Building For The Performing Arts

Building for the Performing Arts
Author(s): George C. Izenour

Source: The Tulane Drama Review, Vol. 7, No. 4 (Summer, 1963), pp. 96-122
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/1125021
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Building For The
PerformingArts
By GEORGE C. IZENOUR
When we talk of the "performing arts,"we must talk about all

of them: the spoken drama, musical theatre,opera, ballet, and
concertmusic.Up until now it has been generallytruein the ma-
jorityof American communitiesthat most all spaces that could
seat anywherefromone hundred to ten thousand people have,
at one timeor another,been used forperformances of everykind,
size, and description.It was inevitable that the artistmade com-
promises which lessened-sometimes almost to the vanishing
point-his effectiveness as a performer.Space designedspecifically
as a theatredoes not make a good concerthall, nor does space de-
signed specificallyas a concerthall make a good theatre.This is
truevisuallyas well as acoustically.We can demonstratethat cer-
tain transformations are possible within a single facilitywhich
will adjust both the performingand audience spaces to quite
opposite and diverseuses. These facilitiesare economicallyfea-
sible, if the methodsof contemporaryengineeringare fullyex-
ploited. I believe that the dedicated use of our engineeringskills
forthe accommodationof the performingarts is one of the most
importantmattersfacingus at thistime.
The use of one facilityfor both theatricaland musical events
is perhaps the mostusual, as well as the mostdifficult, accommo-
dation. In myjudgment,thisdifficulty can be surmountedby the
imaginativeuse of our technicalskills.To cite one example, we
know that the acoustical reverberationtimeof a space is depend-
ent upon two factors:(1) its volume and (2) the amount of ab-
sorptivematerial within the space. It thereforefollows that if
thesefactorscan be controlledand modifiedat will, the long re-
verberationtimeso necessaryforthe fullenjoymentof symphonic
96
GEORGE IZENOUR 97
music, and the short reverberationtime absolutely essential if

speech is to be heard intelligibly,can both be accommodatedin
one facility.In otherwords,the accommodationshould be a func-
tion of the design and flexibilityof the space. We mustmake the
space fitthe performanceand not, as is so oftenthe case today,
make the performancefitthe space. An actorshould not be called
on to shout or measurehis speech,nor should his audience strain
to hear dialogue; on the other hand, an instrumentalist or sym-
phony orchestra should not be compelled perform a space
to in
so acousticallydead and inefficient that the sound of theirmusic
loses its timbreor dynamicpower.I am one, but not the onlyone,
who believes that it is possible to design a single facilitythatcan
be betterthan ninetypercenteffective, both visually and acous-
tically, for all kinds of performances.Usually a facilityis ninety
percent effectivefor one purpose, and fiftypercenteffectivefor
others.This kind of compromiseis the inevitableoutcome when
truevisual and acousticalflexibilityare consideredmerelydesign
problems rather than problems of engineeringa design. Engi-
neeringa design is verydifferent fromwhat we usually thinkof
when we hear the word "design."
It is mycontentionthat a single,multi-purposefacilitycan be
eminentlysuccessful.More than this,such multi-purposefacili-
ties must be successful,because the great majorityof American
communitieswill demand such flexiblespaces during the next
fiftyto one hundredyearsat least. The all-encompassingperform-
ing artscenterwhereopera, symphony, recital,drama, and ballet
each may have their own separate and perfectedfacilitiesis a
noble idea. But it can be realized only in a relativelyfew large
metropolitancenters.It is an unreal dreamformostcommunities.
Althoughit is true that the great centersmay be able to set the
standardsof excellence for performance,it is highlyunrealistic
to hope forwealth in enough abundance to permitthe construc-
tion of thesecentersin many areas. It is a cold fact understood
by everyoneconnected with the performingarts that a facility
mustbe kept busy as much of the time as possible if it is to pay
even its runningexpenses.Furthermore,each communityhas its
unique problems,and whatwill workforCleveland will not neces-
sarilyworkforMilwaukee or Minneapolis, to say nothingof the
98 Tulane Drama Review
many smallercommunitieswheremost of the activityin the per-

