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A NEW OPERA HOUSE FOR DALLAS, TEXAS

Presented to: Professor W. Lawrence Garvin Division of Architecture Texas Tech University

In Partial Fulfillment of the Requirements of the

Bachelor of Architecture Degree

by James Zeeck

2 January 1985

K

ACKNOWLEDGEMENTS

I took on this project with enthusiasm and naivete.

Along the way many have helped me get on the correct course.

I would like to thank them all. Those people that I inter­

viewed also deserve my thanks. The sharing of their time

and expertise were invaluable to me.

My admiration and appreciation to all the staff at The

Dallas Opera. Their willingness to help me understand their

activities was essential to my work. Scott Holderer and

John Tooey are singular credits for this.

Finally I would like to thank: Rebecca Robbins, Margie

Firenze, Marte Moore, Sharilyn Birkman and everyone else who

gave me encouragement when things looked bleak.

James Zeeck 12/19/84

PREFACE

To be of any value, design must be informed. The

esoteric components of an opera house are many and varied.

It is by observation and inquiry that they become tangible

and informative.

The impetus to build is, at this time, not a widely

felt concern. It is my belief that, by nature, man does not

build until needs arise and become critical, even though

these needs may be predictable and verifyable. This is the

present case for a new opera house in Dallas. The fact that

market research focusses on this subject is cause for hope

that such a building project will not be hastily planned and

poorly thought out (see Appendix B for this type of in­

formation) .

Just as a composer, librettist, conductor, technicians,

performers, and craftsmen work in concert to create art, so

must the various disciplines of architecture unite to produce

good work. This represents my omnibus attempt at organizing

pertinent information. Reader beware of an emphasis on

architecture- in the exclusive sense.

11

TABLE OF CONTENTS

Page

Acknowledgements i

Preface j^j^

List of Figures v

Project Goals and Objectives 1

Background 3

Opera in Dallas 9

Company Growth 12

Project Identification 13

Significant Issues 14

Activity Analysis 21

Public Activities 23

Experiencing the Opera 26

Activity Behind the Curtain 31

Dressing 40

Craft Works 43

Site Analysis 54

Space Summary 70

Public Space 73

Stage Space 77

Dressing Space 80

Shops/Scenery Space 83

Shops/Costume Space 85

Total of Categories 88

Systems Performance Criteria 91

111

IV

Page

Cost Analysis 101

Detailed Space List 107

Public Spaces 108

Stage Spaces 117

Dressing Spaces 122

Shop Spaces 128

Miscellaneous Spaces 138

Appendices

A. Case Studies 141

B. Market Information 157

C. Acoustics 164

D. Seating and Audience

Orientation 172

Bibliography 179

LIST OF FIGURES

liSl^I^ Page

1. Diagram of Production Sequence 8

2. Fair Park Auditorium Additions 12

3. Springer Plan of 1971 16

4. Site Location 17

5. Lifts and Traps 33

6. Typical Scenery Shop Layout 45

7. Typical Costume Shop Layout 49

8. Arts District Location 55

9. Drainage Access 56

10. Temperature and Month 59

11. Precipitation and Month 59

12. Solar Angles 61

13. Land Uses 63

14. Transportation Routes 65

15. Critical Angles for Auditoria 97

16. Age of Opera Patrons 158

17. Income of Opera Patrons 159

18. Opera Ticket Sales 160

19. Importance of Attributes by Theater 161

20. Importance of Attributes by Age 162

21. Attribute Evaluation by Theater 162

22. User Satisfaction Diagram for Auditoria . . . 167

23. Head Movement Diagram 174

24. Composite Range Diagram 174

25. Seating Types Diagram 176

GOALS

AND

OBJECTIVES

PROJECT GOALS AND OBJECTIVES

The project goals are:

- To allow greater flexibility in stage techniques,

artistic effort, patron satisfaction, and interaction

with the community

by designs which: - are capable of growth and

change

- can be made to meet new

operatic requirements

- offer opera goers unique

entertainment of the highest

quality

- facilitate reaching a

maximum audience

- Maximize operational efficiency (despite having chamber

opera and administration elsewhere).

by designs which: - operate well under long

standing procedures

- seek their own equilibrium

- utilize facility, expertise,

and material optimally

- To create environments that allow (even cause) each

individual to feel their potential is attainable

by designs which: - are sensitive to need

- have ambient quality

- foster or permit good

attitudes

• To make opera (of all styles and periods) live as

a relevant and expressive art form

by designs which: - relate to humans today

- concentrate on the percep­

tual priorities of this

art form

- reflect cultural and social

strengths of this population

BACKGROUND

BACKGROUND

An opera house is an elaborate combination of spaces to

accommodate myriad functions. No less elaborate are the

contexts, meanings, and implications associated with opera.

It is necessary for the designer to be aware of the differ­

ent contexts in which an opera house functions, and thereby

will be judged. This section will examine them in order,

from general to specific, and then discuss issues signifi­

cant to the current state of opera in Dallas.

The term "opera" means different things to different

people. These vary with age, cultural background, and

exposure to opera. In many cases, these deviations are

polarized, making people either opera-phobes or opera-

philes. To avoid this, let us define opera.

The definition found in a common pocket dictionary can

illustrate the problem. Opera is "a drama set to music."

This would apply to musicals as well as opera. Grand opera

is defined as "a serious or melodramatic drama having the

2

entire text set to music." This is the "supreme conven­

tion" that is at the heart of opera and much of opera's

criticism.'^ This definition is closer to what opera is

perceived to be and is in general the type of opera that

will be produced in the new house.

Closer scrutiny yields further distinctions between

types of opera. Singspiele, music drama, opera buffa, comic

opera, and operetta are all subsets of the broad terra.

These types are generally distinguished by structure, length,

or subject matter.

Opera has roots extending back into epic tales found in

most cultures. How has opera evolved into its present

state? Opera, in a form that we might recognize as such,

began about four hundred years ago. Of course the date is

impossible to pinpoint because previously there had been

many plays with music.

Claudio Monteverdi (1567-1643) is one of the first

great composers. Some have even called him the "creator of

4

modern music," He was patronized by nobility (under con­

tract as it were), as was the custom at the time.

George Frederick Handel (1685-1759) is perhaps the next

great figure. Although he is often associated with other

types of music, most of his life was spent as a composer of

operas.

In the middle of the eighteenth century, opera had

become a prisoner of convention. Internationally, opera was

expected to be performed in an exquisite but soulless Italian

Composers and public yearned for more lively entertainment.

Enter Wolfgang Amadeus Mozart (1756-1791). Although he

was well versed, even gifted, at all forms of music, opera

was his favorite pursuit. Building on the reformed works

of Cluck, Mozart wrote many operas (in many styles and

tongues), including The Magic Flute, Don Giovani, Cosi fan

tutte, and Figaro. Although the designer need not be well

acquainted with these works, Mozart is a figure so important

to opera history (and opera staging) that he may be used as

an archetype for further study.

In the nineteenth century, opera took an even more

prominent position as an entertainment for all people.

Operas were written and produced in great numbers by such

great composers as Verdi, Rossini, and Berlioz. In addi­

tion, opera took on an international air with compositions

from France, Germany, England, and Russia.

There is another important aspect for the designer to

consider. At this same time (the late 1800's), operas were

so popular with so many people that they could be vehicles

for social and political communication. Nationalism is a

theme in many operas of this time. The operas of Verdi were

sometimes banned because they threatened the occupation

armies in Italy and some of his opera music became rallying

cries for a united Italy.

With so many great composers, it is not really per­

tinent to dwell on them, but one more must be mentioned.

Richard Wagner (1813-1883) was an unquestioned, though not

uncontroversial, genius. His demeanor was absolutely abra­

sive, and though he had the friendship and good wishes of

few, he was ultimately respected by almost everyone.

The effect that Wagner had on opera was revolutionary

and similarly with opera staging. The epic nature of his

work, steeped in mysticism, causes an opera stage to perform

as much as the singers. He was characteristically opinionated

on the desirable qualities of all parts of an opera house

and even had one built to his specifications (see Case

Studies, Appendix A). His innovations in the requirements

and techniques of operatic staging indeed set new standards

for opera.

This illustrious history has resulted in a repertoire

that combines a large measure of old favorites, resurrec­

tions of forgotten works, and a few new operas. The public

response to new operas, and therefore a company's capacity 7

to stage them, is a measure of the vitality of the company.

Although there have been new operas written all during

this century, it is part of the premise of this new house

that more are being written now and that they are a part of g

a "new wave" of composition and staging. Post-war works by

Kurt Weill and recent works by Phillip Glass are examples of

this. They share several traits, including staging, that

depend on modern technology and a willinaness to break

operatic conventions of style and length. The important

thing for the designer to be aware of in this regard is that

opera is alive and will continue to break new ground. The

technological implications of this will be examined further

in Systems Performance.

Opera as an art form has been profiled, but what else

is there to say about opera? Opera is also a process. It

bas a series of predictable phases from inception to curtain

call. It may be valuable to think of opera as a series of

designs that must interact perfectly.

Operas begin with an idea. This may be an inspiration

or the result of a specific commission. It is usually the

composer who seeks out a librettist to sketch out the dra­

matic armature that the opera will be built around. Working

as a team (or as an individual doing both tasks), the opera

is written. It is not simply putting music to a play. It is

absolutely essential to remember that "music . . . governs g

all matters of timing." The designer should be aware that

there are some very popular operas in which armies appear,

advance, and march off in the space of a few minutes without

appearing unnatural or disruptive.

At this point, there is some'impresorial entity that

decides to produce the opera. Currently, scheduling is a

high priority task. An opera house, director, designers,

and especially singers, must be contracted to this produc­

tion, often years in advance-

The technical designers such as lighting, scenery, and

costumes begin their work by conferring with the director as

to the intent or course to be followed. With this to go by,

they design-these features to make the production a cohesive

whole.

After these designs are completed, and about six months

before the first performance (this is true for Dallas, but

depends on the scope of the work), construction begins on

the scenery and the costumes are begun. The costumes are

fabricated to roughly fit the performer but at this point

8

are not fitted. This will be done immediately before the

performance to allow for the possibility of an understudy or

other unexpected changes that may occur.

The performers and chorus are expected to know their

roles before coming to the house, and they usually have had

some private coaching. A month or two before the performance,

all of the performers are brought in for rehearsal. In gen­

eral, rehearsals take care of blocking (movement of) per­

formers on stage and any final changes. Until dress rehearsals,

the practice sessions are scheduled in small groups and for

whatever time is required. This can lead to twelve-hour days

for the cast and crews who are also rehearsing and setting

up for the performance.^^

Dress rehearsals are scheduled the week before perfor­

mance in order to coordinate all aspects of the opera in­

cluding the performers and all systems such as lights, scene

changes, music, etc. See Figure 1 for a diagram of this

sequence.

\ \ \ / ^ C0MP08EB

DEA r *• \

t LBRETTOT

-MPRESSARIO-

>8M<1ER3-

-»DESK1NERS

> DIRECTOR 1

-CHOUSE

CRAFTSMI lEM-j > —»

- \

PERFORMANCE

Figure 1. Diagram of Production Sequence. The dashed

line represents an optional loop (a commission

by the impressario). Also, modern practice has

titled most of the designers; e.g.. Director of

Lighting.^

Meanwhile, the administration is making sure the house

is ready and the tickets get sold. All of these activities

will be managed from the Majestic theater offices.

At this point, opera takes on its third definitiion (in

addition to being an art form and a process). Opera is a

social event. In fact, for most of operatic history, this

has been its major role. The distinction between opera and

"THE OPERA" is made by its social context. Even today,

"going to the opera" is often done less to see than to be

seen.

The history of opera is largely responsible for the

link between opulence and opera. As wealth gradually re­

placed birthright as the ticket to opera boxes, ostentation

replaced elegance. The existence of boxes and their ar­

rangement can say a lot about the importance that the patrons

attach to this function of opera. In Cologne, as in many of

the post-war opera houses, there are still boxes but they

are neither gilded nor exhibitionist but seem democratic in

their access and detail.

Along with box seats, the public spaces such as foyers

and terraces serve as places to socialize and compare plum­

age. The importance and requirements of this type of space

should be carefully considered by the designer.

Opera in Dallas

Dallas is a relatively young city, yet opera has played

10

a significant role in Dallas for over a century. Admitted­

ly, early opera in Dallas was crude. However, as the level

of operatic sophistication has paralleled growth in Dallas,

the needs of The Dallas Opera have grown beyond the abil­

ities of their current home at Fair Park.

The story of opera in Dallas is part of a much more

general relationship between Dallasites and entertainment

potentials. Since 1859 when the first State Fair of Texas

was held, Dallasites have used entertainment as an industry.^2

As the Fair became established, amusements superceded farm

product demonstrations in importance. At this time, Dallas

was the terminus of the railroad. The Fair and the effect

of the railroad made Dallas the regional center for enter­

tainment and culture. by the time the railroad moved fur­

ther west, Dallas had capitalized on this and made enter­

tainment into a big business.

In 1873, Field's Opera House opened in downtown Dallas

and, subsequently renamed, became the first Dallas Opera

House. """"̂ After it was destroyed, a second Dallas Opera

House was built in 1883. It, too, was destroyed by fire in

1901. Thereafter, traveling productions held tent shows east

of downtown, near the present Southland Center location. In

1904, yet another Dallas Opera House was built, but it

burned down as had the others, seventeen years later.

Karl Hoblitzelle came to Dallas in 1905 and built the

Majestic Theater (restored in 1981 and the current home of

11

the Dallas Opera offices and their chamber operas). This is

perhaps the acme of Dallas theaters to date, largely due to

Hoblitzelle's enlightened management. It distinguished

itself by offering the highest quality family entertainment

and set a precedent for the other theaters. "̂^

It was at this time that the citizens of Dallas began

getting involved in an impresorial way with cultural 1 a.

events. Several civic groups were active in promoting

and supporting opera in Dallas. This was essential in order

to attact the tours of the Chicago Opera and the Metropolitan

Opera. These groups also produced a series of light operas

in the Dallas parks. After being away from Dallas for many

years, in 1939, the Metropolitan Opera resumed making tour

stops in Dallas. The Dallas stop was cut from the tour in

1984, due to the expense of touring.

Operas have been staged at Fair Park for over fifty

years although not always in the grandest style. The first

operas were in a boarded-over horse ring. In 1925, a new

auditorium was built to be used primarily as an automobile 17 showroom and casino during the Fair. This is the original

building that has become opera's home in Dallas, the Fair

Park Music Hall.

Maria Callas had a catalytic effect on Dallas opera-

goers through her appearances at Fair Park in the early

1960's. It was after these concerts that the Dallas Civic

Opera was begun (now known simply as The Dallas Opera). In

1971, the Fair Park Audtorium was remodeled into what is

the Music Hall today (Figure 2)

RESTAURANT

FOYER

ORIGINAU

BUILDING

BACKSTAGE

LOBBY

PORTICO

FAIR PARK MUSIC HALL Figure 2. Fair Park Music Hall

12

Company Growth

Since then the Dallas Opera has grown into one of the

nation's leading companies. As part of its philosophy that

18 "opera should be available to everyone", the Dallas Opera

has not only continued to expand its performance schedule,

but also added several outreach programs such as Friendly

Overtures and High Noon Opera. In addition, its productions

are broadcast several times each year over National Public

Radio.

Appendix B contains the results of market research

commissioned by the Dallas Opera. It gives profile data

about the audience and details the basis for using 3,600

seats as house capacity. Finally, it compares the relative

importance of different opera house attributes.

13

The latest enlargement of the Dallas Opera is the

beginning of a Chamber Opera season. This affects the need

for a new opera house in many ways. Because chamber operas

are generally shorter and lighter, these will be appealing

to a new audience that could be assimilated into its regular

season audience. By having the chamber operas at the more

intimate and affordable Majestic Theater, newcomers will be

able to try opera without having to sit in the worst seats

of the Music Hall. The chamber opera season will also make

opera in Dallas visible and available year-round.

In addition to the Dallas Opera, a second opera company,

the Dallas Public Opera, has begun a single season at Snider

Plaza in University Park, across from Southern Methodist

University. Its home is the Plaza Theater, a remarkable

restoration of an x-rated theater and a welcome addition to

its neighbors. Dallasites have historically supported opera

both monetarily and psychologically. Their reward for

sustaining such a healthy relationship, in whatever form,

must be of blue-ribbon quality.

Project Identification

Although the Music Hall has been successful in its

adaptive reuse, its strictly bounded site and original

structure seem to limit its potential for expansion. In

addition, market research indicates patrons are concerned

19 about safety, parking and acoustics at the Music Hall.

In another study, the Music Hall is described as suffering

14

from terminally congested scheduling, perceived inaccessi­

bility, and its connection with the State Fair.^^

As the season expands to keep up with demand. The Dallas

Opera is faced with the need to streamline its operations.

Inefficiencies such as scattered shops and insufficient

space are becoming more critical. The long-term goal of

becoming a repertory company is impossible in the present

location.

Essentially, the goal is to consolidate the activities

of The Dallas Opera in a home of its own. The offices being

located in the recently remodeled Majestic Theater, will not

be included (although they may be in a later phase). The

Dallas Opera is somewhat unique in that it is solvent, its

annual budget coming from ticket sales and gifts. This may

make it easier to acomplish the goal of relocating in a new

and well-built facility and to do so economically.

