F. "Designing for Culture." Elder, Eldon. Will It Make A Theatre. New Architectural Record, May 1978, 124-130. York: Drama Book Specialists, 1979. Soil Survey of Midland County, Texas. (United Ham, Roderick. Theater Planning. London: States Department of Agriculture Soil The Architectural Press, 1972. Conservation Service, April 1973) . Interview, Rusty Arnold, Feb. 17, 1983. Todd, Ed. "Their Aim—An Auditorium," 29 Nov. 1981, p. 2A. Interview, Jorge Esparza, Mar. 1, 1982. Water of U.S. Cities. Gale Research Company, Detroit, Michigan, 1981, Vol. 2. 124 Woodson, Wesley E. Human Factors Design Handbook. New York: McGraw-Hill, 1981. "Zoning Regulations," City of Midland, Texas. 125 CASE STUDIES 126 The Center in the Square is the profduct of a decade of funding diffi culties. Originally the goal of the city- had been a combined city hall, convention center, theater, and art gallery. When the complex was finally completed it con sisted only of the theater and the art gallery which were connected by a central lobby. ^ The theater is the home of the Kitchener-Waterlou Symphony Orchestra but is used for all aspects of the performing arts such as dance, drama, ballet and a variety of musical events. One means of achieving this wide range of musical and theatrical compatability is through the theater's spacial flexibilityo The Auditorium can be changed from a rec ilMi^M J tangle configuration to a square and its 2 capacity from 1,920 to 1,680. (111. 1) 128 sound to the audience and to the conductor and musicians. Reverberant chambers are provided around the orchestra (a storage room, the rear stage, and the stage itself) which produces an "audible decay". In order to prevent the music from diffusing backstage, panels above the stage proper close off the fly loft and a row of mov- (Iliust. 2) Musical and theatrical comp able towers are used to reflect the music. atability is achieved through the theat er's spacial flexibility. A series of 18 movable towers create In the Auditorium there are two lifts a major innovation in the theater. The in front of the stage house. These lifts towers are made up of three different can serve as a platform for the orchestra, types of faces. One side of the tower is a stage thrust for drama, an orchestra pit, a concave surface to reflect the sound. or wagons with seating, which are stored On the opposite side are three levels of beneath the Auditorium, can be lifted into box seats reached from the balcany. On place.-^ The theater uses a variety of con the sides are ladders for lighting 5 trols to satisfy the various acoustical equipment. needs of different elements of the arts. The hard side walls of the Auditorium A canopy of timber and fiber-glass plastic are covered by 18 sound absorbing banners can be raised or lowered to reflect the as well as the back. These curtains may 129 (Iliust. 3) Two lifts can serve as a platform for the orchestra be raised or lowered to control the amount of reflected sound. They are op erated like window blinds from slots in the side balcanies. (must. 4) A series of l8 movable towers The total cost of the theater and create a major innovation in the theater. art gallary is $10.9 million. ' 130 HI. I P:J r TT a %• >vr^, jz] ,3 -iL' •« ^ ""• ^ tfi b a 9 10 I Vcslihuli' _' liil.liY ; Iny,., I h^lil ( i>nlriil ) Sciunil ((inlnil f. 1 )(( hi'slf.i scftini^ ;• Sdtinil I (inlccil lic.i.ih II I III \ (Iliust. 5) Floor plan (Iliust. 6) Wagons with seating, which are stored beneath the Auditorium, can be lifted into place. 131 Footnotes 1 ^^ mu "'^^ Answer to the £nigma of Flexibility for Music and Theater , Architectural fiecord. Mid- Aug. 1981, p. 68. ^Ibid., p. 68. 3 Ibid., p. 72. Ibid., p. 70. ^Ibid., p. 72. Ibid., p. 72. "^Ibid. , p. 68. Illustrations "An Answer to the Enigma of Flexibility," p. 69. ^Ibid,, p. 70. Ibid., p. 71. ^Ibid., p. 73. 5 Ibid., p. 72. 6 Ibid., p. 73. 132 THE MECHANIC THEATER BALTIMORE, MARYLAND Architect: John M. Johansen 133 The Mechanic Theater is a part of the Charles Center Redevelopment Project sponsored by the Greater Baltimore Com- mittee. Baltimore had traditionally been known as a place for Broadway tryouts. The city had, however been without a suitable theater since the destruction of Ford's Theater in 196^. Morris Mechanic, who had owned Ford's as well as many other theaters, felt the Center Theater might not make a profit so he set aside a level of retail spaces in order to offset any losses. 