'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. The Pavilion must seat a min­ Circle is only 80 ft. from the to three positions. In its low­ wide by 60 ft. and the back imum of 3200 (it actually stage, the Loge is 85 ft. back est position, the canopy is a stage is 188 ft. wide by 40 ft. seats 3250) to be economically and the Balcony is 91 ft. from true acoustical shape for di­ deep. W hen the backstage feasible for the majo.ity of the curtain. While the stage rect sound radiation with no portal is opened the rear wall the attractions which 'Nould is low by previous American need for electro-acoustical re­ is 105 ft. from the curtain be presented. A typical nar­ standards, the angle of vision inforcement. This po sit ion line. Additional flexibility is row concert hall would thus to the stage is never more will be used for symphony provided by the main house make a bad sight-line for a than 27 deg. down, even from orchestra and fOl grand opera curtain, designed so that it third of the audience, and the the last row of the Balcony's among others. In addition, a can m 0 v e up vertically or intimacy of performance second tier. Every seat has a specially designed fiberglass tableau back at each side. The would be completely lost. completely clear view to the and wood acoustical shelI wiII stage rigging system is es­ Thus we developed our audi­ mid-point of the house curtain be ass e m b led on stage to pecially elaborate in order to torium design so that it is at the floor line. house the symphony orchestra provide facilities to fly nearly square in plan. By util­ Acoustically, we sought a to assure efficient projection scenery, backdrops and props izing continental seating on blend of reverberance with of all soul}d generated on the for a per-/Continued to Page 74 formance of virtually any type or size. The orchestra pit utilizes a hydraul­ ity of performances, there is a projec­ Grid height is 81 ft., 6 in. While a 45 ft. ically operated floor, divisible into two tion room at the rear of the auditorium pipe batten for suspending scenery is parts for flexibility depending on the capable of showing aU types of motion normal, we can extend our battens to size of the orchestra. The floor descends pictures from 16mm to 105 mm and oth­ 65 ft. by adding a 10 ft. extension to to the lowest level of the building, one er wide-screen processes. either side for grand opera. Some 120 level below the orchestra, so that musi­ While our interior design was con­ battens have been provided because of cians can enter the pit directly from ceived to present the patron with a feel­ the immense size of the stage and each is their lounge. It then elevates the musi­ ing of elegance and beauty, the main secured by seven lines due to their cians to playing position. The floor of public areas are purposely understated length. The total result is 840 cables the pit can rise as high as the floor of to proviJe a foil for the color and move­ giving an ultimate number of contr,')l the auditorium when it becomes de­ ment of the people themselves. Main points. Eight loading bridges result i:I sirable to extend the auditorium floor entrance to The Pavilion and the orches­ ~xtreme ease In applying weights to the and add to the number of seats. tra level is into the Foyer, directly off counterweight arbors. Scenery can be brought directly on the Man Plaza. The Foyer wraps around Flexibility in lighting is achieved stage from "1 loading dock at stage level either side of the north half of the struc­ through stage lights in the light gallery on the Hope St. side, or can be elevated ture, where a series of doors provide en­ above the acoustical canopy and near from the main scenery storage room trance into the sides of the orchestra the proscenium, a second light gallery below the stage via hydraulic lifts. The level as required by the continental across the center of the auditorium, a main storage area is served by a dock seating. The side foyers also have doors lighting booth above the Balcony at the directly off Grand Ave. directly to the exterior Plaza Promen­ rear 9f the house and lights in the side Dressing rooms for stars are located ade. Patrons wishing to reach the Grand walls of the auditorium which are ex­ on either side of the stage wings and Hall, the First or Second Terrace, can posed by a nearly imperceptible opening on the mezzanine directly above. On either ascend the mirrored grand stair­ of doors in the wood paneling as the the lowest level, we have provided well­ way, which rises above a reflecting pool, houselights dim. The stage lighting i!l furnished dressing rooms and showers or use one of four elevators arranged so designed that any type of production for 100 ba1let and 100 chorus men and two on either side of the Foyer. Four can be done and is compatible to a11 women, separate lounges and instru­ more sets of stairs have been provided other systems so that road shows can ment lockers for the men and women of at the north end of the building for ad­ plug their own units into The Pavilion the orchestra, a music library and press ditional safety. Also leading from either lights and utilize the contro!&. rooms. To achieve even greater flexibil- side of the Foyer are a set of broad,

gentI~' descending stairs serving the Walls of the Foyer and Grand Hall are Green Room. the main public lounge, honey-toned onyx impor'"..cd from Mex­ located on the lower level. The Green, ico and columns are faced in delicate Room. decorated in a soft, relaxing Italian Byzantine tiles in a pattern of motif, serves spacious, colorful rest­ gold and white. While the Foyer has a rooms. terrazzo floor, the side orchestra foyers, The Grand Hall, one level above the the grand stairway, the Grand Hall and Foyer, is the main indoor promenade other public areas have carpeting spe­ area. It leads to the Oval Room, which cially designed b~· our firm to withstand is the main refreshment area on the heavy traffic while presenting custom east end; and the Founders, the club for designs and colors. The auditorium in · founding and associate members of The terior decor continues the theme of dis· l\lusic Center, on the west end. The tinctive elegance through simplicity. Grand Hall also proddes direct access Basic colors are gold, deep coral and • to the second-level Upper Promenade beige. with the gold introduced by the • • and to the lounge serving the Founders brilliance of the stage curtain. designed Circle seating. We ha\'e conceived the by Tony Duquette, and the gold leafed • Grand Hall as a truly elegant, spacious acoustical canopy above it, the coral rep. and dramatic area for gathe"ing and resented by the seat fabrics and the • promenading before and after perform­ carpeting. and the beige of the rich but· ances and during intermissions. It is ternut wood paneling and silk textured • three stories high and is overlooked by \·inyl covered walls. Seating and carpet· • the First and Second terraces which be­ inl! in the Founders Circle repeat the. come curved gallerias as the\' extend gold , • over the main room. Three huge crystal Two fine restaurants ha\'e been in· chandeliers hang from the high ceiling, cluded in The Pavilion so that patrons • adding to the grand feeling. can enjoy dining before or after per· Materials have been selected Tlot formances, The Pay ilion Restaurant has • only for their inherent richness and been located at the top level to take beauty but also for their durability. maximum advantage of the \'iew. We • ---_._- -- - - .--.- ~ ------. CLASSIC ARCHITECTURE continued