Significant Issues

It is essential to identify issues significant to

planning, growth, perceptions and relationships. Dallas is

a city with a long record of planning and study in its

attempt to identify these kinds of issues. Through these

studies Dallas has tried to get at the essential concepts

underlying the physical results of its growth. The common

thread that runs through each of these plans is the concern

regarding public spaces. Examination of these plans will

15

show how Dallas relates to public spaces and the problems

related to this.

The first great effort at urban planning in Dallas was

the Kessler Plan of 1911.^^ The impetus for seeking

professional help was the acquisition of the State Fair

grounds (Fair Park) by the city in 1905. This instantly

doubled the size of the park system. Kessler's plan to

restructure the entire park system is notable in two

regards. First, it defined two kinds of parks that would be

in the system; small parks in the neighborhoods and large,

special purpose parks such as Fair Park. This made the

parks more useful that merely botanical museums. In a

sense, the Arts District and each of the public entities

within it are the progeny of this type of activity-oriented

special purpose park. Second, the plan called for selected

thoroughfares to become boulevards, tying all the parks

together.

In 1944, there was a study of the area surrounding

White Rock Lake known as the Bartholomew Plan. It was fair­

ly limited in its scope but it is significant in that this

area was dealt with holistically. For the first time,

Dallas was using regions as planning units and considering

their effect on adjacent areas. Again, this is a progenitor

of the Arts District.

Facing numerous problems of accelerated growth in the

early 1960s, Goals for Dallas was organized to try reaching

a concensus on significant issues. Although it was only an

16

investigative step, it led to the Springer Plan of 1971

(Figure 3). The plan centered around a greenbelt that would

22

link Fair Park with downtown. This is a situation similar

to Chapultepec Park in Mexico City, Forest Park in St. Louis

and Golden Gate Park in San Francisco. By this time Fair

Park had expanded several times and litigation by the

potentially dispossessed had become a problem. It seems

that this is one of the main reasons it was not carried out.

Most recently, the Near East Dallas Plan has focused on

the area between Fair Park and downtown Dallas. In the same

place as the Springer Plan had called for a greenbelt, this

plan calls for an activity corridor. This essentially means

less disruption in the area by putting a new face on

existing uses in the corridor and revitalizing vacant and

dilapidated buildings.

Figure 3. Springer Plan of 1971

17

The Carr-Lynch Associates plan mentioned above is the latest

and most extensive of these plans. Due to the dated and

inadequate facilities at Fair Park, many of the arts groups

located there have been preparing to relocate. The report

recommends that an Arts District be created north of

downtown. This would be a network of loosely related

cultural facilities and intersperssed with supporting com­

mercial and retail spaces. All of these could relate to the

existing gallery and studio areas across Woodall-Rogers

Freeway to the north. This plan is consistent with the

Kessler Plan in its use of boulevards and creating a special

purpose area. Other advantages are the relatively inexpen­

sive tracts of undeveloped, downtown land, the large parking

capacity and adjacent office space.

One of the central issues regarding the Arts District

was the perception of a location belonging to one group or

another. 23 In this sense, the Arts District tries to re­

main neutral by its downtown location (Figure 4)

EST-

SITE LOCATION Figure 4. Arts District Diagram.

18

Other issues that must be addressed are concerned

with the relationship with the area surrounding the site.

Within the Arts District, the Opera House will have to re­

late to the other facilities and yet remain independent

with its own strong identity. Bordering the site on the

north and east are major expressays. Besides the acoustics

problems caused by this (which will be examined in Systems

Performance), it is also a matter of concern to the image

and experience value of the building. Finally, there are

other human issues. At night when most of the performances

take place, patrons will come from all over the metropolitan

area to the Opera House. How can the facility relate to

what amounts to the indigenous population, the downtown

workers, during the day when there is the greatest visi­

bility for the Opera House?

19

ENDNOTES

G. & C. Merriam Co., The Merriam-Webster Dictionary, (New York: Simon & Schuster, 1974), p. 491.

2 William Morris (ed.), The American Heritage Diction­

ary of the English Language, (Boston: Houghton Mifflin Co., 1979), p. 573.

3 J. Merrill Knapp, The Magic of Opera, (New York:

Harper & Row, 1972), p. 13.

^Ibid., p. 126.

^Ibid., p. 142.

^Ibid., p. 177. 7 William J. Baumol and William G. Bowen, Performing

Arts - The Economic Dilemma, (New York: The Twentieth Century Fund, 1966), pp. 254, 397, 149, 144.

®Ann Holmes, "Houston Threatened by Taste of New Wave in Opera," Houston Chronicle, October 14, 1984, section 3, p. 12.

^Reinhard G. Pauly, Music and the Theater, An Introduc­tion to Opera, (Englewood Cliffs, NJ: Prentice Hall, Inc., 1970), p. 7.

•'•̂ Baumol and Bowen, pp. 129, 131, 141.

Interview with Greg Ridenour, Production Stage Manager, San Francisco Opera, 21 December, 1984.

12 Robert M. Newton, Centennial History of the Dallas,

Texas Park System, 1876-1976, Vol. 1, (Lubbock, TX: Texas Tech University Press, 1975), p. 128.

13 John William Rogers, The Lusty Texans of Dallas,

(New York: Dutton & Co., 1965), p. 206.

•^^Ibid., p. 209

•"•̂ Ibid., p. 222. •••̂ Ibid., p. 237.

20

17 • Newton, p. 68. 18

William Winsper, "A Message from the President," in Dallas Opera Magazine, p. 9.

19 Booz, Allen & Hamilton, Inc., Planning for a Spring

Season - Market Research Results for The Dallas Opera, 1983. 20

Carr, Lynch Associates, A Comprehensive Arts Facilities Plan for Dallas, Urban Planning Report to the City of Dallas, 1977, pp. 14, 30, 43.

21 Newton, p. 256.

^^ Ibid., p. 288.

23 Carr, Lynch Associates, pp. 2, 30.

ACTIVITY

ANALYSIS

ACTIVITY ANALYSIS

An opera house contains a wide variety of activity.

This section of the program will describe those activities.

First, a general description of the events that the opera

house will be used for is necessary. That will be follow­

ed by an analysis of typical activities. Special activities

and adjacencies will also be discussed. In order to show

how these activities relate, they have been synthesized into

brief scenarios. The perceptions, feelings, needs, and de­

sires of the users will also be considered as they relate

to these activities. Although specific references to spaces

have been avoided, boundary conditions (such as exterior-

interior, house, and proscenium) remain.

In the current situation, Dallas arts groups share a

very limited facility in the Music Hall. This sharing im­

plies competition for the facility in terms of time and

resources. As a result, the competing groups have all been

unable to expand as the public demand would require. To

alleviate this problem, several specific use facilities

have been proposed. It is to be assumed that the new opera

house will be used strictly for opera although at times it

will undoubtedly be used for other purposes.

The current Dallas Opera schedule is for 16 performances

each autumn (four performances of four operas) and this year

was added a- spring season of chamber operas. These chamber

21

22

operas will be at the Majestic Theater. In the new house

there will be an expanded season (autumn through spring) of

48 opera performances, four times the current number. This

schedule may expand even further as demand warrants. In

addition, the Metropolitan Opera tour may again, play four

performances in the first part of May each year. The chamber

opera program will likely remain at the Majestic as the size

is optimal for that type of production. However, as the

audience increases chamber opera will also move to the new

house and be rescheduled to the late spring or early summer.

Although touring companies are costly to maintain, the Dallas 2

Opera would like to open an annual tour. Therefore, the

new house would also have to serve as a base of operations

for this program as well as accommodating other touring com­

panies.

Currently, the opera shops are scattered between Fair

Park and downtown. Limited space at the Music Hall also re­

quires the opera to have its scenery shop work contracted

out. For the new house, there is a wish to consolidate their shop

facilities and storage as well as improving the backstage

areas. The offices for the Dallas Opera are currently lo­

cated at the Majestic. This is likely to continue although 3

office space may be added at a later phase.

23

PUBLIC ACTIVITIES

These activities comprise the audience's operatic

experience. In that sense, they are responsible for the

popular success or failure of an opera house. The house is

of premier importance among the public spaces which include

the foyer, the ticket booth, public and service spaces.

These activities will be considered in the order in which

the audience engages in them.

Opera patrons come to the opera from far and near.

They have prepared to varying degrees before embarking. Then

they travel some distance by automobile or opera coach,

anticipating their evening's entertainment.

As they near the opera they prepare to enter. This is

in two stages: as they drive up and park and as they walk

up to the building. In both cases, the views of their

destination are significant images. The distances in­

volved should be limited, but not minimized (elimination of

this entrance experience would be disappointing).

This activity requires physical action and orientation.

In addition, self-image and conceptualization are applied

in greeting their destination. This is a phase including

confinement (in vehicles), exposure (to destination and

environment), and shelter (entrance). There are (and should

be) various possible combinations of these elements.

As opera goers arrive they will separate into those

already having their tickets and those needing to purchase

24

them. Although many of the patrons will have tickets, the

lines at the ticket window tend to seem longer than they

really are. The number of windows needs to be planned for

the maximum crowd, allowing the ticket sales to expand as

required. At any performance, the number of tickets sold

may be as great as half the number of seats, or about 1800 4

tickets maximum. Over the period of an hour or two before

the performance, the number waiting in line may be a few

hundred people. This being a "worst case scenario," it will

usually be considerably less.

The culmination of this entrance (for both ticket haves

and have nots) causes other activities such as closing

umbrellas, removing coats (now or later), and initial gather­

ing and greeting. Everyone is glad to be there, or at least

gratified at arriving. Now they may look around, further

orient themselves, and begin their opera experience.

Entering patrons may need to check coats and hats

before moving further. They will want to be secure about

this and feel uncrowded as they remove the wraps. Many of

those attending the operas at the Music Hall arrive early

and dine at the catered buffet and bar where they can watch

from the side as people enter and move about. This has been

a long-time favorite in Dallas and will be incorporated in

the design of this new opera house. Others may want to have

a cocktail and relax before entering the house. In any case,

26

25

the activities of the caterers and those of the patrons

should interface only at the point of service.^ Water foun­

tains and restrooms must be accessible. These may either be

consolidated in one location or be separated in several loca­

tions. Of course, they all must be acoustically isolated

from the house. Ample seating areas must be provided for

comfort.

The patrons are generally here to be entertained. For

many, this may be a period of final mental preparation, stress

abatement, and relaxation. Others will be waiting for friends,

greeting people, socializing and generally being very public.

This can be more complex and structured than it might seem.

For those with social agendas or ambitions, this time before

the show may be essential to reconnoiter and schedule inter­

mission activities. As curtain time approaches, they

enter the house.

Latecomers are not seated during the performance...ever.

Although this protects the punctual, it penalizes the tardy.

This can ruin an evening for people who have probably been

rushing to arrive. Solving a problem like this can be done

in many ways. The essential requirements include the

ability to perceive the opera without being perceived or

allowing light or sound to enter.

26

li

Experiencing the Opera

The house is the large space where the audience is

seated. (In the design of this opera house, the audience's

ability to perceive the performance in comfort and without

hinderance is THE most important issue. Everything is to be

considered subordinate to that goal.)

As the patrons make this ultimate entrance, they are

given programs by ushers on the public activity side of the

doors. On the other side, they will be greeted by ushers

who will aid them in finding their seats.^ For an usher, it

can be very disconcerting when those being ushered stop to

chat. They are trying to seat people expeditiously. It is

important that these abberations in the seating process not

create problems. One solution is very wide main aisles.

Another may be handicapped niches.

Appendix D contains information regarding seating and

audience orientation. Progessing from the perceptual tools

(the eyes and ears) up to seats and sections, the relation­

ships between unity are examined as a whole system.

Varietal type relationships are also discussed.

The evaluative criteria for this activity can be

categorized as acoustics, sightlines, seating and access,

and safety. These four concerns must be addressed holis­

tically to achieve the desired result.

27

Now the patrons are seated, waiting for the houselights

to dim (another ritual). They visit with those in adjacent

seats, get settled, and have time to really examine their

surroundings. At this point, they are most likely to form

opinions about ambience, and whether that is appropriate to

the activity. Not only do their immediate surroundings

exist perceptually, but in a cognitive sense, the three-

dimensional void may be perceived as well as the envelope.

The event begins. The houselights dim and the overture

starts. The overture is another step (this time built into

the opera) in preparing the audience, setting the emotional

and physical/cultural scene. Public visibility gives way to

public anonymity. Those sitting in the dark are now ready

to hear and see an opera.

Acoustics may be the most important aspect of the opera

house and along with sightlines, is certainly the heart of

the operatic experience. The same cognitive perception of

the volume enclosed, is now elaborated on by the addition of

sound into it. It is essential that the audience is able to

hear the words as well as the music. This is often trans­

lated into a reverberation time of about 1.6 seconds.

Although this is desirable, it is not sufficient for good

acoustics. The house must also be devoid of acoustical

defects.

28

Appendix C concentrates on acoustics and four specific

components: room acoustics, sound isolation, mechanical

systems, and sound amplification. The list of typical

acoustical defects and their causes is given as well. The

designer should use this as only the most general

information. Acoustic design requires extensive study.

Sightlines refer to the visual relationship of the

audience to the stage. It is unavoidable that the rear

corners of the stage will not be seen by some members of the

audience. Directors usually take this into account by

confining the stage action to a trapizoidal area.^ In this

way, the designer affects not only the audience but future

productions by the sightlines created. The design should

optimize this relationship. In one possible solution, a

wide house with a wide stage may bring the audience closer

to the stage and allow a greater portion of the stage to be

visible to more people than a narrow house, for example.

This is only one strategy and may generate significant

drawbacks. The designer will work with these factors in an

integrated way.

A traditional compensation for inadequate visibility is

the use of broad gestures on stage.^ The audience needs to

see the action on stage. Often viewers depend on this to

provide meaning to words they don't understand and in lieu

of a libretto they have not read.

29

The seating within the house should be comfortable for

the long periods required for opera. It should also be

apart of an arrangement that will be conducive to good

viewing. This requirement may be met by sloping the floor

and staggering the seat centerlines. In addition, the seats

should acoustically resemble the absorption of an occupied

seat. This is essential in minimizing the effects of a

half-full house. All seats should be accessible from the

aisles without excessive disruption to the other patrons and

to the exits as prescribed in the codes (see Appendix D).

In order that maintenance be less arduous, the seats should

fold up though not necessarily automatically. Every seat

must be considered, not just a few.

Audience safety is often taken for granted by the

public and viewed as harshly restrictive by the designer.

To solve this problem, these restrictions must be incor­

porated in the earliest stages of the design. They gener­

ally deal with exit size and location, the nature of egress,

and fire safety or sprinkler systems. See Appendix D for

applicable codes and their analyses.

The design of the house is a detailed process and

should consider the acoustical properties of every material

used in addition to the life costs involved. In addition to

30

these practical considerations, the designer should keep in

mind that the audience has come to be a part of the magic,

not merely to witness to it. People's appetite for stimu­

lation, elegance, and beauty is keen and the aesthetics of

the house should reinforce or supplement this rather than

distract from it. Because of its size and function, this

space will have some impact on the audience. It must be

handled with care and discretion.

31

Activity Behind the Curtain

The stage activities and all of the ancillary tasks of

stagecraft are the focus of the production of an opera in

that they are somewhat like manufacturing opera. These

activities are intertwined with spaces and equipment needs.

However, they should not be the focus of the audience; in

fact, these must empirically cease from the point of view of

the audience in order for the opera's illusion to succeed.

The efficiency and reliability with which these activities

take place in their clandestine setting is the most import­

ant factor in staging an opera.

Part of the efficiency of these activities depends on

their ability to be adapted to the fantastically diverse

requirements of an opera. In the past this could be judged

on a scale of grand processions or dragons' dens. The chal­

lenges of a new generation of opera may require even more

incredible capacity, especially in the realm of electronic 9

media in use of projection and sound reinforcement. The

discussion of these activities will begin with the stage

and stagecraft, then successively address secondary and

derived activities. This should not obscure the fact that

they all must be considered holistically.

The stage may be abstracted as the crucible within

which the performers create the magic of opera. This analogy

can be extended to the dressing rooms as flasks and the

32

orchestra as flame. Pragmatically, the stage can be viewed

as something that physically supports the scenery and perform­

ers. Too often this is the extent of the designer's concept.

The real relation between the stage and the opera is complex

and subtle.

Performers view the stage in many ways. Generally,

they acknowledge its special status, but they also consider

it their workstation. It is a very strange perceptual and

psychological environment. They look out into a void, blind­

ed by lights, on one side and overhead. Subconsciously,

they are aware of where they are, what they are doing, and

the pragmatic requirements of their role. On the other

hand, they may feel the illusion of solitude. When they

change activity (and leave the stage), their environment

becomes "real" once more.

The stage is dependent upon access. It requires access

for the performers from all sides including up above and from

below. It also requires access for all effects and scenery

whether it is fire, an ocean, or a dragon. The implication

of this is inherent flexibility, and it may be manifested in

stage machinery such as lifts and turntables. The ability

to change quickly and quietly is essential and the designer

should feel free to explore all possibilities in this regard.