formingarts is centeredaround a university,college, or public
high school. The conflictabout how to solve the needs of our
communitieshas divided our planners into two groups. On the
one hand thereare thosewho hold out'forseparateand equal fa-
cilities. On the other,thereare those verypragmaticsouls who
believe thata wayout mustand will be found,a way out thatwill
provide manyfacilitieswithina single space withoutforcingthe
artistto compromisein any way.
I am the firstto admit thatour countryis full of bad examples
of so-called multi-purposefacilities.But in my judgment these
unworkable facilitiesrepresenta complete inattentionto those
technicalengineeringprinciplesthat underlie an understanding
The troublecan be blamed on thearchi-
of truespatial flexibility.
tect,the engineer,and the consultant,but for different reasons:
(1) the architectby trainingand experience knows little about
the exacting problems peculiar to the performingarts; (2) the
engineeris in an even worse position since he, by tradition,has
been forcedto bend his will to thatof the architect;(3) the theatre
consultant,whetherof academic or professionalorigin, neither
understandsnor sympathizeswithengineeringprinciplesor prac-
tices beyond the simple mechanicsof sceneryconstruction.This
understandingfixes him somewhere between Archimedes and
JamesWatt. The factis that in America the performing arts are
so used to improvisationof one kind or another--concertsin
theatres,hockeyrinks,and gymnasiums;drama in concertbuild-
ings,old barns,lofts,and abandoned nightclubs-that an archi-
tecturewhich provides facilitiesfor the performingarts is just
now beginningto be seriouslyconsideredby producers,architects,
engineers,and theatreconsultants.The signs are unmistakably
there,however.An awakeningof our responsibilitiesto the per-
formingarts is well under way,not that we know exactlywhere
we are going or how we are going to get there.But thisneed not
dismayus, sincethisapparentlack of plan and purposeseemsto be
the way we fightour wars and run our politics.Eventually,I as-
sume,our aimlessnesswill get us to the moon as well. Certainlyit
is trueof theartsthattheabilityto surviveis dependentupon the
abilityto improvise.But it seemsjust as true to say thatwe have
GEORGE IZENOUR 99
definitely moved beyondthe unsophisticatedstageof our develop-

ment, in the culturalsense,and are demandingnow the best pos-
sible environmentforthe enjoymentof opera, drama, music,and
ballet. Today we demand the best conditionsfor the audience, as
well as the best performancefromthe artist.We still need impro-
visation,but of another,higherorder.Soon, inevitably,we will be
compelled to use to its fullestpotential that unique hallmarkof
our age: technology.The machine firstchanged and then pro-
duced a commercial,industrial,and then even a domesticarchi-
tecture-an architecturewith no priormodel. And it is unthink-
able, at least to me, that our technologywill not also produce a
unique architectureforthe performingarts.
Our technologyis not mysterious. It has only to be learned and
understoodto be used imaginatively.Electronics,nucleonics,me-
chanics,and structurecan, I believe, when once integratedinto
an architecturalscheme,bringfortha new aestheticthat will de-
fineand manipulate space in a dynamicsense previouslyimpossi-
ble. That our new facilitiesand aestheticwill be complex,no one
can deny. But this will in no way stop it fromhappening. The
signs are unmistakablethat the futureis already upon us. The
multi-formtheatre,the multi-purposetheatre-concert hall, and
combinationsof each, within reason, will have made their sub-
stantial appearance in a varietyof examples during the next ten
years.This factwill precludephilosophicaldebate on the propri-
ety of doing or not doing this or that. Our age is beginningto
understandthataestheticsis dependentupon technology.We look
to our technicalachievementsas more than the mere source and
flowerof our wealth. We realize that the scientificcertitudeof
the nineteenthcenturyhas given way to a scientificvariability
and viabilitythat makes today's theorytomorrow'soutworn no-
tion. In the processour newly found relativityreaches out and
influencesthoughtin everyfield.We are no longer the passive
human onlookers.We are now able to control much of our en-
vironment,much of our thought.
In order to set forthclearlyone, but not necessarilythe only,
approach to theseproblems,I turn now to my own work. With
the help of drawingsand renderingsof projectswhich are either
in the advanced stagesof design or construction-real projects-
100 Tulane Drama Review
I hope to make my intentclear and concrete.I have chosen five