designed this restalU'ant to be one of the levels of parking for 2000 automobiles most elegant in Los Angeles, basing the located beneath the Mall Plaza and the decor on a crystalline atmosphere. The two smaller theaters is on-grade at both 170-seat dining room is divided into in­ Grand Ave. and Hope St. Theater pa­ timate areas and adjoins a 100-seat trons entering the parking garage can cocktail lounge, which shares the pan­ enter at any of nine access points with­ oramic view. Two banquet rooms, the out the feeling of going down into an Eldorado with 170 seats and the Blue underground tunnel. Ribbon with 220 seats, are also on the I have long belieVed that Southern ,- ~ west side of this level for use of private Californians do not take enough advant­ . - groups or club meetings. age of our incomparable climate by de­ .. - _ .. ~ - - 'lfTH fLOOt Due to the sloping nature of the site, veloping more outdoor facilities. The • • • the Grand Ave. level, while beneath the Mall Plaza provides a spacious formal • • • Mall Plaza level, is open to Grand Ave. courtyard for outdoor relaxatjon before on the east side. The Curtain Call, a and after performances and during in­ • • 130-seat restaurant reminiscent of a termissions. We created it as an integral Los Angeles music hall of the early part of the total complex, placing The • 1900's, is located here, and has a 65-seat Pavilion on one side and the two smaller • cocktail lounge as well as a 62-seat gard­ buildings on the other. The Mall pja~ • en.atmosphere coffee scop which opens is located so that it fonns a unit with • • to an outdoor terrace. These installa­ the overall Civic Center Mall and the tions will perform a fine public service. podium of the Department of Water and • • We were able to use the steeply Power building. The result is what we sloping seven-acre site to our advantage believe to be th~ largest open, land­ • • by designing a podium-like base for the scaped area of any downtown in Amer­ • complex with parking beneath much of an inspiration experience, with The • the base. While the top of the podium is Pavilion rising majestically at one side • level with Hope St. on the west side, it and the civic center spread out below • is one story above Grand Ave. on the toward the east. As the focal point of east l'ide. As a result, entry to the four the grand space, we designed a 75 ft. • • • • • • fLOOR

• • • • • • • • • square reflecting pool with softly failing er committees with who m we han, fountains to pro d u c e simultaneous worked are the Advison' Board of De­ • movement and relaxation. Future plans sign and the Art Com~ittee . The Ad­ II> ~ include a beautiful sculpture in the \'isOT\' Board has met with us constant- • C> • center. 1~ ' throui!hout the project and is in np m Twenty trees, arranged in circular small measure responsible for the suc­ • • concrete planters on either side of the cess of the project. The Art Committee: reflecting pool. will provide shade dur­ is still meeting regularly to choose di!" ing the day and be lit at night from be­ ting'uished works of art which will b(­ • • low to produce a warm, inviting effect. placed in area~ of The :'.lusie Center _...... -'---' __ -L_. When full~' grown the ficus retusa trees where the~' will complement it.s desil!l1 will form two covered arcades, shading It has been a tremendous experiencl­ , MEZZANINE the terrazzo benches around the pool. for all of us working on The Musil We have been fortunate throughout Center to have daily contact with Sf' the past ~'ears during which we hU\'e many who have simpl.\· said. "Call or: labored to meet the chalienl!e of creat­ us if we can be of an.\' help ." We hopt­ ing this structure in ha\'ing selected a these unnamed associates will be proud dedicated g-roup of outstanding- con­ of the results of their effor~ . ';lIltallt~. Thelie include Paul Veneklasen. While the past six .vear~ of workl1l!! 1)1'. Vern O. Knudsen and Dr. Robert 011 The Music Center h:l\'e been mo~t Leonard. acoustics; Ben Schlanger. lieat­ gratifying to m; professionally. and wt­ ing; William P. 1\olan_ stage engineer­ are happy that The Pavilion is openin~ ing' ; ,Je:lI1 Rosenthal. theater lig-hting ; tonight on schedule. tomorrow morning Stac~' & Skinner. :,tructural engineer­ we must go back to work. Construct\(lJ ~ ing'; and Cornel!. Bridg-ers and Troller. will begin shortl~' on the two remaining landscaping. The clifficllit job of making­ buildin)!s of The Mu~i(' C en tel'. th(· the building a realit~· was in the cap­ :'.1ark Tapet· Forum and the C e n t e r able hand" of Peter K i e wit Son,,' Theater. Cntil the~ ' are ('ompleted in Compan.\·. 1966. we cannot reall~' sit back and tah Th(' two mo~t important l\lusic Cent- time out to be prout;

BASfMENT