The surface of the stage may be of wood or any other material

that is durable, nailable, and quiet. The degree of friction

will also be important for ballet.

33

Stage lifts and traps are standard mechanisms for

access from underneath the stage, for both performers and

scenery. The lifts are usually hydraulic platforms. In

addition, they are usually about ten feet in depth and

almost as wide as the stage. Figure 5 shows lift plans for

the opera houses discussed in Appendix A, Case Studies.

.1^ P

L;i;vijii|ii,tjjieii!;!'|-ii!ijiji!

San Francisco (above)

Metropolitan (left)

Figure 5. Traps a re r e loca t eab l e subsets of l i f t s , used for smaller opening requirements .

34

There are really only two activities that take place

on stage. These are performing (acting, singing, and dancing)

and stagecraft. Especially in opera, "scenery is an actor." ^^

The audience of this age of television is not going to accept

clumsy stagecraft. Because of the length of many operas, lengthy

intermissions are necessary. This was fortunate for scene

changes between acts, but some operas have refrains to the

overture that fill in during scene changes. Things have

changed.

"Stagecraft is anything."^^ And everything may be in­

cluded. The tasks that will be required depend on the capa­

city (equipment) to perform them. At the Metropolitan Opera,

the stage lifts are designed so that the environmental illu-

13 sion of each scene can change in full view. Opera has always

required illusion, but now that may be expanded to include

magic. The Dallas Opera production of Turandot (1978) re­

quires the operation of a huge robotic dragon and a crystal

sphere floating free.

Even the older techniques are becoming something entirely

different. For instance, painted backdrops which have always

been done to create an authentic illusion are now done (by

painters such as David Hockney) in wild abstractions. These

are viewed by the audience existentially as works of art

in their own right, allusion replacing illusion.

In general, stagecraft today takes two-dimensional ob­

jects and by lighting and position, makes them three-dimensional

In addition, light (which is in itself formless) is applied to

35

some forming medium such as mist, snow, or a semi-transparent

scrim curtain to create raw space in three dimensions.

Wagons, turntables, hydraulic lifts, traps, and all of

the other mechanical devices used in opera are still important

and necessary. However, the flexibility requirements dictate

that these be perhaps self-contained, interchangeable com­

ponents and the stage and flyloft be their mounting rack.

This has a precedent in the use of unit sets. These are

complete sets that may be moved into position quickly. The

sets will be designed to fit the specific mechanical apparatus

available.

The requirements of operatic scenery and singing have

prevented widespread use of in-the-round and thrust stages.

This will likely continue to be the case and certainly in

this house. However, the designer may take some liberties

with the strictly proscenium stage. A translated subtitle

system will be incorporated into the proscenium , and as any other

15 projection, may be either from the front or rear.

Flyspace is the volume above the stage that holds all

rigging, battens, curtains, etc. It must be capable of

holding extreme weights aloft and a variety of systems in­

cluding lights, snow making machines, and other special effects

generators. One of the most important aspects of the flyspace

is in fire protection. There must be an autonomous drencher

pipe for the flammable objects within. The flyspace must

have operable vents at the top and extinguishing equipment.

36

Also, the flyspace often contains a fire curtain that in

the lowered position isolates the stage from the house.

The wings are the areas to either side of the stage

and will be considered with the areas behind the cyclorama

or rear curtain. These are where most of the performers

enter and exit and must remain as unobstructed as possible

during the performance. The desire of almost everyone, in­

cluding performers and stagehands, to be here is a problem.

It may be alleviated by video monitors and cueing availability

backstage. It is also where most of the scenery is stored for

other scenes or even for other operas in a repertory situa­

tion. Lights are also placed in the wings, as well as projectors,

sound effects and performers delivering off-stage lines Al­

though there is a lot of activity, it must be silent. At scene

changes the wings may be full of crews changing sets while

dozens of performers try to get on and off stage. The urge

to make these spaces huge is balanced by the need to keep the

stage from being too acoustically cavernous and the value

(the utility versus the expense) of this space.

Lighting the stage is one of the most critical, and

certainly the most visible, of all stagecraft tasks. One or

two operators (depending on the production) work at the light-

board. The lightboard is usually located at stage right (to the

right of an actor, the audiences' left) in the wings. This

location has control over the performance lighting and is

capable of making many preset changes at the push of a button.

37

The stage director usually stations himself there to handle

cues for entering performers. This aspect of control brings

up the issue of communication.

The wings, spot booth, backstage areas, orchestra pit,

and remote locations will be required to have an intercom

system. This system will be wireless to allow for headset

transmission and will require a central location that may

be incorporated within the spot booth.

The stage technicians who are in the wings, below and

above the stage, and in the projection booth are in control

of all environmental illusion on stage. They take their

cues from the stage director or a designated assistant at

the lightboard. This is akin to the prompter who gives

singers their cues from the foot of the stage.

As mentioned before, all things related to timing depend

on the music and therefore the conductor and stage director.

Now though, video monitors supply the conductor's image to

various remote locations This shatters the old requirements

for direct visibility and allows greater flexibility in placing

technical functions.

In general, the stage technicians are each responsible

for a well-defined set of tasks. They are "in the dark" con­

ceptually as well as literally, because they must do their

jobs while relying on someone else to cue them. With the

exception of those in the projection booth, they do not have

38

a good vantage point for assessing the effects of their

actions. This can be quite stressful and these people must

rehearse their roles as do the performers.

As the medium of opera becomes electrified, television

will become extremely important. Discreet camera locations

are to be provided in the house though they will not be

made immediately operational. These should be sufficient

to cover the action on stage and the conductor, A central

location for the direction of television should be provided

for. This may be incorporated within the spot booth although

a physical separation should be maintained and the television

center is of secondary importance relative to the spot booth,"̂ ^

The orchestra pit and the prompter's box have always been

a point of contention in opera house design. As a general

trend, these functions, which were originally quite visible,

have gradually become more hidden to add to the picture box

effect or the magic illusion for the audience. It is

essential that the audience be able to view the performers in

as unobstructed a way as possible. Wagner's "mystic abyss"

is one strategy that the designer should consider (see Case

Studies, Appendix A). Its greatest strength is the degree

of invisibility it provides for the orchestra.

The orchestra pit is really the center of the operatic

universe. The conductor, working from a much annotated score,

directs the music. In some cases, he also fills the role of

prompter himself. Usually the prompter sits in a tiny hooded

39

box at the foot of the stage. By mirrors or video, he takes

his cues from the conductor, and prompts the performers on

stage. The pit must be flexible enough to accommodate various

numbers and types of musucians, all with good visibility of

the conductor. Some type of discreet access (with a large

opening potential) must be provided between the pit and the

18 backstage activities.

Those in the spot booth or projection booth are the only

ones of the stage technicians that have a view of the stage

similar to that of the audience. It is for this reason that

more and more of the directing operations of a performance are

gravitating to that location. The future of opera will require

that projections of things other than simple spotlights be

used. Therefore, its sightlines to the stage must be well

above the heads of the audience. In addition, the power

requirements of this location are great, rivalling the stage

itself.

40

DRESSING

Dressing includes all of the activities that prepare

the performers. Not only does this imply several scales of

dressing but also secondary activities, rehearsal and re­

laxation. These activities are not simultaneous, so the

adaptability of their locations to other activities without

compromising their main function should be considered. All

of these activities should be acoustically isolated from the

stage and have sufficient access to the outside via the stage

door(s). Security is also important here.

During the operatic performance, the preparations are

always hectic and crowded. The degree to which this crowd­

ing takes place depends on the area-limits and the produc­

tion. Somewhere near a "worst case scenario" should be

planned for, especially in the large scale activities in­

volving the chorus and supernumeraries. The unit for design

purposes might be considered the make-up station. At these

large scales more than one person may use a station at

different times but the size of each station should remain

based on the same anthropometric data. Mirrors, variable

lighting, electrical outlets, and counter space are all

19 important to these activities. Also to be considered is the

fact that each performer comes to the house as a "real

41

person." This means that they must change from their

street clothes and secure a place for the few valuable

essentials they must bring with them.

At the largest end of the scale is the chorus. Opera houses

often adapt rehearsal space into preparation area for dress

rehearsals and performance. If some of these areas are to

serve both activities then they must meet the additional

requirements of open and unobstructed space, floor surfaces

that are suitable stage-like, acoustical adequacy (the ab­

sence of glaring defect), and ballet apparatus such as wall

bars and mirrors.

Preparation activities themselves act as holding patterns

for the performers until their entrances. These may include

exercises, meditation, and review. Keeping unnecessary persons

off stage is a real problem because everyone wants to see

the show- The addition of closed circuit television will

help keep the backstage clear only if there are adequate physi­

cal and mental environments. The essential comfort of places

20 to sit can also be considered as important to the design.

Waiting can be nerve-racking, mind bending activity. The

psychological stress involved can be detrimental.

For these reasons, performers need amenity. The combi­

nation of activities and people tend to produce a feeling of

family or esprit de corps. The previously mentioned analogy

of a flask (see page 30) may be a bit harsh.

42

The progressively smaller arrangements of activity of

pairs and individuals have essentially the same purpose,

that of preparing and retaining the performers until their

entrance. The change in scale permits intimacy or solitude

and greater amenity. Just as for the larger groups, closed

circuit television will be used for cueing, and the needs

of the performer for make-up. dressing, and storage will

need to be considered. Since these arrangements are con­

siderably more private, the area per occupant is greater

and each should have direct access to individual bathrooms.

In addition to the performers themselves, their attending

aides will be with them (usually no more than two for any

performer). Direct access to the understage area as well as

the backstage area will be required for these people.

The chorus will require direct access to lounge-type

activities that will include sufficiently large bathrooms.

During the times that the performers are not at the opera

house, these bathrooms may be used by the people in the shops

and management areas. This area should be strictly separated

from the public areas however.

The lounge-type activities mentioned above could include

such things as a buffet, seating around a centrally located

monitor, and space to engage in warming up exercises. After

the show, the public (or certain VIPs) may be invited to join

in a reception or celebration. For large receptions, parties,

or press conferences, other facilities, off-site, will be used.

43

CRAFT WORKS

The current situation has the scenery and many of the

props being built by Dallas Stage Scenery, Having this

done out of house duplicates overhead and makes the opera

more dependent on some one else's schedule than is desirable.

The activities of Dallas Stage Scenery can be broken into

four areas. These are: management, rough cutting and mill-

work, assembly, and painting. In the consolidation of shop

facilities, the management may serve the other crafts as

well. The rough cutting and millwork may include the needs

of the property master also because the use is so infrequent.

The nature of those tasks should determine their form

criteria. The management will be handling the business of

what amounts to a cabinet shop or light industry. It will

be permanent work for at least two bookkeepers and their

files. Their relationship to the activities of shopworkers

requires easy access from the shops without allowing dust,

noise, or other irritants to enter. Filing space and the

private spaces for the managers of each of the shops may

be arranged as a buffer between management areas and shops.

These bookeeepers will be in charge of ordering materials,

correspondence, cost accounting, and any similar activities.

Their immediate supervisor will be the stage director, who

will be the liaison between the administrative people (at the

Majestic offices), the production's separate designers, and

44

the managers of each craft group.^^ Although these people

will be close to the crafts, they need a clean, quiet

orderly operation, comparable to similar but strictly

clerical jobs.

The cutting and millwork is the first step in set

building. In this activity, the raw material is cut into

pieces used to build the sets. Also, there is a significant

amount of millwork done (wood and other materials) in creat­

ing small props. Although none of the carpenters will be

permanently engaged in this, they will keep their tool

chests at the location of this activity. Easy and direct

access should be maintained between this and the assembly

process. As in any setting where power tools are used, ample

room must be provided for safe operation.

The tools used are: radial arm saws (2), a band saw, and

a table saw. In addition to the tools themselves, space

should be allowed for benches (the tables used to bear long

pieces when cutting). Finally, a large layout table and

some small miscellaneous storage shelves will be necessary

v̂ 23 for this work (see Figure 6) .

Of all the scene-building phases, this is perhaps the

most like the workers' idea of being a fine craftsman. Here

is the chance to use their craft as an art form. They would

appreciate qualities like sturdiness, durability, well-

designed safety features, and the like. Staggering and

45

KXHAUST

Figure 6 Typical Scenery Shop Layout. Note skewed placement to allow greater distances between stations, and a central exhaust system. Source: Time-Saver Standards.

46

diagonally orienting these large power tools can increase

their ability to cut long pieces without interference. '̂̂

Assembly is the process of combining the pieces into

the flats, risers, and trees used on stage. Most of the

working time of the carpenters will be spent at this. Since

even the most grandiose sets can be broken down into pieces

that are large in only one dimension, flat area is more

important than ceiling height. The flats are constructed

on the floor and then laid on extra large saw horses for

the application of canvas. The number of carpenters may

vary from three to ten at the most and their tools will be

hand held (many requiring electrical outlets).

This activity has neither self-esteem (high degrees of

craftsmanship) nor comfort. It requires infinite flexibility

in flat space, so it is done on the floor with a lot of

squatting, kneeling, and bending over. It doesn't seem to

be the kind of task that they would linger at.

Painting is the final step in set production. In this

the sets are "sized" with a gesso-like mixture, then painted

with spray and brush. Painting requires good ventilation

and flat space to prevent spillover and allow for drying. 05

At most times, two to four painters will be working on these. "

Perhaps because of the fumes, painters are a very different

group. They are craftsmen on the first coat, artisans on

the second, and artists on the final detailing. Their abilities

47

to perceive their work and abstract it into its final form

are necessary for good work. A variety of lighting situations

should be available.

One of the big problems (a generic one in scene paint­

ing) is how to paint backdrops. At the present, they are

laid on the floor and walked on. The two most popular solu­

tions are: either hanging it on a wall and using scaffolds.

or having a rigid paint rail that can retract into the floor

26 (30 feet or so).

Storage for raw materials such as canvas, wood, paint,

etc., is important to these three set building phases.

This storage area will receive materials at random times

so exterior loading must be included.

The costume shop is located in a dilapidated store­

front about a mile from the music hall. Its operations

can essentially be divided into three tasks: creation,

repair, and storage. The most space-intensive of these is

27 storage, but as a practical workspace it is used least.

Its static nature is similar to that of scenery storage and

property storage indicating that these may be grouped to­

gether without compromising access to the individual shops.

The needs of costume storage are space and a system capable

of holding the great weight of hanging costumes. In addition,

fire safety and mechanical considerations (temperature and

humidity) are important. This system should be considered

to be an integrat part of the design of this space.

48

The activity of costume creation is intensive for

the period immediately preceeding the start of the season.

This is about six months and the other half of the year it

will be practically stopped. As the season expands, the

costume shop may gradually begin year round production.

The components of this system are industrial sewing machines

(3 or 4), layout tables (3), and deep narrow shelves for

bolts of cotton. A bulk cutting table may be added later.

Miscellaneous storage for the extremely small items of this

craft may be included in the cabinet work or otherwise

provided for. ̂ ^

The most extensive activity is costume repair. It

also includes later alterations. As such, it is the only one

which requires access to the stage and dressing areas. The

activity within this area is diverse including wig work, shoes,

and jewelery. Almost all of the tools are hand held al­

though there will be smaller sewing machines (2), and smaller

layout tables than in the creation/construction area. See

Figure 7 for equipment details and one possible arrangement.

Unlike the building of scenery, one group of people (about

3-4 average) work in all three divisions of costuming. They

have been engaged in sewing almost all of their lives as

a rule. Two of their most often repeated complaints are thermal

comfort and good lighting. Good seating at their sewing

machines would also drastically improve their working comfort.

49

e < c 0 h

H A N O • C W I N O

a

C U T T I N a

• C W I N O nil

c U A C H I N K S

^

Q

Sewing is a strenuous task. Quality l ight ing and well

designed work stations are important.

9 ' ^ f t • -TH H i 1 "" MACHIN

COSTUME O STORAGE-' <r

E2]

4 t

ES

*^CUTTING TABLES-^

CABINETSQ

<0 I

-̂ k

o DYEING "oD

10 -3

hi DRESSING

from Timesavers Standards

Figure 7 Typical Costume Shop Layout. Sewing i s a strenuous task. Quality l ighting and well-designed work s t a t ions are important. Source: Time-Saver Standards.

50

Up to this point, the management of this shop has

been an extension of the main offices. It is likely that

in the future an office for the costume shop manager or master

be provided. As mentioned above, these offices may be used

as a buffer and, in fact, the management may be consolidated

as long as the most direct access is maintained between each

29 manager and shop workers.

Properties is a broad subject due to the fact that it

serves the most general function. Of all that is required

for an operatic production, that which doesn't fall within

the realm of scenery or costume is the responsibility of the

property department. The scale of these items ranges from

skulls to chariots. Those items which cannot be reasonably

brought or borrowed must be made. In this capacity, this

activity requires some general space even though the other

facilities will be used to make specific parts (wooden props

in the scenery shop and fabric in the costume shop, etc).

The manager's space (a term which should not necessarily

be construed as an "office") may be incorporated in this general

space. The property shop will use small hand tools (some electric,

thus implying outlets) and must be well ventilated as much of

the property business is repainting and finish work. Storage

spaces of various sizes are necessary.