2 The theaters primary function was that of a place for Broadway tryouts. It was however intended for us by musicals, (Iliust 1) The Mechanic's Theater serves drama, and various types of musical per as a place for Broadway tryouts. formances. Mechanic had incorporated this flexibility in the theaters function 3 as another means of producing income.-^ 134 ^f v# There are several different levels within the complex. The lowest level is taken up completely by parking. The next level contains delivery docks, storage and more parking. The street level contains primarily rental space and a minimal por tion of the theater. The above levels are devoted to the theater. The structure is made up of a system of piers supporting irregular, long span spaces. The main space of the theater is spanned by a standard steel truss system. All of the exterior surfaces are of uni form poured in place concrete and each visible section was formed in a single pour. Rough-sawn oak boards were used in the form,-' (Iliust. 2) Rough-sawn oak boards were used in the forms of the exterior. In May 1975 "the Mechanic closed due to substantial losses incurred by the management. Several reasons were given, 135 among them were poor sight lines and bad acoustics. Seven months later signed a 20-year lease and New York producer Alexander Cohen was hired to boost fail- subscriptions. Cohen insisted that the theater be renovated to improve site lines and acoustics. " The renovation took 5 months at a cost of $550,000. The proscenium opening was narrowed from 60 feet to New ^•S^ 't A: '•.I J»t -^•^^•^•^ side walls with reflective surfaces were added to improve sight lines and acoustics. The orchestra seating was reduced from (Iliust. 3) During renovation, the orch 1800 to 1600. Lighting slots in the side estra seating was reduced from 18OO to walls as well as lighting catwalks sus 1600. pended from the ceiling were added. 7 Reflective panels were hung from the were also products of the renovation. ceiling and absorptive material was put The site is in the center of down on the back wall. A new sound system and town Baltimore. The theater is at the an orchestra pit twice its original size corner of Baltimore and Charles Streets. 136 (Iliust. 4) The street level contains primarily retail spaces. The theater is meant to be the center piece of the surrounding highrise of 8 Charles Center. Uv" The theater originally cost $1.5 million and the retail and underground •' * » .::. 'V- ;. 1 costing an additional 1 million. The AlO .1..0 total cost, including renovation is 9 (Iliust. 5) Site Plan $two million and fifty thousand. 137 Footnotes ^Mildred P. Schmertz, "City Theater Designed to Pay Its Way," Architectural Record, Dec. 1964, p. 132. "New Theater: A Center for Baltimore," Architectural Forum, May 1967, p. 73. ^Allen Freeman and Andrea 0. Dean,"Evaluation: A Troub led Theater Anchors Baltimore Down," AIA Journal, Feb. 1978, p. 32. 4 "New Theater," p. 75. 5 Ibid., p. 78. Allen Freeman and Andrea 0. Dean, p. 34. '''ibid., p. 34. ^Ibld., p. 32. 9lbld., p. 32. Illustrations ^"New Theater," p. 72. ^"Evaluation," p. 37. "New Theater," p. 76. 4 "Evaluation," p. 36 ^"Harry Weese: Humanism and Tradition," Process; ^^^ Architecture, No. 11, p. 58. MILWAUKEE CENTER FOR THE PERFORMING ARTS MILWAUKEE, WISCONSIN Architects: Harry Weese & Associates 139 The Milwaukee Center is the core of a complex which will eventually extend across the Milwaukee River to the county building half a mile away. The goal of the client, the Milwaukee County War Memorial Developement Committee, was to accomodate six basic types of performances in three halls -- Vogel Hall, a ^82 seat symphony rehearsal space and recital hall; Wehr Theater, a 526 seat repertory thea ter; and Uihlein, the 2,32? seat multi purpose auditorium. The Center is the home of several organizations. The complex was designed for the Milwaukee Symphony Orchestra, the Florentine Opera, and the Milwaukee Repertory Theater, The Center will also (must. 1) The Milwaukee Center sits o ffl be used by visiting opera, musical and ballet companies, symphony orchestra and concert artists. 