Los Angeles Music Center

'A CONTEMPORARY EXPRESSION OF CLASSIC ARCHITECTURE' It is difficult for me to conceive of a great ARC H IT E C T' S EX P l A NAT' 0 N 0 F within and yet we wanted it to be contemp er personal thrill than the formal opening THE PAVILION'S FINE D;;SIGN orary and understated so that it would not of this building. Not only is it the most CONCEPTION, THE ACOUSTICS overpower people. We felt that many con complex architectural problem my firm temporary exterior amI interior desig~s AND LIGHTING, THE STAGE AND has ever attempted to solve, it is probably were too stark and unimaginative for this the single most important e I e men t in THE SEATING AS WELL AS THE type of building, so we studied the classical Southern California's culturJlI history, one KIND OF BUILDING MATERIALS ~oncepts of architecture as a point of de which many in the community have sought parture. Thus. since it is meant to become to secure for nearly 20 years. To be se Photography by Korob a living culturai symbol for future dec lected as architect for such a structure, ades, The Pavilion grew to be a contemp destined to be a landmark even before any opera, ballet and similar presentations re orary expression of classical architecture. architect was assigned, is a great honor. Quire a more intimate type of theater with Being at the crown of the Civic Center But to be chosen in one's own city to ac an amplified sound system. Our most pre and a vital part of the cityscape imposed complish thia il!. more than an honor - it carious task was to design a single audi cert.ain restrictions on the design. As is is a great responsibility as well as a tre torium which would combine these three oiten the case, restrictions in budget or mendous professional challenge. The most different houses into one hall acceptable othe;: matters often benefit the architect. important aspect of the challenge was to to all. The auditorium had to be large We thus designed the main building as a resolve a program which would encompass enough to be financially attractive to cost Pavilion which means that all sides are the whole range of the performing arts ly road shows, yet small enough to provide basically equal. Since the building would within one structur.e. Initially, when we an intimate feeling. As a road show house be seen from all sides, we did not wish to were selected, there was only one block of it had to provide immense storage areas turn our back or. any part of the city. The land and a desire for one building with capable of accommodating the entire trav most important part of the building, of adequate parking. Later, d rea m s of a elling repertoire of the San Francisco course, is the auditorium, ;;,nd the exterior grander scheme were developed by Mrs. Opera. Anticipating the future cultural of The Pavilion is designed with gracefully Norman Chandler, chairman of the Build growth of Southern California, it also curving sides directly expressing the func ing Fund Committee and the one single needed to provide the facilities of a pro tional curve of the auditorium within. The most important catalyst who made the en ducing house as well as outstanding structure is on the grand scale, 330 ft. tire project possible. The result is the facilities for performers. All of these long, 252 ft. wide and with 92-ft.-high present three-buildiflg complex which in features had to be enclosed in a columns from the plaza level. The walls of clude"! the 750-seat Mark Taper Forum structure which would create a positive the structure are charcoal black granite and a 2100-seat Center Theater. esthetic image for the performing arts and and dark glass, providing strong visual The 3250-seat Pavilion, largest of the an architectural landmark for Los An contrast by day with the white textured buildings, had to fulfill the functions of geles, truly "A Living Memorial to Peace." surrounding columns and the broad roof three major halls--each with ib~ own char On studying The Pavilion, we felt that overhang. At night the north side will acteristics. Traditionally a symphony or like the great music it was to house, its sparkle from within, revealing the dra chestra requires a concert hall with per design needed a theme. We wanted the matic interior spaces and people, present fect natural acoustics. Grand opera re building to give the patron a feeling of ing a colorful spectacle to those on the quires a tremendous stage and as large a elegance and beauty befitting the rich Plaza. The columns which continue around house as good sight lines permit. Light cui t u r a I adventures to be experienced the structure s tan d IContinued on Page 72 B y w E L T o N B E c K E T F A A Turn ta Page I 08 for pictUle of how the entire three-building complex event'lOlIy will appear Music Center. los Anocle!. Times. Oec~mber 6. 19604 21 free of the building, extend the orchestra floor we elim clarity. By reverberance, we stage. For light opera, which ing from the plaza level to a inated fron t-to-rear cross mean the feeling of being en r e qui res electro-amplifica soffit beneath the roof over aislea which normally deprive veloped in sound. By clarity, tion, the aCDustical eano.py will hang. In this way they pro a house of a large number of we mean the ability to hear be raised to its secona position, vide a covered promenade seats and also draw the per and appreciate the details of which frees the speakers of arvUi'ld the building on the former's eye to the rear of the music. The different types of the five-channel stereophonic mall level and an upper prom auditorium, making the hall performances which were de electro-acoustical system. In enade leading off the Grand seem even larger. sired for The Pavilion needed the third position, the canopy Hall. The columns were de The result of our unconven different acoustical methods moves forward, exposing a signed of precast exposed tional planning is that in a of reproduction, va r yin g lighting gallery to the stage quartz chip concrete panels in m a xi mum Pavilion house, from the natural sound re for use in special lighting ef a gently tapered, fluted, 90~{ of the audience is with quired by the symphony to the fects required on occasion. sculptured form. Part of The in 105 ft. of the stage and the amplified sound used by Civic Another prime area of flex Music Center design was farthest seat is only 130 ft. Light Opera. We designed the ibility was the stage .itself, predicated on the fact that the The orchestra level holds 1472 auditorium so that each type which had to be designed to tops of the buildings be so de seats with the last row only of performance would be provide for any type of per tailed that when viewed from 98 ft. from the stage. Yet we able to have its own best pos formance, as welI as for re sible acoustic values trans quirements of performances mitted to the audience. So not yet foreseen. To obtain that t his directional sound this high degree of flexibility, carries with it the same di we developed one of the larg rectional information as the est and m 0 st· diversified source, we developed an acou stages in the United States. stical canopy that extends The proscenium, for example, outward from the top of the through use of stage portals, proscenium arch abo v e the can vary from 36 ft. to 58 ft. stage and acts as a low ceiling. in width and has a maximum MEMO.IAL PAVILION MellON higher civic center structures maintained from 40 to 42 in. the roofs are completely clean between the seal'! back to and proville a finished ap back so that movement in the pearance. aisles will not inconvenience As the most important part those already seated. The or of The Pavilion, the auditor c h est r a floor is relatively ium must first of all present steeply raked, both for super the audience with an aesthetic ior vision and for minimum environment des i g ned to degradation of the sound as make each person's view of it passes over the audience. every type of performance a Since pat ron movement is superior one. It must also pro from side to side, the rake is vide the performers with the obtained without safety haz finest possible technical facil ard. As a matter of fact, the ities for staging all the varied entire orchestra floor can be performances slated to be pre emptied in the phenomenal sented. For example, it has time of one and one-half been traditionally asserted minutes. that a good concert hall must Three main levels of seat be a n a r row, rectangular ing rise above the orchestra shape and limited to an audi floor: the Founders Circle, Providing the acoustical de height of 28 ft. The - main ence of 2400 - 2600 persons. the Loge and the Balcony. sign flexibility, the gilded fib~ stage is 129 ft. wide by 63 ft. Our program showed that The first row of the Founders erglass canopy is adjustable deep, the side stage is 40 ft.

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