In addition to these main shop activities, spaces should

be provided for the stage electricians. At the present the

stage electricians are primarily concerned with lighting. The

51

Stage electricians should have good access to the lightine

board and the stage. These spaces will grow in importance as

electronic media take a more prominent place in operatic pro­

duction. Therefore, the ability to expand in size and capability

is pivotal.

Workers will be disassembling, testing, and refurbishing

equipment. One problem is lighting and the desired capacity

to eliminate it for test purposes. In addition to a sealable

room, a remote light switch (inexpensive) would save many

steps. Another problem is losing small parts such as screws,

nuts, pins, etc. This probably defies solution via a building

program, but is left up to the designer.

52

ENDNOTES

Carr, Lynch Associates, A Comprehensive Arts Facilities Plan for Dallas, (Urban Planning Report to the City of Dallas), 1977.

2 Interview with W. Scott Holderer, Production Stage

Manager, Dallas, Texas, 17 March, 1984.

^Ibid.

^Ibid.

^Ibid.

^Ibid. 7 Charles G. Ramsey and Harold R. Sleeper, Joseph N. Boaz,

ed., (New York: John Wiley & Sons, Inc., 1980), pp. 13, 32-34. ^Ibid. p Interview with Dr. Forrest Newlin, Texas Tech University

Theater, 11 December, 1984.

Interview with Terry Cooke, opera singer, Lubbock, Texas 18 August, 1984.

Interview with Dr. Forrest Newlin.

Ibid .

"'•'̂ Michael Phillip Bautista, Ten Years of Stage Design at the Met (1966-1976), doctoral dissertation, Texas Tech University, 1981, p. 20.

"""^Interview with Gene Gaylin, Dallas Stage Scenery, Dallas, Texas, 17 March, 1984.

•""̂ Interview with W. Scott Holderer.

Ibid .

^^Ibid.

^^Ibid.

^^Ibid.

^'^Interview with Terry Cooke.

^•"•Interview with Gene Gaylin

^^Ibid.

^^Ibid.

53

25 Interview with Gene Gaylin

Patricia Tutt and David Adler, VNR Metric Handbook of Architectural Standards, (New York: Van Nostrand Reinhold Company, 1979), pp. 183-193.

27

28

29

30

Interview with W. Scott Holderer.

Ibid.

Ibid.

Ibid.

SITE

ANALYSIS

SITE ANALYSIS

The criteria for site selection as listed in the

proposal, included the revitalization of a link between Fair

Park and downtown Dallas. In the initial phase of research,

this goal appeared to be essential and realistic. However,

after obtaining the latest planning proposals of the City of

Dallas, this became inappropriate to my project. My first

choice abandoned, I have selected another that will be a

part of the new Arts District, north of the Central Business

District. Figure 8 shows the Arts District and its rela­

tionship to downtown Dallas.

This site will be viewed in its physical, historical,

and conceptual contexts. In each, the analysis will

progress from general to specific. Figure 4 shows the

location of my site within the Arts District.

Basically, the site is bedrock and soil. The under­

lying geology consists of a consistent limestone bedrock, on

the surface of which meander old streams. These eventually

drain into the nearby Trinity River, between one and two

miles to both the south and west (see Figure 9). Above this

is 25-30 feet of Austin Chalk. The bearing capacity of this

soil is 90—100 kips/ft. uniformly.

54

55

ARTS DISTRICT

ARTS DISTRICT

Figure 8. Arts District Location,

56

Figure 9. Drainage Access,

57

The site has good drainage, sitting on a light hill in

relation to the rest of the Arts District. Within the site,

there is a gradual slope (less than 3%) down to the western

corner. However, this site has been filled and leveled for

many years. The site has good topsoil, and though unkempt,

the site is covered with native grasses. The only landform

is an old alley along the Flora Street axis.

Utilities for this site are existing, but for an opera

house, probably insufficient. There are above grade power

lines and below grade gas, water, and sewage lines along the

Flora Street axis. There locations will have to be veri­

fied, but the existing infrastructure is nearly irrelevant

to a project of this scale.

As far as imageability, the site is located between the

high-rise Dallas skyline and freeways, from which most of

the first impression will be gained. The nature of this

type of image-forming is sequential views. The subtleties

of this common experience are explored by Lynch and Donald

Appleyard in "A View from the Road."l The designer must be

aware of the vantage points for viewing the site, which in

this case include highways, streets, and perches in the

nearby high-rises.

58

In general, Dallas is a city with a temperate climate.

However, a close inspection of the climatological data

reveals some things about the relationship between opera and

weather in Dallas. Figure 10 is a graph of temperatures by

month. Since most of the performances occur during autumn

in the evening, when the sun has long set and the temper­

atures have begun to plunge, it is apparent that opera-goers

will be dressed for cold weather. This will have an impact

on the capacity of the cloakroom, for instance. As the

season is expanded into the early spring, whatever slack

gained from warming nights will perhaps be taken up by

evening showers. Figure 11 shows monthly precipitation.

This data will also affect the nature of the entrances for

the public and the performers, in order to protect them from

extreme conditions.

The wind at this site varies from the area figures in

direction and speed. This may be due to the relative

elevation of the site, its proximity to a wide plain (the

Trinity River floodplain), or the wind generation effects of

high rise Dallas, or all of these combined. Although

statistically the wind averages only a few miles per hour,

generally from the west, the site conditions can be very

different. Winter winds can be especially unpleasant, but

also in the spring and fall, turbulence at grade is a

noticeable occurrence.

59

110

100

90

80

70

•u

lU o

60

SO

40

Ul 3 0

20

10

1 1 1 OP ERA SI A30N 1 111 ll 1 II111 "'M**"''!* Illllllll II ••

Ill] 1 1

HIOH

AVaxiQH

AVERAGE

AVQXOW

LOW

JU. AUO SEP OCT NOV DEC JAN FEB MAR APR MAY JUN MONTH

Figure 9, Temperature and Month.

10

09

S 7 O

,z « z 2 s <

O ^ 3 Q.

— —

OP ERA SE ASON

a ——*" i ^ f JUL AUa SEP OCT NOV DEC JAN FEB MAR APR MAY JUN

MONTH

Figure 10. P r e c i p i t a t i o n and Month.

60

The sun is the ultimate provider of virtually all the

energy we use. Despite the fact that most of the performances

will take place in the evening, the sun is important in many

ways. Because of the basic form requirements of an opera

house, it has high volume-to-surface area ratio. In addition,

opera houses generally do not have many exterior windows

(unless devoted to other functions) and are built of dense

materials. To whatever these things hold true for the design,

it will retain solar heat and have a significant lag time.

Also, the sun is critical to interior visibility. In

the daylight, an interior lit to normal levels (see systems

performance) appears dark. At night, however, it appears

as the stage itself, a crystal, transparent oasis of light.

See Figure 12 for sun angle diagrams.

The area of the Arts District in which the opera house

will be located is surrounded by expressways. It is also

directly beneath one of the major approaches to Love Field,

some four miles to the north. This is of prime importance

to the acoustical environment of the opera house. One mile

east of the site is the main police station and a few blocks

west of the site is the downtown central fire station. These

facilities are both active users of sirens as are the am­

bulances that go to the sprawling Baylor Medical Center,

one-half mile east. (For acoustical impact. See Appendix C).

61

- ( 7 0 * N , 7 Q

3 2 » N L A T I T U D E « o . From Architectural Graphic Standards

Victor Olgyay, AIA

Figure 12. Solar Angles. The slightly shaped portion

indicates the position of the sun relative to my site during

the entire year. The dark shading indicates the position of

the sun during the daytime hours in which the opera house

(excluding shops, etc.) may be open to the public (for

matinees for before evening performances) .This indicates

that the sun is low and setting early when the building is

being used by the public. It means that, although the

building may be viewed by the public at any time, the

closest inspection will be during late afternoon, dusk, or

at night. Little heat will be furnished by the sun, but

sunlight will be able to penetrate into the building by

virtue of its low angle.

62

The Arts District has grown out of a desire on the part

of arts facilities to relocate out of Fair Park and the need

to revitalize a blighted area adjacent to downtown. The

concept is being realized with the new art museum and the

construction of a new symphony hall a few blocks west of the

site, at the other end of the Flora Street axis. This

location is particularly suited to the opera house because

it is so close to the recently remodeled Majestic Theater,

where the main offices of the Dallas Opera are and where the

chamber operas are performed.

Land uses in this area are changing. Figure 13 shows

land uses. These fall into five categories. The existing

fabric of old commercial uses has given way to parking lots

as owners await the profit available by new development.

There are still some existing old commercial uses, however,

most of the business activity is concentrated in high rise

buildings. The Arts District generates some specific uses

such as the Dallas Museum of Fine Art, the Arts Magnet High

School, and the Dallas Concert Hall. There are also some

historic buildings to remain in the area.

Even without considering the Arts District, the

surrounding built environment is fairly benign. Although

there are numerous office towers in the area, most notable

the LTV Tower, the Olympic-York Building, and the Plaza of

63

the Americas, there are also several smaller buildings with

historical significance that provide a buffer and a compat­

ible scale with the buildings in the Arts District. The

emergence of the various support businesses within the area

will complete the scene and provide a mixed-use atmosphere

in the area.

Figure 13. Land Uses

According to Kevin Lynch, one of the essential ingre­

dients of a district is the feeling of entering it or being

inside it-2 This would seem to imply a boundary or physical

entry. This may be achieved in any number of ways. The

freeways that arch upon two sides of the proposed district

64

are effective visual boundaries. Also, within the Arts

District there are proposed continuity factors such as no

parking on the Flora Street axis, height limitations along

Flora, and the like.

Another one of Lynch's five key imaging dimensions is

the use of landmarks. The key feature of a landmark seems

to be that it contrasts with its surroundings. In a

district of large, special purpose, public buildings it

might be difficult to achieve this concern. The site is

bounded by well-travelled paths and is at the terminus of

the Flora Street axis.

In their commentary on Lynch's work, Altman and Chemers

point out that nodes (a third dimension) can be easily

discerned by looking at an aerial photograph,^ Using this

technique, it is readily observed that the site is tucked

into one of the more prominent nodes in Dallas. This is at

a very large scale, is existing, and is surface-mounted. In

addition to this, is the proposed DART connection."^ At this

time, there is a subway connection planned at Ross and

Routh, about one block south of the site. This might become

extremely important in the future. (See Figure 14).

"Site planning is the art of arranging the external

physical environment to support human behavior."^ There

have been movements in the last century, each it seems with

65

LEGEND • PROPOSED SUBWAY

WOODALL-RODQERS FREEWAY

INTERSTATE 45

INTERSTATE 20

INTERSTATE 35

TRANSPORTATION

Figure 14. Transportation Routes,

66

its own shining path to excellence. There are examples of

each (as defined by Jane Jacobs) in the downtown area of

Dallas.6 Le Corbusier proposed The Radiant City in which

skyscrapers at discrete locations would be spread out on a

landscape (The Garden City). The areas near Reunion Tower,

the City Hall, and Thanksgiving Square evoke this. The City

Beautiful (or the City Monumental) can be seen in the Civic

Center area, Reunion Arena, and the boulevards that run past

these sites. The designer should be wary of such "off-the-

rack" planning concepts., evaluating them for appropriate

application.

Since my site will be part of the Arts District, its

special zoning (Ordinance No. 17340) will apply. The most

important aspects of this zoning, relative to design, are:

that the buildings along Flora Street must be no higher than

their distance from the Flora Street centerline, and that at

least 50% of the frontage area be glass. Other stipulations

include thirty feet of sidewalk with three rows of bald

cypress trees on each side of Flora and the use of bollards

and special paving materials in lieu of curbs.''

The landowners in the general area of the site include

State Senator Leadom, some assorted commercial interests,

and Mrs. Lucy Billingsly. Mrs. Billingsly owns quite a bit

of downtown land but at this time has no specific develop-

67

ment plans.^ Land prices in this area are projected to be

$100-$150/s.f.,9 although land acquisition would probably be

the focus of initial fund-raising.

The historical aspect of this site is interesting as it

relates to the city's history. In the early decades of this

century, before the construction of Central Expressway, this

was an area of fine homes and neighborhood parks. Ross

Avenue which passes by one block to the southeast, was at

this time the main street of a growing Dallas. As Dallas

grew rapidly, this area became somewhat blighted. The

construction of Central Expressway cut a swath through the

area up to a quarter of a mile wide. The continued evacu­

ation of homes and small business from the area left it

virtually empty with the exception of Guadalupe Cathedral.

Only in the last few years, since the construction of the

Woodall-Rodgers Freeway on the north and west borders of the

site, has the fabric of the old community been completely

erased.

At the corner of Flora and Boll, at the site's center, stands

the old, "black" YMCA that is now home to a radio paging

service. On the opposite corner of the site (Munger and

68

Routh) is the old St. Paul's Methodist Church. Although it

is almost totally cut-off from any local residential base.

Reverend Henderson reports that its attendance is

increasing. Across Routh to the southwest is the Arts

Magnet High School, formerly Booker T. Washington High.

In the last few years, as the business district has

grown toward this area, the neighborhood has been partially

revived. Across the expressway to the east, residential

development has started and the creation of the Arts

District should ensure its continued growth. Ironically,

the site is quite near the site of one of the former Dallas

Opera Houses.

69

ENDNOTES

Donald Appleyard and Kevin Lynch, "A View from the Road." Also see Cullen, Townscape.

2 Kevin Lynch, The Image of the City. (Cambridge, MA:

MIT Press, 1960), pp. 46-87.

3 Irwin Altman and Martin M. Chemers, Culture and Environ­

ment. (Monterey, CA: Brooks/Cole Publishing Co., 1980), p.—52.

4 Department of Planning and Development, CBD Concept

Plan. (Dallas, TX: City of Dallas, 1983), p, 100.

^Kevin Lynch, Site Planning. 2nd edition, (Cambridge, MA: MIT Press, 1982), p. 3.

^Jane Jacobs, The Death and Life of Great American Cities, (New York: Vintage Books, 1961), pp. 23-24.

7 Ray Ydoyaga, "Dallas Arts District's Master Plan Approved;

First Phase Ooens in Mid-1984", Texas Architect, January-Feoruary 19«4, pp. 26-2B.

p Interview with Mr. Mike Bloomel of Trammel Crow, Inc.,

Dallas, Texas, October 21, 1984. g

Interview with Ms. Tammy Forrester of Forrester Radio-Paging, Dallas, Texas, November 11, 1984.

-^

t

Ji

SPACE

SUMMARY

SPACE SUMMARY

The nature of this space summary will be to tabulate

spaces, occupants, standards (area allotments, based on the

number of occupants), and the net area assignments calculated

from this information. At this point I have chosen to alter

the footnote system. Since so many of the citations are

repeated, using the same page numbers, these citations are

coded by letter (A-H). This will also allow the designer

to refer to the entire source instead of a single page if

so desired. In most cases the total number of pages is not

great (over 2 or 3 pages), so the specific information is

not difficult to find. Some of the standards are given in

metric units. These have been translated into square feet

(sf) before totalling. All units are in standard abbrevia­

tions. Some standards take the form of area per machine

or some other unit. This occurs only where the number of

occupants does not provide a true and justifiable basis.

The spaces are summarized by categories: public areas,

the stage, dressing area (backstage spaces), and the shops.

There are totals given at the bottom of each page and at the

end of each category. In cases where there are several

standards to chose from, I have given reasons for my choice

and put an asterisk by that figure which is part of the total,

70

71

CODED REFERENCE STANDARDS

A Architectural Graphic Standards, Charles G, Ramsey and

Harold R, Sleeper, Joseph N. Boaz, ed,, (New York:

John Wiley & Sons. Inc,, 1980), pp, 13, 32-34,

B Life Safety Code, Committee on Safety to Life; Jo

Armand Burgun, Chairman. (Quincy, MA: National Fire

Protection Association, 1981), pp, 181-124,

C Means Systems Cost, Robert Snow Means Co,, Inc.,

(Kingston, MA: Robert Sturgis Godfrey, Publisher,

1982), pp. 382-453.

D Problem Seeking, William Pena, (Boston: Cahners Books

International. 1977), pp. 104-117.

E Theater Check List, American Theater Planning Board,

Jo Mielziner, Chairman, (Middletown, CN: Wesleyan

University Press, 1969).

F Time-Saver Standards for Building Types, 2nd Edition,

Joseph De Chiara and John Callender, ed., (New York:

McGraw-Hill Book Co. Inc.. 1973). pp. 362-388.

72

G Uniform Building Code. International Conference of

Building Officials, (Whittier. CA: International

Conference of Building Officials, 1984), pp, 57-70,

545-589,

H VNR Metric Handbook of Architectural Standards,

Patricia Tutt and David Adler. (New York: Van Nostrand

Reinhold Company. 1979). pp, 183-193,

73

SPACE CATEGORY PTIRT i r SPACE ACTIVITY STANHARn

Ticke ts

Adminis­

t r a t i o n

A.F Lobby

Se l l ing

Informing

Administra­

t i on

Special

Request

Booking

Scheduling

Management

Waiting:

To Meet

To Buy

Tickets

AREA

lOOsf/p

lOOsf/p

assuming 3 workers

* 300 sf

office (house manager

* lOOsf

assume 2 assistants

* 200 sf

TOTAL THJS PAGE. eoosf

TOTAL CATEGORY 600sf

74

SPACE r.ATFfiORY PUBLIC (con t 'd ) SPACE ACTIVITY STANDARD AREA

Foyer

Cloakroom

Bar

For Cars 3sf/p

or

1.25sf/p

Ambulatory at

Intermission

Soc ia l i z ing 3sf/p

Checking

In/Out

Bulky Items .3sf/p

Refreshment

Before.