140 modulated to keep brass and percussion from overpowering the strings and woodwinds. A plastic sound reflective canopy, which can be adjusted, allows the musicians to hear one another more clearly as well as adding intimacy to the mid-main floor 5 sound. The auditorium is equipped with lifts which may serve as a part of the stage or as an orchestra pit. Wagons with seating (must. 2) The hall is equiped with an acoustical shell which can be demounted which are stored beneath the main floor and flown like scenery. may be moved onto the lifts and raised into place for additional seating. An The acoustical elements are additional lift pit in the stage floor architectonic, that is niether hidden nor houses a pipe organ. This can be raised applied, Uihlein Hall is equipped with an to stage level at the shell's rear wall acoustical shell for concert use. The when needed. shell, when not in use can be demounted The ceiling of Uihlein as well as and flown like scenery. Fabricated from the walls are ornamental plaster. "These 22 tons of dampened steel, it has been surfaces have been shaped and oriented to 141 bring envelopmental sound to the listener at the right times, from appropriate directions, in the correct amounts." ^ The Center is built on an urban renewal site in downtown Milwaukee. The building sits on the bank of the Mil waukee River. Construction was completed on the facility in the fall of o 1969 at a cost of $12 million. (must. 3) Site Plan 142 iv HIE lliiisiiiimiiiniiiiiimiii ^' /must 4) The Center will eventually itietch'acioss the river to the county building half a mile away. 143 Footnotes "Milwaukee Center for the Performing Arts, Milwaukee, Wisconsin," AIA Journal. June 1970, p. 88. 2 Mildred F. Schmertz,"Architecture for the Arts of Music Dance and Drama," Architectural Record, Nov. 1969, p. l47. ^Ibld., p. l49. '^Ibid., p. 153. ^Ibid., p. 154. ^Ibid., p. 154. "^Ibid., p. 154. ^Ibid., p. l47. Illustrations ^"Milwaukee Center," p. 88. ^George C. Izenour, Theater Design,(USA; McGraw Hill, 1977), p. 350- ^"Harry Weese: Humanism and Tradition," Process: Architecture. No. 11, p. 58, 4 Mildred P. Schmertz, p. 149. 144 THE ONONDAGO COUNTY CIVIC CENTER SYRACUSE, NEW YORK Architects: McAfee, Halo, Lebensold, Affleck, Nichol 145 The Onondago County Civic Center is the first complex, combining government "t- offices and a performing arts facility I: under one roof, in North America. This 44'I was done as an economic measure as well HvJ>k^% as providing ongoing financial support for the arts. The complex is made up of an eight-story county office building •t^fcifcjag:tX^_-;<.>( originally on the sight, a new sixteen- story office building, and the performing arts center. The performing arts center consists of three theaters. The main auditorium seats 2,117 and is a multi-purpose thea ter used for various musical events as well as drama and opera. In addition to 'i£SSI3&. (must, l) The Onondago County Civic Cen this theater there is a 480-seat studio ter combines government offices and a per forming arts facility under one roof. theater and a 300-seat community/ 2 rehearsal theater. The large Crouse-Hinds Auditorium 146 the concert enclosure. Castered sound re flectors may be lined up in the proscenium opening, creating a wall. The fly loft is shut off by four huge counterweighted pan els creating a reverberation chamber behind the castered panels in the prescen- 3 lum opening. The second configuration puts the orchestra within the stage house. The castered panels are moved further upstage and the panels in the fly loft act as a reflective canopy. The pit lifts are (must. 2) The Auditorium can accomodate 4 symphony orchestra in two ways. lowered to accomodate seating„ Motor operated banners are located along the walls behind the balcanies. One set of banners, brown in color, soak up can accommodate symphony orchestras in two sounds primarily in the mid frequency ways. The preferable location of the or range. Another set of banners, which are chestra is on two large pit lifts raised orange, absorb high-frequency sound. For to the level of the stage floor. A motor musical events such as symphony concerts, operated canopy serves as the ceiling of the brown banners are completely re- 147 tracted into pockets. For opera or theater the one or both hydraulic lifts are lowered to about eight feet below the stagec The acousti cal panels in the flyloft are rotated and lifted up to the grid. The castered panels are stored off stage. The basic shape of the audience area is rectangular. When the orchestra is on the pit lifts the main floor seats 1,035 (Iliust. 3) The structure is poured-in- and when the orchestra is in the stage place concrete with walls of brick veneer. house there are 1,202. An additional 482 seats are in the top balcony and 3^9 in the messanine. 84 people are seated in 7 The entire cost of the project, the boxes. including the office tower was $26 million The structure is poured-in-place dollars 0 (Cost was not cited for the concrete with walls of brick veneer. The individual structures.) interior of the theater is, for the most part, exposed concrete with some surfaces 8 brick and oak. 148 hcd ler dfui torninunity rtujm I (>l)l>y { )r( tipslrj level lobby i\^e//.inint* level lobby ( ont erl lhe.ilfr ( iifTiituiniiv room I )ressing rooms AdrnirnstiJlrve ottices ( I Minly olti t'N (Iliust. 