special projectsbecause individuallytheseare the most complex
I am now workingon, while taken togethertheyrun the gamut
between the threethousand seat opera house-concerthall to the
350 seat theatre-in-the-round. An examination of these projects
will reveal thaton thebasis of our presentknowledgecertaincom-
binationsare feasiblewhile othersare not. For example,the three
thousand seat concerthall will not convertsuccessfullyinto the
350 seat theatre-in-the-round. The seating geometrythat works
for six hundred seats in a recital hall-proscenium-three quarter
open stage is one thing,while the seatinggeometryfor the same
combination with nine hundred seats is quite another. Multi-
purpose is certainlynot all-purpose.But thereare basic similari-
ties in materials,structure,mechanization,and control.We have
found that steel is ideal for an interiorsurface,just as it is well
suited forstructuring. When handled properly,steel has proven
ideal frompracticallyeverypoint of view-its hard surface,its
easy fabricationand erection,its ductilityand strength,and its
acoustic properties(when correctlydampened) are excellent. Us-
ing machine tools,we can fabricatesteel in formsof greatvariety
and precision.And, of course, of great importance,steel is eco-
nomical.
Mechanization(hydraulicor mechanical)and control(analogue
or digital) can achieve a fluid movementof surfacesand masses
so that large spatial relationshipscan be changed with ease and
accuracywith little or no expenditureof human muscle power,
not that thiskind of fluidityis in itselfa special virtue.But if a
conversioninvolving spatial relationshipsis wanted, it can be
achieved mostperfectlythroughmechanization.Any othermeans
is impractical,and sometimeseven impossible. Mechanization
representsa saving in both capital expenditure and operating
costs.
Now a word about collaboration. In my judgment three spe-
cialists-the architect,the acoustician,and the theatredesign and
engineeringconsultant-must collaboratein order to achieve the
optimal resultin any building to be used forthe performingarts.
To be successfulthiscollaborationmuststartwith the designcon-
cept. It is in the concept itselfthat the skill of each specialistef-
GEORGE IZENOUR 101
fectsthe basic conditionsleading to a design solution. The archi-

tectis still the masterbuilder, but specialized techniquesrequire
specialized knowledge,and here the other men can offertheir
ideas. It is just thiskind of collaboration-with its continual give
and take-that characterizesthe projectsillustratedhere. I wish
to point out that necessarycompromiseswere made withoutpe-
nalizing the artistwho is to performnor the audience who is to
watch.This is most crucial,forwhen the lightsgo down and the
performancebegins, the building and the production facilities
are of secondaryimportance.If the performeris seen and heard
easily,and if he is in a satisfactory and comfortablerelationship
with his audience-a relationshipthat has been providedby the
design and its execution-then the building works. If not, the
building fails.And no kind of magic or extremeunctioncan cor-
rect the mistakes.
Finally,it is only fair to point out that thesenew solutions to
our problemsdemand adventurousclientsas well as adventurous
designers.Our knowledgeprogressesand is enhanced in no other
way.This, to mymind,is theveryessenceof creativity.
PURPOSE-To provideapproximately 3,000seat ConcertHall--Opera House
and 1,700seat Recital Hall-Proscenium Drama Theatre for com-
munityof 1,000,000people.
SOLUTION-Articulated cable-hungceilingand pivotingwall systemto re-
duce capacityand volumewhichcontrolsreverberation time,thereby
providingappropriateconditionsfor each typeof performance are
power operatedand analogue programmedfor control.Orchestra
shell enclosureprovidesacousticaland visual continuity
of the audi-
toriumand can be adjustedfortwosizesand is poweroperated.Two
steel-framedseatbanksare manuallyoperatedand trackedon to and
offofliftsto provideclose-upseatsfordramaor twosizesoforchestra
pit.
Weightof steelceiling,walls,and orchestrashell90-100tons.
Type of StageRiggingSystem--Counter weightand fixedelectricwinch