Between, &

After lOsf/p

3600 x 3sf *= lOSOOsf

3600 X 1,25 = 4500sf

due to the extroverted

nature of the activity,

I think the larger figure

is more appropriate

(see l:p, 371)

3600 x 3sf *= lOSOOsf

3600 X ,3sf *= lOSOsf

assuming 2000 p a r t i c i p a n t s

TOTAL THJS PAGE 22680sf

TOTAL CATEGORY^. 23280sf

75

SPACE nATFQQRY PUBLIC (cont.)

SPACE ACTIVITY STANDARD AREA

Dining

F,C Restrooms

Dining from a

Catered Buffejt

Waiting

Toilets

15sf/p

approx.

.625sf/p

2000 X lOsf = 20000sf

this area will be able

to overlap with the

foyer or restaurant.

In that case take 3 or

4 bar stations at 50sf

each,

*= 200sf

assuming 1800 participants

1800 X 15sf *= 27000sf

it may be good to increase

this due to "everyone at

once" effect. See cost

data for No, of fixtures,

*= 2250sf

TOTAL THJS PAGE. 29450sf

TOTAL CATEGORY. 52730sf

76

SPACE CATEGORY PUBLIC (con t 'd ) SPACE ACTIVITY STANDARn

A,H House Being Amazed

Preceiving 7sf/p

or

.84sm/p

AREA

= 25200sf

*= 32551sf

TOTAL THJS PAGE. 32551sf

TOTAL nATPftORY 85281sf

77

SPACE CATgQQRY STAGE SPACE ACTIVITY STANDARD AREA

Stage

H.F.H. Wings

Breadth &

Depth of

Acting Area

Waiting

Staging Area

For Scenery

Equipment

Effects

Actors

Approx

6400sf 6400sf

SM Office lOOsf

,19sm/seat

less stage

or

acting area

or

2-3 times

acting

area if

wagons are

used

3008sf

6400sf

TOTAL THJS PAGE. 12900sf

TOTAL CATEGORY. 12900sf

78

SPACE CATFGQRY STAGE (con t 'd^ SPACE ACTIVITY STANDARD AREA

O r c h e s t r a

G,H Spot Booth

Music ians

Conductor /

Timekeeper

Prompter

Throwing

Light

Projections

Surtitles

Cueing

18-20sf/

player assuming approx.

70 musicians x 20sf

*= 1400sf

80sf /mach­

ine

+40s f / ea .

add.

or

25-30sm

assuming 4 machines

200sf

a minimum

300sf

TOTAL THJS PAGE. 1700sf

TOTAL CATEGORY ^^^^^^^

79

SPACE CATEGORY STAGT^ rr^r^ntM^ SPACE ACTIVITY STANDARD

H Broadcast

Booth Controlling

Broadcasts

AREA

25-30sm 300sf

TOTAL THJS PAGE. 300sf

TOTAL CATEGORY. 14900 sf

80

SPACE CATEGORY DRESSING SPACE ACTIVITY STANDARD AREA

F.A Chorus

H,A Rehearsal

Waiting Cues

Dressing

Makeup

Polishing

In t e r ac t ion

of Roles

Blocking

Pract ice

2 at

220sf min 440sf

assuming a near

peak load of 75

extras & super­

numeraries * 1500sf

the larger of the two or

both if the larger is

also used as rehearsal

space.

35-50% of

Stage Area

or

Acting

Area

4704sf

about equal

* 4800af

TOTAL THJS PAGE_^5£l_El

TOTAL CATEGORY- 6300sf

81

SPACE CATEGORY DRESSING (con t 'd ) SPACE ACTIVITY STANDARD AREA

Shared

Dressing

Star

Dressing

Lounge

Dressing

Relaxing

Waiting Cues

Makeup

Showers

Dressing

Relaxing

Waiting Cues

llakeup

Showers

ilelaxing

:ieceptions

Par t ies

Interviews

Ifaiting

llOsf each assume 6 required *660sf

llOsf each assume 4 required *440sf

16-18sf/p 18sf X 75 people *=1350sf

TOTAL THJS PAGE. 2450sf

TOTAL CATEGORY. 8750sf

82

SPACE CATEGORY DRESSING (cont 'd^)

SPACE ACTIVITY STANDARD AREA

Restroom Toilets

Miscellaneous

Washing 300sf 2 required 600sf

TOTAL THJS PAGE. 600sf

TOTAL CATEGORY^ 9350sf

Ik

83

SPACE CATEGORY SHOPS/SCENERY SPACE ACTIVITY STANDARD AREA

Management Light

Industry

Business

Bookkeeping

Filing

Woodworking 2 radial arm

saws

1 circular

saw

1 band saw

Office

Type

Space:

100 sq ft

per person lOOsf X 2 bookkeepers

200sf

X 1 general

14m X 1.5m

= 21sm

1.5m X 10m

= 15sm

4, 5m X

3,75m

= 17sm

manager

lOOsf

X 4 shop managers

400sf

Total *= 700sf

226sf X 2 452sf

162sf

183sf

TOTAL THJS PAGE. 1497sf

TOTAL CATEGORY, 1497sf

84

SPACE CATFGQRY SHOPS / SCENERY (cont' d )

SPACE ACTIVITY STANDARD AREA

Assembly

Painting

1 layout

table

[niscellaneous

shelving

Putting Flats

Together

8' X 16'

= 128sf

3' x6'

= 18sf

128sf

18sf

Total

150sf per

approx

*= 943sf

6-8 flats at a time

* 1200sf

Painting the

Flats

Painting

3ackclothes

200sf per

flat

approx

proscenium

opn'g + 10%

taking the likely larger

3f the two approx.

45' X 80' = 35600

+ 3560

Total * 39160sf

TOTAL THJS PAGE. 40506sf

TOTAL CATEGORY. 42003sf

e\

85

SPACE C A T F G Q R Y SHOPS/COSTUME

SPACE ACTIVITY STANDARD AREA

Construc­

tion

Storage

F,F,F Repair

Pattern

Layout

Bulk Cutting

Sewing

Storing

Costumes

Hanging

Alterations

Repair

Dyeing

15,5 X

26'

- 403s:fl

existing

archives

new

Costumes

9,5' X 10'

= 95s:fl

1 work

station

@ lOOsf

8' X 10'

403sf

approx 450sf

95sf

lOOsf

80sf

TOTAL THJS PAGE l l 28s f .

TOTAL CATEGORY 4313lsf

^

86

SPACE CATFGQRY SHOPS/COSTUME

SPACE ACTIVITY STANDARD AREA

Dressing

Property D i s t r i bu t ing

Props

Repair

Storage

4/ X 6 , 5 '

countertop

6' X 10'

= 60sf

approx

50sf/p

exiting

archives

new props

26sf

Total * 1154sf

Electrical r e s t i ng and

llepairing

Equipment

2 persons

approx.

+ 10%

Total

lOOsf/p

Total

TOTAL THJS PAGE 78isf

TOTAL CATEGORY 439i2sf

60sf

lOOsf

450sf

45sf

* 655sf

lOOsf

lOOsf

87

SPACE CATEGORY SHOPS/COSTUME ( c o n t ' d ^

SPACE ACTIVITY STANDARD AREA

TOTAL SHOP AREA

1154sf

655sf

lOOsf

700sf

943sf

1200sf

39160sf

TOTAL THJS PAGE.

TOTAL CATEGORY, 43912sf

88

SPACE C A T F G Q R Y TOTAL OF CATEGORIES

SPACE ACTIVITY STANDARD AREA

Public

Stage

Area

Dressing

Shops

85281sf

14900sf

9350sf

43912sf

T o t a l Net SF = 153443sf

TOTAL THJS PAGE.

TOTAL CATEGORY.

89

Using this figure as a basic space requirement, we

can calculate the gross square footage. This is the figure

we will then use to estimate building cost. It has to be

the gross square footage that is used for an accurate

estimate.

Means Square Foot Cost Data, for building types assigns

a gross-to-net coefficient of 1.42-'- for auditoriums. This

is probably quite accurate for the buildings that they

survey. However, the broad nature of their survey works

against an accurate projection for an extremely costly

genre such as opera houses. In Problem Seeking by Pena,^

a ratio of 2 is given. In this section he suggests that

it is a measure of architectural quality. This qualitative

outlook is especially appropriate to an opera house.

Deciding to select the Pena figure, we calculate the

gross square footage as:

153,433 sf

306,886 sf

This is done by multiplying the net square footage by a

selected gross-to-net ratio.

90

ENDNOTES

Stanley J. Strychaz. ed.. Means Systems Costs. 1983. (Kingston. MA: Robert Sturgis Godfrey, Publisher, 1983). p, 452,

2 William Pena, Problem Seeking, (Boston: Cahners Books

International, 1977), p. 108,

SYSTEMS

PERFORMANBI

SYSTEMS PERFORMANCE CRITERIA

A discussion of factors important to user satis­

faction and design effectiveness is in order. This

section is intended to cover any uncommon requirements,

the limits of acceptability, and evaluation criteria

for component systems. Essentially, this section will

describe specific physical and environmental needs.

It is important that these descriptions be con­

cerned with the ultimate goals (satisfaction of need)

and not the means of achieving them. For this reason,

any specific means or techniques for meeting these needs

will be included in Appendices C and D.

STRUCTURAL SYSTEM: The structure of any unobstructed

volume requires spanning. In a space with a high volume

to envelope ratio these spans can be quite great. Not

only does this imply rigidity (and to a degree depth),

but also that the vertical supporting members be able

to withstand considerable bending.

Also to be considered is the impact of stage machinery

If one considered the building an armature on which are

91

92

built these stage systems, it is clear (but not obvious)

that there will be great reacting forces in the structure.

The location and direction of these forces depends on the

equipment and its location. However, the designer shall

need to keep these in mind.

ENCLOSURE: The only special requirement of enclosure is

that in the house it be complete. That this enclosure be

sheltering, aesthetically pleasing, and sensitive to energy

and noise transmission requirements should be obvious.

MECHANICAL SYSTEM: The thermal comfort of the patrons is

quite important to their satisfaction. In Harris-Conde's

Modern Air Conditioning Practice, these are the recommended

temperatures:

Dry Bulb Summer Dry Bulb Winter

Lobbies 76-78°F 72-74°F

Offices 74-76°F 74-76°F

Shops 77-80°F 68-72°F

House 76-78°F 72-74°F

These may be used as limits of acceptability. The humidity

in Dallas is usually in the 50-75% range. This will have to

be compensated for. The same source recommends ventilation re­

quirements in two ways: by air changes per hour, and by cubic

feet per minute per person (CFM/p).

93

Lobbies

Offices

Shops

House

Restrooms

Supply of Air

25-40 CFM/p

25-30 CFM/p

18-25 air changes/hour

(up to 60 for dyeing and

painting)

10-15 CFM/p

10-20 air changes/hour

In addition to these recommendations there are code require­

ments for windows or ventilation equipment in restrooms and

dressing rooms (605).^ In other sections (3901) ventilation

requirements specific to stage construction are stated. The

relationship between the mechanical system and fire safety

should be always in the designer's mind. Due to the nature

of the activities within the house and backstage areas, the

mechanical requirements must be met as quietly as possible.

This may require special equipment.

To make the heating and cooling capacities of the systems

more efficient (and at the scale of these spaces, the savings

can be great) insulation R-values should be:

19-20 for CEILINGS

11-13 for WALLS ̂

It should also be kept in mind when dealing with such volum­

inous spaces that hot air rises and the implications of this

on balconies and other places where heat might accumulate.

94

ELECTRICAL SYSTEM: The electrical system for a theater is

a large and diverse network of tasks. For illuminating a

performance in shades of epic drama to providing convenient

and dependable power for the vacuum cleaners the next day,

the electrical system must be flexible, accessible, and depend­

able as well as being absolutely safe at all times. The use

of electricity in a theater is erratic, with widely ranging

peaks and valleys of demand. Even at peak demand the power

required must be dependable. Emergency power must be pro­

vided to such uses as alarms and exit lights. The power

requirements will be concentrated in nodes at the shops,

the booths, the stage, elevators and mechanical areas.

In the shops, power will be required in 110 and 220V

outlets at many convenient locations as well as for a few large

machines (verify requirements with manufacturer), A similar

situation will exist in the booths behind the balcony.

Spots are usually 110 and 220V but the broadcast equipment

will likely be hardwired. The stage will need large amounts

of electrical power to be distributed through its own control

system. Concealed floor plugs should be provided between the

stage and wings. Power will also be required for special

systems such as intercom, sound reinforcement, and closed

circuit TV.^

Levels of illumination can be broken down by activity

type.

95

Meticuluous tasks

Public Spaces

General

Footcandles

100-200

20-30

50-70

shops, dressing rooms,

box office, etc,

lobbies, foyer, house,

dining (may require

more)

green room, rehearsal,

etc.

PLUMBING SYSTEM: It might seem that, of all systems involved,

the plumbing would not be that critical. After all, the use

is spread out over time (before: food preparation; during:

restrooms; after: showers; and, between performances: main­

tenance). However, the plumbing system bears on user satis­

faction in two ways; it must operate quietly and dependably

especially in regard to the fire system (plumbed and supplied

from a separate line). Water consumption data is available

but not very useful because of the irregular usage.

ACOUSTICS: Thepatrons should be able-to hear the performance

for which they have paid. This should be as clear and as

free from distortion as possible. As mentioned in the

Activity Analysis, the reverberation time is an important

evaluative criteria (ideally about 1.6 seconds). This and

other criteria such as cubeage, the importance of early side

reflections, etc., are discussed in detail in Appendix C.

Also important is the ability of the singers to get prompted

96

(both by sight and sound). As much as the patrons want

to hear what they have paid for, they do not want to hear

other things such as the backstage noises of people and

equipment or the extraneous sounds. See Appendix C.

VISION: The ability of everyone to see the performance is

critical to the success of this design. This of course de­

pends on the locations of eyes and obstructions, which de­

termine seat locations, which in turn determine seating curves

and floor slopes. A detailed discussion of this problem and

applicable techniques can be found in Appendix D. The people

on stage must be able to see the prompter and conductor.

Perhaps most in need of a good vantage point of the stage

manager, usually stage right behind the proscenium.

In the last few years, opera has been made more under­

standable by the use of subtitles and surtitles. The prefex

denotes the position of the projection, above the proscenium

being the more widely used.^ Title projection systems have

been used in China, Japan. Toronto, San Francisco, and the

New York City Opera. Its new advocates include Beverly

Sills (General Director of the New York City Opera), Anthony

Bliss (General Manager of the Metropolitan Opera), and Cyril

Harris (author and most recent of the acoustical designers

for Avery Fisher Hall.) It is necessarily going to affect

the design of the proscenium, and should be carefully considered

by the designer. The use of projections requires special

placement for such equipment (see Figure 15).

97

Like back Mil In plan, Light Slot celling should scatter sound.-i ^

The zone of vision for surtitles may be extended forward by lowering source.

Booth

View fn» furthest seat

Figure 15. Critical Angles for Auditor lum.

MECHANICAL TRANSPORTATION: In addition to these fairly

typical concerns of an auditorium, an opera house has some

especially critical systems. These are generally related to

the actual performance requirements of opera. Because of

system redundancies and backups these are hard to cate­

gorize. I will discuss them as listed in the Activity

Analysis: flysystems, wagons, and turntables, and lifts and

traps.

Fly systems are perhaps the oldest of these special

stage systems. The ability to lower and raise an assortment

of two-dimensional surfaces, lights, etc., depends on the

supporting structure and lifting capacity. These items are

hung on pipes or battens usually, but in special loading

conditions this may be supplemented by a small truss. This

98

is set in motion by a system of steel cables and pulleys

hung from a structural grid at the top of the flyloft. To

make lifting easier, there are variable counterweights on

each batten and cable assembly. In this system, these are

relatively small cables under high tension. This is a

hazard which cannot be mitigated but is well known.

This system of battens must be capable of being raised

and lowered by hand smoothly, silently, and at any time.

However, most of the time they are powered and controlled

by electric motors. These are often located high in the

flyloft to reduce noise and vibration.

In addition to scenery and curtains, each batten must

be capable of being wired for lights. The battens are

loaded in the lowest position (at or near the stage floor

level). A common bearing capacity is 1000 pounds per bat­

ten, but may vary, ̂

In addition to these pragmatic mechanisms are two

communications systems. The first is a closed circuit

television cueing system. This uses monitors which are

placed in all of the backstage dressing rooms. When some

performer (or group) is 10 minutes or 5 minutes away from an

entrance, their name is silently flashed on the screen with

the entrance location. The broadcast is either of the

entire stage from far back in the house or a close-up of the

conductor. This also requires someone (in the broadcast

booth) to type in these cues.