4) Section Ibr.Her ,inil ollu c (.IHMII •.; I [ iitrjot (* l()bl)\ .' Studio Iht'dlff lol)b\ i Sluduj (he.)lfr 4 VXorkshof) ") : )rr AiM^ n •' mi-. h ( I ninl V OIIK fs '^ I \lsti[)g ( oijiily ollu f H ['Li/.i (Iliust. 4) Site Section 149 Footnotes Mildred P. Schmertz, "Designing for Culture," Archit ectural Record. May 1978, p. 126. ^Ibid., p. 127, Ibid., p. 130. Ibid., p. 130. 5 Ibid., p. 130. Ibid., p. 130. '''ibid., p. 130. 8 Ibid., p. 129. 9 Ibid., p. 126 Illustrations ""Mildred F. Schmertz, p. 126. ^Ibid,, p. 131. ^Ibid., p. 129. 4 Ibid., p. 128. 5 Ibid., p. 131. 150 COMPARISONS 151 Milwaukee, Wisconsin Baltimore, Maryland I a D D D /- "V • D a D Kitchener, ontaric Syracuse, New York AUDITORIUM SHAPES 152 w= K Milwaukee, Wisconsin Baltimore, Maryland I Q P n D /- • n a D Kitchener, Ontario Syracuse, New York AUDITORIUM SHAPES 152 Vj h Y? >7 I Fig. 1 Fig. 2 All four of the auditoriums incorporate a lift system to achieve the flexibility needed in a multi-purpose auditorium: Pig. 1. The lifts may be lowered to create an orchestra pit. Pig. 2. Seating wagons stored h-h V, ^, t under the auditorium may be lifted into position to create additional seating. h \? \7 Pig. 3. The lifts may be raised to to the stage level for use by 1 orchestras. U Pig. 3 153 The different theaters incorporate a var- A JL° .^°°^^*^°^1 elements. The Milwaukee Auditorium makes use of a "shell' to achieve lavorable acoustics for orchestras(Pig. l). ine civic Centers in Syracuse and Kitchener use a series of towers to reflect the sound Into the audience (Pig. 2 and 3) Pig. l.The shell which is used for orch estras keeps the sound from being lost backstage and reflects it out to the audience. Pig. 2. Inthls position, the orchestra is out on the lifts. The towers create a barrier behind the musicians and a group of suspended panels re flect the soundaway from the fly loft. Pig. 3. Shows the orchestra Inside of the fly loft and the lifts lowered . Here the towers are moved further up stage. Fig. 1 When not In use the towers can be moved off of the stage and the panels can be lifted into the loft. 154 * Pig. 2 Pig. 3 JjfATg^^^ 155 Bibliography "An Answer to the Enigma of Flexibility for Music and Theater." Architectural Record, Mid-Aug. 1981, 68-73. Freeman, Allen, and Andrea 0. Dean. "Evaluation: A Troubled Theater Anchors Baltimore Down." AIA JOJRx^AL, Feb. 1978, 32-37. "Harry Weese; Humanism and Tradition." Process; Architecture No. 11, 56-61. Izenour, George C. Theater Design. USA: McGraw Hill, 1977. "Milwaukee Center for the Performing Arts, Milwaukee, Wis consin." AIA Journal, June 1970, p. 88. "New Theater: A Center for Baltimore." Architectural Forum, May 1967, 72-79. Schmertz, Mildred F. " Architecture for the Arts of Music, Dance, and Drama." Architectural Record, iiov. 1969, l47- 157. Schmertz, Mildred F. "City Theater Designed to Pay Its Way." Architectural Record, Dec. 1964, 132-33. Schmertz, Mildred P. "Designing for Culture." Architectural Record, May 1978, 124-130. 157 DOCUMENTATION tirst became aware of a need for a process, making the auditorium the Performing Arts Center in 1981. In that center of daily activities ns wo 11 as y everal articles came out on a group cultural activities was of extreme imp trying to raise funds for a center. The ortance. 1 felt that Lhe two activit next year I chose this as the subject of my ies could do much to c onipl i'iicn t each program and ultimately my thesis. other. Midland's central bueiiu-ss dis Surprisingly, if I had to attribute trict has very few green spaces. Those the final product of my thesis to any part that are downtown are used quite exten of my program, it would be the case studies. sively by 1 unch t i me c r o wd .=? . i decided I became aware, during the case studies, to use a park-like setting as a means of many of the concepts which carried me of making people more aware ot ihe aits through the design phase. First, many of center. To carry this farther, 1 conc the buildings researched seemed to work eptualized spaces which could be used quite well technically. This was of great for outdoor concerts, possibly even an assistance to me in the area of stage adap amphitheater. These spaces would aJso tation and functional relationships. accomodate physical expressions oL the Second, most, if not all, of the buildings arts such as sculpture and outdoor housing these auditoriums were visually exhibits . anticlimact ic. As the "park" aspect of the project The Auditorium had originally been became more prominent, it