Type of StageLightingSystem-Analogue presetcontrol-solidstatedimmer
Type of LiftSystem-Hydraulic-Control presetdigital
Type ofSeating--Orchestra 40" backtoback
floorcontinental
Ist Balconyboxes42" back to back
Ist Balconymezzanine36" radial aisle back to back
2nd Balcony34" radial aisle back to back
Total Cost............... ..............$6,000,000
MachineryCost................................$600,000
ConcertHall- Recital Hall-
Vital Statistics Opera House Theatre
Seatingcapacity 3,000 1,726
Farthestseat fromstage- 122' 104'
OrchestraFloor
Farthestseat fromStage- 148' 129'
FirstBalcony
Farthestseat fromStage- 168' -
Second Balcony
Capacity of OrchestraPit 100 50
Widthof Proscenium 62' Max. 36' Min.
Heightof Proscenium 32' Max. 14' Min.
Depth of Stage 55' 55'
Widthof Stage 120' 120'
Height to Grid 80' 80'
Depth of ConcertShell 40' -
Widthof ConcertShell 62' -
Depth of Recital Shell 17'
Widthof Recital Shell - 62' Max.
48' Min.
Numberof Lifts 2-Pit or Apron 2-Pit or Apron
102
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105
Key to figuresIA, IB, IC, Half Plans and Sections 3,000 Seat Concert Hall-
Opera House, 1800 Seat Recital Hall-Theatre.
1 -Fixed OrchestraSeats.
1' -Fixed Box Seats.
1"--Fixed Balcony Seats.
2 -Movable OrchestraSeats.
2' -Movable OrchestraSeats.
3 -Orchestra Pit-Stage Apron Lift.
3'-Orchestra Pit-Stage Apron Lift.
4 -Fixed Auditorium Walls.
5 -Movable Auditorium Walls.
5' -Movable Auditorium Walls.
6 -Fixed Auditorium Roof.
7 -Movable Auditorium Ceiling.
8 -Movable Concert Shell Walls and Ceiling.
8'--Movable Recital Shell Walls and Ceiling.
9 -Stage T-aser and Tormentor.
10 -Proscenium Pull-out Panels.
Shaded areas indicate spaces closed offby movable ceiling and side walls.
PURPOSE-To provide approximately 950 seat Concert Hall-Proscenium-

Drama Theatre and Three-quarter Open Stage Drama Theatre for
community of 35,000 in winter and 75,000 in summer for music,
drama, and filmfestivals.
SOLUTION-Articulated boom-mounted wall systemchanges shape of audi-

torium by means of integral louvre system,controls reverberation
time to adjust to type of performance;it is power operated and ana-
logue controlled. Steel framed and power operated seat bank is
tracked on to and offof lift for proscenium and three-quarteropen
stage. Orchestrashell enclosure articulates with concrete rear wall of
stage and provides acoustical continuity of the auditorium and is
power operated. Weight of steel walls and orchestrashell 50-60 tons.
Steel fabricatedand power operated main doors open auditorium for
easy access and egress.
Type of Stage Rigging System--Counterweightand fixed electric winch
Type of Stage Lighting System--Analoguepreset control-solid state dimmer
Type of Lift System-Hydraulic--Control-manual
Type of Seating-Orchestra floormodifiedcontinental39" back to back
Balcony Boxes-42" back to back
Balcony Mezzanine-34" radial aisle back to back
Total Cost .................................... $2,100,000
Machinery Cost................. ................$350,00
106
ConcertHall- Three.Quarter
Vital Statistics ProsceniumTheatre Open Stage
Seating Capacity 940 947
Orchestrafloor
Balcony
Capacityof OrchestraPit 35
Widthof Proscenium 56'-Max. -
36'-Min.
Heightof Proscenium 25'-Max.
14'-Min.
Widthof Stage 110' 50'
Height to Grid 50'
Depth of ConcertShell 30'
Widthof ConcertShell 48'
Numberof Lifts 1-Pit or Apron 2-Apron
PLAN
FIGURE2A
107
.........
8-8
SECION
,121
FIGURE 2B
T
I JA
J,
??
i.
SECTION A -A:
FIGURE 2C
108
Key to figures2A, 2B, 2C Half Plans and Sections900 Seat ConcertHall-
Prosceniumand Three-quarter DramaTheatre.
I -Fixed Orchestra Seats.
'--Fixed BalconySeats.
2 -Movable Orchestra Seats.
3 -Seat Bank-Open StageLift.
Y'-OrchestraPit-Open Stage-ApronStageLift.
6 -Steps DownfromOpen Stageto Basement.
7 -Steps Down fromOpen Stageto Auditorium Floor.
8 -Movable ConcertShell.
9 -Stage Teaser-Tormentor.
10-ProsceniumPull-outPanels.
11-Power operatedAuditorium Doors.
12--Motion PictureProjection Booth and image invertingprismand
mirror system.
PURPOSE-To provide600 seat Recital Hall-Prosceniumand Three-quar-