99

The other system is a wireless intercom. With remote,

wall mounted stations (that can also take wired headsets)

stage technicians can be in the flyloft or in the trap and

lift vault and converse, quietly, with the stage director

about problems or changes. These will be on either side of

the stage, the pit, both booths, and underneath the stage.

Apart from the stage systems, two elevators will be

required in the front of the house for maintenance, equip­

ment moving, and occasionally handicapped access. These

will only go from the main floor to the balcony. The loca­

tions should be discrete to encourage able-bodied souls from

using them unnecessarily.

LIFE SAFETY: Finally but perhaps most importantly, the design­

er will have to be vigilant about the safety of the patrons.

In recent theater history there have been fires which killed

hundreds. Today there are extensive code requirements that

protect the theater goer. These are reviewed in Appendix D.

The special requirements are in the areas in which codes

have not kept up with research and building practices. One

of the most dangerous aspects of any new building is its

toxicity in fire. The codes mentioned above are obviously

concerned with evacuating the patrons. However, to avoid

serious loss of life the designer will have to evaluate

each product for this characteristic.

100

ENDNOTES

International Conference of Building Officials, Uniform Building Code. (Whittier, CA: International Con­ference of Building Officials, 1984), p. 57.

2 Robert Snow Means Co., Inc. , Means Systems Cost.

(Kingston, MA: Robert Sturgis Godfrey, Publisher, 1982), p. 382,

^Ibid.

4 Ibid.

5 Donald Henehan, "How Much Do The Words Really Matter

In Opera," New York Times, February 6, 1983, Section H, p. 19,

Patricia Blake, "'Cendrillon' Becomes Cinderella," Time Magazine. October 17, 1983, p. 98.

7 Michael Phillip Bautista, Ten Years of Stage Design

at the Met (1966-1976), doctoral dissertation, Texas Tech University, 1981, p, 20.

COST

ANALYSIS

COST ANALYSIS

Cost, scope, and quality are three essential variables in

any construction project. In this case project scope has

been described by the functional requirements. This section

deals with the other two. In that sense it is perhaps the

most critical factor in the Dallas Opera's attempts to build

a new opera house.

For my analysis I have borrowed extensively from Means

Cost Data and Problem Seeking^ by Pena, The first step will

be to derive the gross square footage. This will be broken

down by building type and the cumulative building cost (the

sum of the costs by type) will be compared to the building

cost from the total gross square footage. Then this cumulative

cost will be broken down by standard systems. The cost of my

project including additonal fees, equipment, et cetera will be

derived using the process outlined in Problem Seeking and

finally compared to the translated costs of my case study

projects.

GROSS SQUARE FOOTAGE: I took the total net square footage

from my space summary and multiplied it by the gross-to-net

coefficient in Problem Seeking.

153,443 sf

X 2 307,966 sf

101

102

I also broke the net square footage down by type into gross

square feet by type and percent of total

RESTAURANT

(Buffet & Bar)

Net sf

27200 sf

Gross sf

54400 sf

% of Total

17.70%

OFFICES

(Offices and

Dressing Rooms)

. 2500 sf 5000 sf 1.6'

FACTORY

(Shops)

43912 sf 87824 sf 2 8.6%

THEATER 55231 sf 110462 sf 35.9-

Totals 128843 sf 257686 sf b J . O -6

I then calculated the building cost by both the total gross

sf and the cumulative gross sf (and by type). The square

footage costs used were all from Means.

306,886 sf

X $75.70 $23,231,270

103

sf sf cost cost

RESTAURANTS 54400 sf $ 95.10 $ 5,173,440

OFFICES 5000 sf $ 66.00 $ 330,000

FACTORY 87824 sf $ 49.40 $ 4,338,506

THEATER 110462 sf $ 75.60 $ 8,350,927

TOTAL $18,192,873

It is futher surprising that the cost derived by this method

is five million dollars less than the other figure. I chose

to use this figure for-that reason and because it was a more

specificly detailed process.

Again using figures from Means, I figured the estimated

cost of various building systems. In all cases, I have used

the highest end of the estimating range to compensate for

the extreme differences in cost and quality between an opera

house and other buildings within this type.

EQUIPMENT $ 1,774.962

PLUMBING $ 2,149.954

HVAC $ 2,799.940

ELECTRICAL $ 2,624,944

TOTAL MECH. AND ELEC. $ 7,074.848

In Pena's Problem Seeking there is a simple and concise

method for determining total project cost. As in the previous

calculations, there is necessarily some assumption made about

quality. In this case I have assumed a very high standard

104

be kept for the various reasons indicated in my background

study. In addition, all dollars from this point forward

have been adjusted to 1987 values, that being the estimated

midpoint of construction. I used a 10% annual escalation

over four years (from the 1983 values).

A. BUILDING COSTS $ 24,999,465

B. FIXED EQUIPMENT (25% of A) $ 6,249,866

C. SITE DEVELOPMENT (10% of A) $ 2,499,946

D. TOTAL CONSTRUCTION $ 33,749,278

E. SITE AQUISITION DONATED

F. MOVABLE EQUIPMENT (20% of A) $ 4,999,893

G. PROFESSIONAL FEES (15% of D) $ 2,699,942

H. CONTINGENCIES (15% of D) $ 5.062,391

I. ADMINISTRATIVE COSTS (2% of D) $ 674,986

J. TOTAL BUDGET REQUIRED $ 47,186,490

There are two other figures to be considered. These are

the costs of permanent and interim financing. There are many

variables to be entered such as the possibility of matching

funds and the sale of bonds. However, for the sake of con­

jecture, let us assume the whole project will be financed.

Ja. PERMANENT FINANCING

For the Banker (5%) $ 2,359,307

Construction Loan Fee (1%) $ 471,864

Jb. INTERIM FINANCING (14%, 4years) $ 98,335,679

105

The question becomes one of how real are these numbers?

This may benefit from comparison to the updated costs of my

case studies projects. These are adjusted to Dallas 1987

dollars.

The Metropolitan Opera $ 203,783,250

San Francisco War Memorial $ 101,374,280

Opera houses are expesive items it appears. There are other

ways to modify these cost figures such as project size dis­

counts, cost concentration factors (the ratio of doors to

partition), et cetera. Although I have estimated the equip­

ment cost and electrical cost at the high end of the given

range, because all opera houses are unique in stagecraft

capability,these costs are liable to fluctuate or increase.

106

ENDNOTES

Stanley J. Strychaz, ed. , Means Systems Costs, 1983, (Kingston, MA: Robert Sturgis Godfrey, Publishers, 1983), p. 452.

2 William Pena, Problem Seeking, (Boston: Cahners Inter­

national Books, 1977), p. 108.

DETAILED

SPACE

LISZT

DETAILED SPACE LIST

This section is somewhat of a synthesis of previous

sections including the Activity Analysis, Space Summary,

Systems Performance Criteria, and Cost Analysis. The pur­

pose is to collate the essential information of these sec­

tions into a concise planning tool. The format for this

section will be an iterative examination of successive

spaces in roughly the same order they had in previous

sections. Each space will be described in the same method:

A. Title and number of identical spaces

required.

B. Number of occupants

C. Assignable floor area (total)

D. Functional description

E. Environmental requirements

F. Furnishings

G. Storage requirements

The usefulness of this section depends as no other

on pertinance of what is included, although no detail is

too specific. To this end, some things have been left out,

but in most cases a broad analysis is available either in

another section or appendix. The imposition of space stan­

dards is not used because of so little space redundancy.

The spaces will be taken in this order: Public, Stage,

Dressing, Shops, and Miscellaneous.

107

108

CATEGORY : Public Spaces

TTTLE: Ticket Booth

NUMBER OF OCCUPANTS: 3

ASSIGNABLE FLOOR AREA : 300 sf

FUNCTIONAL DESCRIPTION : This will be a major center of

activity before the show. Usually there will be separate lines

for those buying tickets and those picking up their tickets.

Everyone wants this to go as quickly and smoothly as possible.

Money will be here in large amounts, but not overnight.

ENVIRONMENTAL REQUIREMENTS : There should be little visual

separation between buyer and seller. People should not be able

to reach into the booth, however. Counter height is most

comfortable at about 42" above finished floor. Separate heating

should be provided. Also a secure door with heavy duty locks.

EQUIPMENT AND FURNISHINGS : Stools for each seller, ticket

machines w/computer connection; a slotted ticket board (one

slot per seat); 3 telephones; a silent alarm from 3 stations.

STORAGE REQUIREMENTS : storage for tickets (before slotting);

Drawers and undercounter cabinets.

109

CATEGORY : P u b l i c

TITLE: Adminstration (3)

NUMBER OF OCCUPANTS: 1

ASSIGNABLE FLOOR AREA : 100 sf

FUNCTIONAL DESCRIPTION : A remote location for administration

personnel temporarily stationed at the opera house. These

people will only be here for a few days at a time and inter­

mittently. Should have access to a l l front-of-the house

ac t iv i t ies .

ENVIRONMENTAL REQUIREMENTS : These should be basic offices;

nothing fancy but workable and comfortable. It should avoid

the territory-personalization process (no plaques, diplomas,

or family photos).

EQUIPMENT AND FURNISHINGS : a desk, 2 chairs, telephone

and 2 la teral filing drawers.

STORAGE REQUIREMENTS : temporary paper storage

110

CATEGORY : Public

TITLE: Lobby

NUMBER OF OCCUPANTS! no one (except 2 ticket takers)

ASSIGNABLE FLOOR AREA : 10,800 sf

FUNCTIONAL DESCRIPTION : An initial entry area, where tickets

are gotten, coats removed, rendezvous made, and entrances made

The tickets are torn at the boundary between J-obby and foyer.

ENVIRONMENTAL REQUIREMENTS : This space should be a transition

between outdoors and indoors. It should welcome the patron

with feelings of warmth, shelter, and security. The finishes

should be durable and not be affected by moisture.

EQUIPMENT AND FURNISHINGS : some seating (about 30 If),

an occasional table for displaying opera information.

STORAGE REQUIREMENTS : none

I l l

CATEGORY : P u b l i c

TTTLE: Foyer

NUMBER OF OCCUPANTS: 3000-3800

ASSIGNABLE FLOOR AREA : 10.800 sf

FUNCTIONAL DESCRIPTION ; A promenade for socializing before

the opera and at intermission. Walking space, waiting, and

other miscellaneous activit ies occur here.

ENVIRONMENTAL REQUIREMENTS : Th i s space s h a l l be t h e next to last plateau of arrival (s i te , building, lobby, foyer, house)

EQUIPMENT AND FURNISHINGS : It shall require comfortable

seating (about 1,000-1,500 If) . Comfort and elegance are

important cr i ter ia . Free standing ashtrays, side tables,

water fountains, pay telephones.

STORAGE REQUIREMENTS : none

112

CATEGORY : Public

TITLE: Cloakroom

NUMBER OF OCCUPANTS: 2 workers

ASSIGNABLE FLOOR AREA : 1080 sf

FUNCTIONAL DESCRIPTION ; After removing outerwear, patrons will

want to store these items until after the show. This procedure

will need to be as streamlined as possible.

ENVIRONMENTAL REQUIREMENTS ; Good lighting, adequate counter

space, and space between counter and hanging rods will be

necessary. The workers here will be here for the entire dura­

tion of the show.

EQUIPMENT AND FURNISHINGS : a hanging system for 3000 coats,

hat shelves, an umbrella rail, drawers for receipts, 2 chairs,

telephone.

STORAGE REQUIREMENTS : no permanent storage of anything

but receipts. Lost and found items will be taken to Majestic

offices afterwards.

113

CATEGORY : P u b l i c

TTTLE: Bar station (4)

NUMBER OF OCCUPANTS! 2

ASSIGNABLE FLOOR AREA : 50 sf each

FUNCTIONAL DESCRIPTION : A small but complete bar. It will

be free-standing and self-contained and "plumbed," without

any hookups to building systems. Two bartenders will work each

station,

ENVIRONMENTAL REQUIREMENTS iThis is a high priority item for

many patrons and is also a significant income producer. Serving

as many well-mixed drinks as possible, to as many patrons as pos­

sible is the goal. A 42" countertop is required and i t should

be made to wear well.

EQUIPMENT AND FURNISHINGS : A sink, ice compartment, bottle

well, utensil drawer, cash drawer, and trash compartment are

necessary. In addition, space for six pressurized tanks is

required.

STORAGE REQUIREMENTS : six pressurized tanks for mixers

114

CATEGORY : Public

TITLE: Dining

NUMBER OF OCCUPANTS: 1800 plus 20 workers

ASSIGNABLE FLOOR AREA : 27.000 sf

FUNCTIONAL DESCRIPTION : Patrons will arrive early and pay a cash­

ier, then serve themselves from the buffet. Service workers will

either be doing special tasks (such as carving, serving desserts

from a cart, etc.), or be bussing tables. A direct entrance is needed.

ENVIRONMENTAL REQUIREMENTS : Clean and roomy with good light

for food display, this type of service usually implies some sort

of linear (but not necessarily straight) arrangement. The

tables (and chairs) should be easily moved and of various sizes.

A good view of public activities is required.

EQUIPMENT AND FURNISHINGS : Seating and tables for 1800, a

buffet (made up of tables or built-in), a cashier's counter,

and a skullery niche or screen.

STORAGE REQUIREMENTS : none, everything is catered.

115

CATEGORY : Public

TITLE: Restrooms (male and female, may be centralized or dispersed)

NUMBER OF OCCUPANTS : var ies

ASSIGNABLE FLOOR AREA : 2,250 sf (minimum)

FUNCTIONAL DESCRIPTION : Toilets and lavatories will be pro­

vided for those wishing to relieve themselves or Just spruce up.

ENVIRONMENTAL REQUIREMENTS : Since these have fluctuating usage

(everyone during the intermissions), acoustical and mechanical

isolation is important. Privacy is also needed. The lavatories

should allow plenty of room between them. Good light and

ventilation are essential.

EQUIPMENT AND FURNISHINGS : towel dispensers, trash receptacles,

expansive mirrors (with room to step back), and the fixtures

and s t a l l s .

STORAGE REQUIREMENTS t The paper towels and similar supplies

shall be stored nearby in jani tor ' s closet.

116

CATEGORY : P u b l i c

TITLE: House

NUMBER OF OCCUPANTS: 3600 seats

ASSIGNABLE FLOOR AREA : 32,551 s f .

FUNCTIONAL DESCRIPTION : T h i s i s t h e u l t i m a t e d e s t i n a t i o n .

Here t h e p a t r o n s w i l l be e n t e r t a i n e d , e n l i g h t e n e d , and amazed,

ENVIRONMENTAL REQUIREMENTS : The p e r s o n a l r e q u i r e m e n t s ( a c o u s ­

t i c s and s i g h t l i n e s ) a r e of u tmost impor t ance . S e a t i n g comfor t ,

t h e rma l comfort ( t e m p e r a t u r e and h u m i d i t y ) , and an a e s t h e t i c

t r e a t m e n t a p p r o p r i a t e t o t h e o c c a s i o n w i l l a l s o c o n t r i b u t e t o

u s e r s a t i s f a c t i o n . Ease of a c c e s s and s a f e t y s h a l l be des igned

i n t o t h i s s p a c e , bu t s h a l l not be obvious o r p rominen t .

EQUIPMENT AND FURNISHINGS : 3 ,600 comfor t ab le s e a t s (+ l e s s

than 5%). Emergency e g r e s s l i g h t s and l i f e - s a f e t y sys tems

b u i l t i n .

STORAGE REQUIREMENTS : none

117

CATEGORY : Stage

TITLE: stage Acting Area

NUMBER OF OCCUPANTS : one to one hundred

ASSIGNABLE FLOOR AREA : 6400 sf

FUNCTIONAL DESCRIPTION ; Performance crucible, soapbox,

replica of heaven/hell and all that falls in between.

ENVIRONMENTAL REQUIREMENTS : This area is enclosed. It has

a definite edge at the front and the proscenium at those

front corners. The floor should be solid but quiet to walk on

and capable of being opaque or transparent with respect to the

movement of people. This implies some system of lifts and traps

The exact number and arrangement are unspecified.

EQUIPMENT AND FURNISHINGS : light trees and other equipment,

nothing else except scenery.

STORAGE REQUIREMENTS : none

118

CATEGORY : stage

TTTLE: Wings and the space all around the stage behind Proscenium

NUMBER OF OCCUPANTS : ^^n to infinity

ASSIGNABLE FLOOR AREA : 6400 sf

FUNCTIONAL DESCRIPTION : This is the holding area for all those

awaiting cues, scenes to be moved on stage, workstations for all

the backstage technicians. It is also the station of the stage

manager during the performance.

ENVIRONMENTAL REQUIREMENTS :This place should be unobstructed

and roomy. It should have wall lights for backstage travel. It

should also be quiet and all lights should have shields. It should

also have a way for the stage manager to monitor who is back there

(prevention of people just hanging around). ALL BUSINESS,

EQUIPMENT AND FURNISHINGS : There will be (usually at stage right)

a light booth or board at or near which the stage manager would

be. This should have a wall monitor intercom. At one side of

the stage (usually stage right) there will be the pinrail and

rigging for the fly loft. At some point on these walls will be a

large accessway to the shops/the loading dock. There may also be

smaller doors for access during the performances. Another inter­

com should be located on the other side of the stage.