became appar j-ogrammed as being on the west end of the ent that the park would need to be exp ^yo_block site; a multi-level parking fac anded on the site. In order to accom ility ^^^ ^° ^^ located on the eastern half odate the new concept, 1 decided to ^£ the site. A small park was to be locat move the parking facilities below grade. ed between the two structures. The preliniinary design then turned tow Early, in the beginning of ihe design ards til OS'.' pr obi cms ( i ir-ii "d \,\: a sub- Surface facility. sonally felt that there was something The three areas I focused on in the missing in many of the performing arts Parking facility were light, environment, centers 1 had researched, that of the snd physical relationship to the auditor unification of their form and function. ium. In order to bring as much light as To me, the building had to be an exp possible into the facility, I elected to ression of the arts themself. Ttiis was use light wells located around the site. the basis for the sculptural qualities The light wells, also, would do much to of the building which became my final brighten the environment , along with product . clear and direct pedestrian paths, or The final product carried through avenues, leading to the auditorium ent many of my original concepts. I wont rances. This brought me to the third area go into the details; much of that can of focus, that of relationship to the aud be found by viewing the accompanying itorium itself. It was here that 1 decided slides. The park was ultimately des to extend the lobby down through the three igned with many of the qualities 1 had levels of parking, as well as the mezzanine originally conceived. An amphitheater and balcony, creating a progression of was retained in the park, its stage smaller spaces within a larger lobby. It backdrop being a cubic sculpture with was also at this point I decided to use a the theater flyloft rising above it. small outdoor courtyard extending down Surrounding the park are areas with along the side of the subsurface levels of clustered trees. At the opposite end ^he lobby to further facilitate light acc of the site, the subsurface court area ess to the parking. grew from what niight be considered The exterior features of the auditor "a hole in the ground" to a multi-level ium were not dealt with so much in the area encompassing that entire end of introductory prelim as much as in subseq the site. The court area extended uent prelims. 1 did have definite ideas as around three sides of the lobby and to what I wanted to achieve. 1 had per might be used for outdoor receptions or '^^citals . feet in depth spanning axially with Many of the internal mechanisms used smaller trusses laid between them long ^" the auditorium were products of research itudinally. done on case studies. There have been many Externally I treated the building innovations in stage adaptability in recent as a piece of sculpture even in placf - years which I tried to utilize in my design ment of the glass. l.'hen appropriate, such as pit/lift systems, portable towers the exterior surfaces folio v;ed the for in s used both acoustically and as balconies, of the interior spaces. Sometimes int and adjustible clouds which can also close erior spaces were molded to compliment off portions of the balcony and mezzanine. exterior forms. Fenestration was also I might add that a tour of the El Paso done sculpturally. windows were punched County Performing Arts Center in Colorado into the skin in a geometric pattern. Springs, Colorado was of great assistance Finally, a transluscent marble was used in helping me to understand these innovat to cover the surface of the building. ions. The Center used many of them with During the daytime, a soft glow pene positive results . trates the building. At night the The auditorium uses water circulated building itself is encased in that same from a boiler and chiller to air handling glow. units as a means of heating and cooling. Hopefully in my thesis I have accomp Smar, lii^T iera-Li- air. handlingo units were t-placed lished a unification of the building hove the dressing rooms in thecubic scul- and its function, that of housing the ture. These feed most of the support performing arts. 1 feel that 1 not only S. Larger AHU's are placed beneath area did that but much more. 1 do know that t unp" main auditorium. Air is fed into a I never felt as good about a project larb"-^ ^„e^ sound-insulated plenum and then before or enjoyed one as much. j^ced out beneath the seats. The struct uring of the main auditorium involves the ^^se of large trusses approximately ten