ter Open Drama Theatre.Stage forsmall university
of 2,500 in a
community of85,000.
SOLUTION-Manually operated-Sectionalsteel fabricatedwall systemin

ceilingtracksand pivots.Tubular steel-space frame,poweroper-
ated seat bankswitharticulatingliftsprovidechangein shape and
acousticalpropertiesof auditorium.Orchestrashell providesacous-
ticalcontinuity
of theauditoriumand is poweroperated.
Weightof steelwallsand shell40-50tons.
Weightofseatbanks15-20tons.
Type of StageRiggingSystem-Synchronous and fixedelectricwinch
Type of StageLightingSystem-Analogue presetcontrol-solidstatedimmers
Type of LiftSystem-Hydraulic-Control-Manual
Type ofSeating-Modifiedcontinental-39"back to back
ProjectCost................................$1,250,000
MachineryCost.................................$350,000
109
Recital Hall- Three-Quarter
Vital Statistics ProsceniumTheatre Open Stage
FarthestSeat fromStage 78' 38'
Capacity of OrchestraPit 35
Widthof Proscenium 48'-36'
Height of Proscenium 24'-14'
Widthof Stage 120' 58' Max.
36' Min.
Heightto Grid 54 -
Depth of ConcertShell 40'
Widthof ConcertShell 48'
Numberof Lifts 1-Pit or Apron 2--Apron
* *
* *
i
4 4
!,
A^ IPLAN1
FIGURE 3A
110
______ I~I7i
?lri
SE O B
SECTION 8 -8'
FIGURE3B
SECTION A-A'
FIGURE3C
111
Key to figuresSA, SB, 3C Half Plans and Sections 600 Seat Recital Hall-
Proscenium and Three-quarter Drama Theatre.
1 -Fixed Seats.
2 -Movable Seats.
3 -Seat Bank-Open Stage Lift.
3'-Orchestra Pit-Open Stage-Apron Stage Lift.
4 -Fixed AuditoriumWalls.
5'-Movable AuditoriumWalls.
6 -Steps down fromOpen Stage to Basement.
7 -Full Stage Roll-up Cyclorama.
8 -Movable ConcertShell.
PURPOSE-To provide 500-600 seat Drama Theatre as one building of

Drama School complex that convertsinto proscenium,three-quarter,
and full round forms.
SOLUTION-Manually operated, sectional, steel fabricated wall system in
ceiling tracks and pivots and tubular steel, articulated riser-power
operated seat banks with articulating lifts provide change in shape
and acoustical properties of auditorium. Lift systemserves as space-
modulating systemforall three formsof theatre.
Weight of steel walls-5-6 tons
Weight of seat banks-40-50 tons
Type of Stage Rigging System-Synchronousand fixed electric winch
Type of Stage Lighting System-Automatic digital preset--solid state dimmers
Type of Lift System-Hydraulic-Control-Digital preset
Type of Seating-Modified continental39" back to back
Project Cost .............................. $3,500,000
Machinery Cost.............................. $700,000
112
Three.
Quarter Full
Vital Statistics Proscenium Open Round
Seating Capacity 490 500 600
FarthestSeat fromStage 68' 36' 36'
Capacity of Orchestra Pit 30 -
Width of Proscenium 60' Max.
36' Min.
Height of Proscenium 24' Max.
14' Min. - -
Depth of Stage 66' 30' 30'