STORAGE REQUIREMENTS : This area will have to be able to store

flats, backdrops, and platforms (a lot of all types of scenery)

but not for indefinite periods. Some things such as light trees,

turntables, wagons, and other stage furniture will be stored here

permanently, against one wall.

119

CATEGORY : Stage

TTTLE: Orchestra

NUMBER OF OCCUPANTS r seventy to one hundred musicians

ASSIGNABLE FLOOR AREA : 1400 sf

FUNCTIONAL DESCRIPTION : This is the "mystic abyss." the time

regulating mechanism for the entire production. It is essential

that it be a good place to plan and that it be faithful in trans­

mitting that music into the house without overpowering the singers,

Adjacent and connected to this space is the prompter box.

ENVIRONMENTAL REQUIREMENTS : It should be constructed of an

acoustically live material, have adequate area and flexibility

for any opera, be invisible from the house, and offer all the

musicians a good view of the conductor.

EQUIPMENT AND FURNISHINGS : A wall mounted intercom w/headset.

a short podium, music stands and chairs for the musicians, and

sometimes a piano; also an adjustable camera position. The

prompter box needs a small monitor and stool.

STORAGE REQUIREMENTS : The stands and chairs will probably

remain in the pit.

120

CATEGORY : stage

TTTLE: Spot Booth, Projection Room

NUMBER OF OCCUPANTS: 3 or 4

ASSIGNABLE FLOOR AREA : 300 sf

FUNCTIONAL DESCRIPTION : This will be the source of most of

the magical effects seen on stage. Its essential mission is

to throw light at the stage.

ENVIRONMENTAL REQUIREMENTS : This space should be large enough

for man and machine. Often, this will depend on the requirements _

of the machine. It should be well ventilated, completely sealable,

and have some acoustical treatment to remove machine noises.

EQUIPMENT AND FURNISHINGS : 4 machines (spotlights, projectors,

effect generators, as required), 4-6 chairs, a desk, 4 cue stands

(same as music stand), wall mounted intercom system and monitor

connection.

STORAGE REQUIREMENTS : This space will require some small

storage for spare bulbs, carbon rods, and small screws. It

should also have flat storage for gels and frames (for lights)

121

CATEGORY : stage

TTTLE: Broadcast Booth

NUMBER OF OCCUPANTS: 3 or 4 depending on number of cameras,

ASSIGNABLE FLOOR AREA : 300 sf

FUNCTIONAL DESCRIPTION : This will be the control center for mix­

ing the separate images into a broadcase. Also, this area will

be control center for video cueing.

ENVIRONMENTAL REQUIREMENTS : m order to direct the mix, this

space will require a very good and complete view of the stage.

It should be acoustically isolated from the house. In addition,

it should have minimal or no light spill into the house. This

will be aided by the standard operating procedure of no lights on

except lighted displays/controls and monitors.

EQUIPMENT AND FURNISHINGS : 4 swivel chairs, a wall mounted

intercom. 2 cueing stands, and broadcast equipment as required

(monitors, mixers, videotape recorders, etc.).

STORAGE REQUIREMENTS : in addition to the equipment that

will remain, a pegboard for cords, tape storage (50 or so)

122

CATEGORY : Dressing

TTTLE: Chorus Room

NUMBER OF OCCUPANTS: 20-200 (75 typical)

ASSIGNABLE FLOOR AREA : 1500 sf

FUNCTIONAL DESCRIPTION ; This area will be used for preparation

mainly but also for some chorus rehearsal. Also, it is a

holding zone for those awaiting cues.

ENVIRONMENTAL REQUIREMENTS : It shall need to be as free from

obstructions as possible and proportional to the acting area on

stage. In addition, this space will need to have good acoustics

(absence of defects), and a surface similar to stage. It shall

be well ventilated, and well-lit. Daylight is not required here,

but acceptable.

EQUIPMENT AND FURNISHINGS : Mirrors and wall bar on one side;

collapsible make-up counters, mirrors and lights around perimeter

Seating that can be moved and stored will also be required. A

monitor connection will be required.

STORAGE REQUIREMENTS : The seating mentioned above and the

makeup stations if they are free-standing.

123

CATEGORY : Dressing

TTTLE: Rehearsal

NUMBER OF OCCUPANTS: varies

ASSIGNABLE FLOOR AREA : 4,000 sf

FUNCTIONAL DESCRIPTION : An area devoted to practice of roles

and relationships to be performed.

ENVIRONMENTAL REQUIREMENTS : This space shall emulate the

acting area on stage as much as possible, especially in floor

surface and acoustical quality. It should be well-ventilated

and wel l - l i t with lights that also emulate on stage capacity.

EQUIPMENT AND FURNISHINGS : moveable seating for 50-60 maximum,

Monitor connection, lights and small control panel.

STORAGE REQUIREMENTS : moveable seating; taping equipment

closet.

124

CATEGORY : Dressing

TTTLE: Shared Dressing Room (6) required

NUMBER OF OCCUPANTS : varies (2-4)

ASSIGNABLE FLOOR AREA : HO sf each minute.

FUNCTIONAL DESCRIPTION : Preparation of two performers, includ­

ing showering, makeup, dressing, relaxation. These performers

and their aids (if any) will wait here for their cues.

ENVIRONMENTAL REQUIREMENTS: Comfort and amenity are essential

Good lighting and ventilation is required. Outside windows

are required.

EQUIPMENT AND FURNISHINGS : 2 makeup stations (including

table, chair, 3 sided mirror lights, makeup drawer, and 2

electrical outlets), one shower, one toilet and one lavatory

separated from main area. Monitor connection; 12 foot closet

space; one additional chair;'one telephone; lockable drawers in

base cabinet.

STORAGE REQUIREMENTS : personal effects in lockable drawers,

makeup, and street clothes during performance.

125

CATEGORY : Dressing

TTTLE: star Dressing Room (4) required

NUMBER OF OCCUPANTS : varies (1 performer, 1-2 assistants)

ASSIGNABLE FLOOR AREA : 110 sf each (minimum)

FUNCTIONAL DESCRIPTION : Preparation of featured performer,

including showering, makeup, dressing, relaxation. The Performer

will wait here for cue. The conductor usually occupies one of

these.

ENVIRONMENTAL REQUIREMENTS : Comfort and amenity are essential.

Good lighting and ventilation arerequired. Windows to the outside

are required.

EQUIPMENT AND FURNISHINGS : One makeup station (including

table, chair, 3 sided mirror, lights, makeup drawer, and 2 elec­

trical outlets), a shower, toilet, and lavatory, monitor connec­

tion; one telephone; 12 foot closet space, one small couch or

lounge; lockable drawers in base cabinet.

STORAGE REQUIREMENTS : personal effects in drawers, makeup,

and street clothes during performance.

126

CATEGORY : Dressing

TTTLE: Lounge (also known as Green Room)

NUMBER OF OCCUPANTS: varies (75 typical)

ASSIGNABLE FLOOR AREA : 1350 sf (min . )

FUNCTIONAL DESCRIPTION : Waiting, relaxing, preparation area

for miscellaneous performers during performance. Reception area

for cast, crew, and selected public afterwards,

ENVIRONMENTAL REQUIREMENTS : This space will need to be clean,

well-lighted, well-ventialted, comfortable, and good looking. It

must sustain a lot of wear and tear, so durability is importatn.

Windows to the outside are required. Stage door shall be

adjacent to this space.

EQUIPMENT AND FURNISHINGS : a monitor connection; moveable

seating and tables; counter space (15-20 If) ; kitchenette includ­

ing small refrigerator, sink, warmer-top.

STORAGE REQUIREMENTS : supplies and eating utensils , table

cloths, etc.

127

CATEGORY : D ress ing

TITLE: Restrooms (1 male, 1 female)

NUMBER OF OCCUPANTS: v a r i e s

ASSIGNABLE FLOOR AREA : 300 s f each ( m i n . )

FUNCTIONAL DESCRIPTION : t o i l e t s and l a v a t o r i e s , no showers

ENVIRONMENTAL REQUIREMENTS : The f i x t u r e s and sur faces w i l l have

t o be durab le . Lavator ies r equ i re i n d u s t r i a l grade dra ins and

t r a p s . Acoust ica l and mechanical i s o l a t i o n i s necessary . Good

l i g h t i n g and v e n t i l a t i o n a re e s s e n t i a l .

EQUIPMENT AND FURNISHINGS : towel d i spense r s , t r a s h r e c e p t a c l e s ,

l a rge m i r r o r s , f i x t u r e s , and s t a l l s .

STORAGE REQUIREMENTS : paper towels and s imi l a r supp l i es s h a l l

be s to r ed in a nearby j a n i t o r ' s c l o s e t .

128

CATEGORY : Shop

TTTLE: Office of Shop Manager

NUMBER OF OCCUPANTS: 0" e

ASSIGNABLE FLOOR AREA : 100 sf

FUNCTIONAL DESCRIPTION : This will be a work station for a

very general manager. He will want privacy occasionally and

quick access to the shop areas.

ENVIRONMENTAL REQUIREMENTS : This office will require acoustic

isolation from the noisy shop as well as isolation from the dust

and paint as well as perhaps some degree of social isolation. A

window would be welcome. Access to the bookkeepers and the

separate shop foremen is necessary.

EQUIPMENT AND FURNISHINGS : telephone, filing cabinet, desk,

three chairs, adding machine.

STORAGE REQUIREMENTS : papers, etc.

129

CATEGORY : shop

TTFLE: Office of Bookkeeper/Clerical Staff for Shops

NUMBER OF OCCUPANTS: Two

ASSIGNABLE FLOOR AREA : 200 sf

FUNCTIONAL DESCRIPTION : This is a workstation for two secretaries

who will keep the books, answer the phone, research for shop

managers, etc.

ENVIRONMENTAL REQUIREMENTS : Isolation from dust, noise, fumes,

etc. Daylight would be nice but not sufficient. Some durable

but attractive finishes would be good. Ergonometrics could/should

be applied.

EQUIPMENT AND FURNISHINGS : two work stations consisting

of: desk, chair, phone, etc, filing cabinets (lateral, 6-10

drawers).

STORAGE REQUIREMENTS : filing for the entire shop complex;

letters, contracts, product information, payroll, etc. A safe

is not required but could be used.

130

CATEGORY : Shop

TTTLE: Woodworking: Roughcutting and millworking of raw material

NUMBER OF OCCUPANTS: 12-15 (shared with assembly & painting)

ASSIGNABLE FLOOR AREA : 943 sf

FUNCTIONAL DESCRIPTION : Here raw materials (usually stored in

small quantities elsewhere) are cut into pieces that will be

used to build the flats or other pieces as per the designers'

drawings. Inhabited only when necessary, it also serves as a workspace for small parts. ENVIRONMENTAL REQUIREMENTS : Working with potentially dangerous

tools requires an extra concern for worker safety. Smooth,

unobstructed floors and good lighting are necessary. A dust

vacuum system will be used. Skylights are good.

EQUIPMENT AND FURNISHINGS : 2 radial arm saws, 1 circular saw,

1 band saw, a layout table with a vice or two, and miscellaneous

shelving for small pieces. Also, a couple of adjustable,

moveable stands.

STORAGE REQUIREMENTS : just small pieces and hand tools (us­

ually in customized, worker-made cabinets.)

131

CATEGORY : Shop

TTTLE: Scenery Assembly Area

NUMBER OF OCCUPANTS : 12-15 (shared)

ASSIGNABLE FLOOR AREA : 1200 sf

FUNCTIONAL DESCRIPTION : This area will receive the cut

pieces and here they will be made into the flats and platforms

to be painted. After the framework is built, it will be covered

with canvas or ducking then "sized" on saw horses (about 6 ft. long)

ENVIRONMENTAL REQUIREMENTS : Most of the work is done on the

floor. Although the floors must be durable because of things

dropped onto and nailed into it, they should be as comfortable

as possible to stand or kneel on. Moderate lighting levels are

okay but the light should be even so they can see spots that sag

or have too little gesso,

EQUIPMENT AND FURNISHINGS : The only things in this area will

be the sawhorses mentioned above and pneumatic or electric nail

guns, hand tools, etc.

STORAGE REQUIREMENTS : Corners of this area will be used to

store small quantities of raw materials and flats waiting to

be painted. These may be wall hung to preserve floor area.

132

CATEGORY : Shop

TTTLE: Painting Area for Flats and Backdrops

NUMBER OF OCCUPANTS : 12-15 (shared)

ASSIGNABLE FLOOR AREA : 39,160 sf

FUNCTIONAL DESCRIPTION : Painting on both small flats and very

large backdrops goes on in this area. This .usually takes two

Steps; spraying and detailing. A large painting frame is needed

along the longer wall either on the wall accessible by scafold-

ing or mounted (flown) so that it may slide below the floor to the level desired.

ENVIRONMENTAL REQUIREMENTS : it should have the capacity to re­

produce colors of stage lighting to a limited degree and the lightj

ing should be uniform. It may be that this activity requires

a large cavernous space - often there is some wall-mounted stor­

age for old scenery and flats to be repainted. Noise and paint

fumes are a hazard, -•

EQUIPMENT AND FURNISHINGS : The items required for this

space are: a large compressor, a paint shaker, a custom mixer

for colors, a cleaning unit, and shelves.

STORAGE REQUIREMENTS : Fire rated storage of paint and chemicals

is necessary along with scenery storage..

133

CATEGORY : Shop

TTTLE: Costume Construction, Cutting, and Layout Area

NUMBER OF OCCUPANTS: Four (shared)

ASSIGNABLE FLOOR AREA : 403 sf

FUNCTIONAL DESCRIPTION : After receiving the designs and fabrics

from the designer, these workers will make patterns, cut them

into cloth, and sew them into finished form.

ENVIRONMENTAL REQUIREMENTS : Good lighting, especially at

the machines is important. Also, this area should be free from

the air environments of the dyeing area and the storage area.

Easy to keep clean surfaces would be good so as not to soil

the fabrics.

EQUIPMENT AND FURNISHINGS : 4 sewing machines (heavy duty),

a layout table, possibly a bulk cloth cutter, and miscellaneous

shelves.

STORAGE REQUIREMENTS : cubbyholes for bolts of fabric (4' x

10" dia.), drawers for thread and scissors, etc.

134

CATEGORY : Shop

TTTLE: Storage of Costumes and Accessories, A Costume Library

NUMBER OF OCCUPANTS: none

ASSIGNABLE FLOOR AREA : 545 sf

FUNCTIONAL DESCRIPTION : A huge walk-in closet. Efficient but

with room to get around in. Costumes can be very heavy and

at the same time, fragile, so a system should be developed

that will hold the hung costumes and protect them after cleaning (off premises). This area is uninhabited,

ENVIRONMENTAL REQUIREMENTS : A c o o l , d ry , and modera te ly

well-lit environment. The protection of the costumes may require

some variation of the cedarchest-mothballs strategy.

EQUIPMENT AND FURNISHINGS : none

STORAGE REQUIREMENTS : storage is what this space is al l

about. In addition to designing a storage system for hanging

costumes, provision should be made for storing the corresponding

accessories, such as shoes, hats, etc.

135

CATEGORY : Shop

TTTLE: Repair of Costumes, Refurbishment, Refitting

NUMBER OF OCCUPANTS: four (shared)

ASSIGNABLE FLOOR AREA : 1154 sf

FUNCTIONAL DESCRIPTION : Often the use of an old costume re­

modelled to meet current needs can result in a big savings of

time and money. This space can be broken down into areas for

making alterations, a dyeing room with vats, and a dressing room,

ENVIRONMENTAL REQUIREMENTS : This is were a lot of evalua­

tion goes on so it will require mirrors. The dressing room should

be ample and comfortable. The dyeing room will have good ventila­

tion and have easy to clean surfaces.

EQUIPMENT AND FURNISHINGS : 2 dye vats (about 30" dia,),

a smaller sewing machine, 2 chairs.

STORAGE REQUIREMENTS : The dye room will need to store

liquid dyes.

136

CATEGORY : Shop

TTTLE: Property Shop Storage and Distribution

NUMBER OF OCCUPANTS : one (or two)

ASSIGNABLE FLOOR AREA : 655 sf

FUNCTIONAL DESCRIPTION : From this point props will be received,

modified, stored, and distributed. The distribution will take

place at a limited access point like a counter or window.

ENVIRONMENTAL REQUIREMENTS : Since some spray paint or glue will

be used it must be well ventilated and have included in it a venteji

spray booth. It should be moderately well-lit also. Some of

the props will no doubt be "uncubbyholeable" so a spare corner

in any spot would be good.

EQUIPMENT AND FURNISHINGS : The only things in this space

are a stool or chair and maybe a ladder.

STORAGE REQUIREMENTS : There must be storage for a wide

variety of objects of all sizes.

137

CATEGORY : Shop

TTTLE: Electrical Shop

NUMBER OF OCCUPANTS! One

ASSIGNABLE FLOOR AREA : 100 sf

FUNCTIONAL DESCRIPTION : This will be a shop in the sense that

repair and construction will go on in here. It will need to

be very active at times.

ENVIRONMENTAL REQUIREMENTS : Due to the activity i t will

require the abil i ty to be isolated-from light but only at

certain times, A blank white wall is good.

EQUIPMENT AND FURNISHINGS : a workbench with plugstrips,

a light tree (about 15' t a l l ) .