Widthof Stage 144' 46' 46'
Height of Grid or Acoustical 65' 24' 24'
Ceiling
Numberof Lifts 18 36 24
PLAN
FIGURE 4A
113
SECTION 8-8'
FIGURE4B
SECTION
A-A'
FIGURE4C
114
/
/
/B
tv
115
/M
I1
/_/
116
/I
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r
U "i \
id ,
cl
ct
d
~cp.
r
117
4A, 4B, 4C Half Plans and Sections500-600Seat Convertible
Key to figures
Proscenium, and Round Drama Theatre.
Three-quarter,
1 --FixedSeats.
2 -Movable Seats.
2'-Movable Seats.
3 -Lift System.
6 -Steps downfromOpen Stageto Basement.
8-ProsceniumPull-outPanels.
Figure---4D ofProscenium
Isometric Form
Figure--4EIsometric
of Open Form
Three-quarter
Figure-4F Isometric
of In-the-Round
Form
PURPOSE-To provide350 seat Drama TheatreforDrama Schoolthatcon-

vertsfromfullroundto Three-quarterOpen Stage.
SOLUTION-Overhead power, trolley-crane operated tubular steel fabri-
catedseat banksprovidechangein stageand audiencerelationships.
Lift systemprovidesmodulationof In-the-RoundStage'and pe-
forThree-quarter.
ninsula---stage
Type of LiftSystem-Hydraulic--Control-Presetdigital
Type of Stage LightingSystem-Manualdigital preset--solidstate dimmer
TypeofSeating-Radialaisle-36" backto back
Type of LightingSystem-Manual
digitalpreset
Project
Cost...................................$1,000,000
MachineryCost................. ..............$250,000
Three-Quarter
Vital Statistics Full Round Open
FarthestSeat fromStage 18' 34'
Widthof Stage 36' 36'-40'
Heightof Stage to AcousticalCeiling 18' 18'
Numberof Tunnel Entrances 4 2
118
I
PLAN
FIGURE 5A
PLAN2
PLAN2
FIGuRE5B
119
SECTION A-A'
SECTIONB-B'
SECTIONC-C' SECTION 0-0D'
FIGURE5C
120
~J
I,;m
FIGURE 5D
4t,
;;
???;-15-
........ ...
FIGURE5E
121
Keyto figures Round
5A,5B,5C, Full Plansand Sections350 Seat Convertible
and Three-quarterDramaTheatre.
1-Fixed Seats.
2-Movable Seats.
3---Lift
System.
4--RakedStage.
5---TunnelEntrances.
Tunnel.
6---Connecting
7-Steps downto Lobby.
8-Lobby.
9-Connectionto BackStagetechnical space.
5D Renderingof In-the-Round Form
5E RenderingofThree-quarter OpenForm
122

Building For The Performing Arts

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Building For The Performing Arts

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Building for the Performing Arts

Author(s): George C. Izenour

When we talk of the "performing arts,"we must talk about all

music, and the short reverberationtime absolutely essential if

many smallercommunitieswheremost of the activityin the per-

definitely moved beyondthe unsophisticatedstageof our develop-

I hope to make my intentclear and concrete.I have chosen five

fectsthe basic conditionsleading to a design solution. The archi-

Type of StageRiggingSystem--Counter weightand fixedelectricwinch

PURPOSE-To provide approximately 950 seat Concert Hall-Proscenium-

SOLUTION-Articulated boom-mounted wall systemchanges shape of audi-

PURPOSE-To provide600 seat Recital Hall-Prosceniumand Three-quar-

SOLUTION-Manually operated-Sectionalsteel fabricatedwall systemin

PURPOSE-To provide 500-600 seat Drama Theatre as one building of

Depth of Stage 66' 30' 30'

PURPOSE-To provide350 seat Drama TheatreforDrama Schoolthatcon-

SECTIONC-C' SECTION 0-0D'

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