STORAGE REQUIREMENTS : storage for a l l those itsy, bitsy

electr ical parts, tools, and metering equipment.

138

CATEGORY : Miscellaneous

TTTLE: Janitor's closet

NUMBER OF OCCUPANTS: 1 works t a t ion

ASSIGNABLE FLOOR AREA : 50 sf each

FUNCTIONAL DESCRIPTION : This is the home base for maintenance

ac t iv i t ies . The number and location depend on space arrangements

A janitor should not have to carry equipment more than 300 ft.

ENVIRONMENTAL REQUIREMENTS : Simple, durable, chemical,

and water resis tant . These should have lights and vents in each.

EQUIPMENT AND FURNISHINGS : shelves to hold cleaning supplies

and stock items. a jani tor 's sink (large and deep; a drip

rack with floor drain.

STORAGE REQUIREMENTS : vacuum cleaner, supplies, broom, mop.

139

CATEGORY : Miscellaneous

TTTLE: Elevator(s) 2 required

NUMBER OF OCCUPANTS: va r ies

ASSIGNABLE FLOOR AREA : 60 sf each

FUNCTIONAL DESCRIPTION : Service and handicapped access, primarily

ENVIRONMENTAL REQUIREMENTS : These should have good, durable

finishes w/removable pads and carpet for interchangeability,

Each requires light and a fan. Hydraulic elevators would be

most suitable.

EQUIPMENT AND FURNISHINGS : removable pads and carpet

STORAGE REQUIREMENTS : none

140

CATEGORY : M i s c e l l a n e o u s

TTTLE: Trap and L i f t Vaul t

NUMBER OF OCCUPANTS : none

ASSIGNABLE FLOOR AREA : r ough ly equa l t o a c t i n g a r e a on s t a g e

FUNCTIONAL DESCRIPTION : Mechanical space fo r t h e o p e r a t i o n of

below s t a g e l i f t s and t r a p s . The l i f t s and t r a p s w i l l be loaded

w/scenery from s t a g e l e v e l .

ENVIRONMENTAL REQUIREMENTS : Access from shops i s r e q u i r e d ,

as a r e good l i g h t i n g , w e l l b u i l t h a n d r a i l s and c a t w a l k s , p l e n t y

of c l e a r a n c e above and below.

EQUIPMENT AND FURNISHINGS : mechanica l equipment as r e q u i r e d ;

wa l l mounted i n t e r c o m .

STORAGE REQUIREMENTS t none.

APPENDICES

_• ^

APPENDIX A

CASE STUDIES

141

142

In any design endeavor, it is useful to study previous

solutions to similar situations. The ability to note their

individual successes and failures is essential. This appendix

deals with three opera houses. In chronological order they

are: The Bayreuth Festspielhaus. the San Francisco War Memorial

Opera House and the Metropolitan Opera House in Lincoln Center,

Each house is briefly profiled in terms of context, func­

tion, site, form, systems and cost. Each profile is followed

by relative illustrations. Then these three houses are com­

pared and contrasted. This appendix will be most useful in

conjunction with the body of the program and other appendices.

143

CASE STUDIES SUMMARY

In applying what was revealed in the case studies, it is

useful to summarize the specific lessons of each facility.

Bayreuth Festspeilhaus:

- Innovation is possible in this field. It is also

possible to depart from the popular expectations

(or prejudices) and still have an opera house that

is popular and effective.

- Opera is enhainced by illusion. The success of the

opera production depends on the success of the

illusion, to some extent.

- A good set of priorities would emphasize the

experience of opera rather than its trappings.

War Memorial Opera House:

- A public edifice such as an opera house can be

built without extreme controversy whenever there is

a popular desire and will to do so. Public and

private support can accomplish anything.

- Inadequate consideration of the ceremonial/cultural/

social context of opera will be detrimental to the

operatic experience.

144

- Flexibility and facility in an opera house are

desirable attributes. However, the need for these

should be assessed rather than including an un­

usable capacity.

Metropolitan Opera

- Bigger is not always better, but if well thought out,

can be capable of more flexibility and original

stagecraft.

- Classical elements (such as boxes) can be adapted

to current need.

- Backstage facility and amenity can yield dividends

on stage.

- The operating and scheduling structure of an opera

house must be taken into account in the design.

145

BAYREUTH FESTSPIELHAUS

Architects: Wilhelm Neumann, Berlin, and

later Otto Bruckwald. Leipzig

Built: Begun 1872, completed 1876.

As the nineteenth century entered its second half,

the composer, Richard Wagner, was synthesizing his experience

in various concert halls and opera houses of Europe. He

longed for a perfect setting to stage his operas, princi­

pally "The Ring of the Nibelung," In this opera house, all

of his ideas were manifested under his watchful eye. He was

well-known as an unconventional individual and. to some extent,

this encouraged him to ignore the context of his contemporaries.

He was dependent on the patronage of King Ludwig of Ba­

varia and this combined with his contempt for certain cities,

led him to choose Bayreuth as the location of his ideal set­

ting. This choice was fortunate in that it fostered mutual

respect and devotion between Wagner and the citizens of Bayreuth.

This relationship was fundamentally important to the comple­

tion and success of the Festspielhaus.

This house was to function as a home for Wagner's operas

exclusively and as the intended cornerstone of a cultural mecca

and training facility.^ In his words, it could be an "Art

Washington". Admission would be by subscription only.

146

Conceptually, the Festspielhaus was to be more of an event 3

than an edifice.

The Festspielhaus was built on the outskirts of Bayreuth,

on a small hill. Its nature as an event location required

it to have a country flavor, parks and gardens for attendees

to walk through and"picnic in. These factors, in addition

to the festivals, made it a local landmark immediately.

Its form was dictated by Wagner's desire for an ideal

setting. One of his chief concerns was the preservation of 4

the magic effects of a "theatron." The audience was to be

directly related to the action on stage and neither the sight

5

nor sound of the orchestra was to interfere- This require­

ment eliminated the conventional box seats and created the

famous "Mystic Abyss" orchestra pit.

In addition to his desire for artistic/aesthetic ex­

cellence was an equal determination to be frugal in the build­

ing itself. The priorities were clear. First, the opera house

was to have "no further solidity than what is necessary to

ensure against collapse . . . no ornamentation." Second,

the functioning systems of the opera house were required to

be "absolutely perfect. Here no economy." Third, the personnel g

were to receive "only compensation, but no salary."

The cost of the Festspielhaus is difficult to separate

from all the other money that Wagner spent in Bayreuth. How­

ever, it cost 1,272,876.09 marks (1876) for the first festival 7

including the building.

147

WAR MEMORIAL OPERA HOUSE. SAN FRANCISCO

Architects: Arthur Brown, Jr., and G. Albert Lansburgh

Built: January 28, 1931 September 9, 1932 3,252 seats

San Francisco has had opera since 1851. In the years

since, the city has built an opera house, lost it in the great

1906 earthquake and, in the wake of the Depression, built

another opera house. This opera house is part of the sprawl-

ling War Memorial Center, just across Van Ness Avenue from

City Hall.

In the 1920s, a movement was begun to raise funds to

build a performing arts complex. By a combination of bond

issues, donations and pledged underwriters, the San Francisco

Opera Association raised funds to build the facility. The

desire for opera and the determination to build an opera house g

were matters of civic pride. However, even after the money

had been acquired, delays put groundbreaking off until 1931.

The Opera House is part of the War Memorial Group, along

with the Veterans Building, Davies Sjmiphony Hall, Herbst

Theater and the Museum of Modern Art. The Opera House, in

addition to opera,.Qan. stage recitals and ballet. The main

floor of an adjoining recital hall was designed to tilt mechan­

ically, allowing it to become flat for dances and ceremonial

occasions,^ though little use is made of this expensive capacity,

148

The site was chosen partly out of self defense, A moving

and storage company had bought the earthquake-demolished cam­

pus of St, Ignatius Church and College, across the street from

the City Hall. Acquisition of this site allowed a Civic

Center to be planned, just off the intersection of Market

Street and Van Ness Avenue, both major arteries.

The design of the Opera House, along with the Veterans

Building, is complementary to the City Hall, which Brown also

designed. Stylistically, it is "somewhat reminiscent of

Palladio's Basilica in Vicenza." It has a fairly straight­

forward plan; the house opening into a large foyer and out to

the street through five pairs of doors. It shows the influ­

ences on Brown of his mentor, Bernard Maybeck, and more,

L'Ecole des Beaux Arts.

The only complaint in regard to this opera house design

was that it allowed much of the social potential to go unused.

The huge ballustrade on the front could have been opened out

to the mild San Francisco climate (when the weather conditions

permitted).

Systems in the Opera House are all designed to be moveable,

flexible, and adjustable. In addition to the tilting floor,

the stage is extensively trapped; the spotlights are on an

adjustable bridge; the orchestra pit is mechanically variable;

and many of the battens are electronically controlled. Built

with 300 headset locations for the hearing-impaired, the War

Memorial Opera House now features projected super titles for

149

many of its performances. The ventilation system is an upflow

system, which has the advantage of putting tempered air direct­

ly to the audience via ventilators under the seats.

The cost of the War Memorial Opera House in 1932 was

$6,000,000 ($69,240,000 in Dallas, 1983 dollars. )-^^ The

total cost for the entire Civic Center was $23,000,000 (in

1932 dollars).

150

THE METROLPOLTAN OPERA HOUSE

Architects: Harrison, Johnson. Belluschi, Saarinen,

Abramovitz & Bunshaft

Built: Begun summer 1962, completed summer 1966 3,788 seats

Known as "the General Motors of the performing arts,"

the Metropolitan Opera has been staging operas in New York

and elsewhere for over a century. In its home ("the old Met")

during the 1950s and 1960s, the Metropolitan Opera had increas­

ing maintenance costs, frustration with the sightless box seats.

no backstage space, and inadequate dressing and rehearsal

14 facilities. The company had been trying to relocate since

before the Depression but was deterred by financial pressures.

The scale of the Met's finances are extraordinary. Ten percent

of all the money spent on professional musical performances in

the United States is-spent by the MET.

The Metropolitan Opera House is strictly that. Virtually

no other activity takes place there on a regular basis. This

is due, primarily, to the rigorous production schedule of the

Met. There are occasionally ballet performances, but usually

these are held in the New York State Theater. Harrison referred 16

to it as "a frame for the great operas of the world."

The site is the premier location at Lincoln Center, at

the center and facing Columbus Avenue. The decision to relocate

151

there was the result of a serious courtship between the Met

and Lincoln Center. The simultaneous commitments of the Met­

ropolitan Opera and the New York Philharmonic to build new

houses in Lincoln Center made 1955 a year of realization for

New Yorkers.

The form taken by the Metropolitan Opera is distinctive

and identifiable. The five great arches that face Columbus

Avenue are somewhat like stained glass windows. These window

walls are repeated with a different treatment on the north and

south facades. It is almost a classic floor plan with the pros­

cenium line differentiating the stage spaces from the public

spaces. The public areas include the house, a grand foyer,

and seven levels of seating, restaurants and offices.

Of course, the new house has made significant improve­

ments in the backstage, dressing, and rehearsal areas. In

fact, in that area, they are one of the biggest in the world.

But perhaps more important to the opera lover, all the seats

have a view of the stage, rather than of other seats.

The Metropolitan Opera House is lavishly equipped with

seven stage elevators, fifty traps, a turntable, and a hydrau­

lic equalizing system. The lighting above the stage includes

nine border battens and four light bridges. The stage is

supplied with steam for special effects. In addition, there

are three large motorized wagons for special situations. A

closed circuit television system is used for prompting and

17 cueing.

152

The Metropolitan Opera House cost almost $47,000,000 in

1965 ($139,186,700 in Dallas, 1983 dollars),^^

153

Conclusion

Of the three opera houses described, Bayreuth surely

stands out as the most specialized. There is no doubt that

the Festspielhaus has characteristics especially suited to

Wagner's operas. Essentially, the biggest difference is in

the longer reverberation times desirable for Wagnerian opera.

The effect of this longer reverberation time is a fullness of

19 tone, more blended sound.

The specialized nature of this condition makes the Fest­

spielhaus less than desirable for other operas. Although the

Bayreuth house has some innovations and attributes that are

applicable to a new design, it must be kept in mind that

these can be overdone to the detriment of the general acoustical

conditions.

The Metropolitan Opera has unique acoustical advantages

as well. The apron area of the stage was designed as a

special zone. Surrounding this area are spayed side walls,

the prosceniiim arch above and the orchestra below. The effect

is to cause early side reflections to become more apparent.

20 This is advantageous for articulation, which can be a big

problem in opera.

Bayreuth and the Met share an acoustical feature. This

is the factor of cubeage (volume per seat). The new Met has

o 21 3

about 8.4m /seat and Bayreuth about 7m /seat. This causes

a richer sound although extreme volume must be avoided. The

old Met was cavernous to the point of causing singers to strain themselves.

154

The Metropolitan is the most expensive, even in adjusted

dollars. Bayreuth, on the other hand, is on the cheap end of

the scale. The extent to which the costs are reflective of

decoration versus equipment costs cannot be ascertained. The

Met is better equipped, but its value is not necessarily

applicable to other opera house designs. The War Memorial

Opera House is a median point between the two extremes. It

is sufficiently equipped for the productions staged there. It

is the matching of facility in systems with need that defines

value.

All three houses are landmarks. This is a function of

the success of the respective solutions and contexts. However,

the function of an opera house as a ceremonial spacer need^

to be considered. The operatic environment at Bayreuth is

permeated by true believers. In this setting, ornament is

more of a crime (or at least a superfluous gesture) than at

the War Memorial,

155

ENDNOTES

Hans Mayer, Richard Wagner in Bayreuth. trans. Jack Zipes, (New York: Rizzoli International Publications 19 ) p. 30. . .̂

2 Caroline V. Kerr, trans, and ed., The Bayreuth Letters

of Richard Wagner (New York: Vienna House, 1972), p. 299.

^Ibid,, p, 84.

4 Robert Hartford, ed., Bayreuth: the Early Years, (Cam­

bridge, MA: Cambridge University Press, 1980), p. 29.

5 Kurt Saffir, "Mystic Abyss," Opera News (April 20-27,

1974): 10-13.

g Robert Hartford, p. 32.

^Ibid., p. 39.

g San Francisco War Memorial and Performing Arts Center,

Fifty Years of Performing Arts 1932 to 1982, (Press Kit, 1984), p. 4.

9 Herbert 0. Warren, "Forward Steps,' The American City,

Vol. XLVII (October 1932): 76.

San Francisco War Memorial and Performing Arts Center, p. 8.

•'••'•Herbert 0. Warren, p. 76.

12 Stanley J. Strychaz, ed. Means Square Foot Costs, 1983.

(Kingston, MA: Robert Sturgis Godfrey, 1983).

Martin Mayor, Bricks, Mortar and the Performing Arts, (Millwood, NY: Knaus Reprint Co., 1975), p. 29.

Edgar B. Young, Lincoln Center, the Building of an Institution, (New York: New York University Press. 1980), p. 15.

156

•'•̂ Martin Mayor, p. 29,

-I g

The Metropolitan Opera Press Dept., Exploring the Met, (New York: The Metropolitan Opera, 1984), p, 28,

•'•̂ Ibid, , p. 14.

18 Stanley J. Strychaz.

19 P. H. Parkin, H. R. Humphries and J. R. Cowell,

Acoustics Noise and Buildings. 4th Ed., (London: Faber and Faber, 1979), p. 89.

20 Vilhelm Lasson Jordan, Acoustical Design of Concert

Halls and Theaters (London: Applied Science Publishers, Ltd.), p. 78.

Ibid.

k k k. .

APPENDIX B

MARKET INFORMATION

157

Ik

158

MARKET INFORMATION

The relationship between an opera company and the

public is a complex one. Rarely is there any direct com­

munication about this relationship, except at fundraising

perhaps. The Dallas Opera retained the firm of Booz, Allen,

and Hamilton, Inc., to examine this relationship. The Back­

ground Section of this program describes the historical re­

lationship and the current climate. This section is intended

to examine the more quantifiable aspects of community support

and artistic response.

First, it may be appropriate to identify this public.

Just who is it that attends the opera?

These people can be divided into two groups right away.

There are the subscribers and the non-subscribers. The sub­

scribers may be further categorized by sex. Women make up

65%, or almost two-thirds of the subscribers.

The age and income of these attending the opera is also

important. Figure 1 shows the age distribution for subscribers

AGE DISTRIBUTION

Figure 16.

SUBSCRIBERS

Age of Opera Patrons,

YEARS or AGE

159

and non-subscribers. It is not surprising that the sub­

scribers are slightly older.^

The income distribution of subscribers and non-subscrib­

ers is show in Figure 2. The subscribers are slightly more

2 affluent.

INCOME DISTRIBUTION

<

u cc

S 2 M 0 0 tISOOO- SSSOOO- tSSOOO- SMOOO- tlOOOQO J^SWB D 4 V O T T W W H M V W

_ . ANNUAL INCOME RANGE

Figure 17. Income of Opera Patrons,

How has the public support of opera grown? Figure 3 3

indicates the ticket sales between 1975 and 1982.

This is not the whole story though. Even though the

chart indicates stable sales of at least 3000 tickets for

each performance, since 1957 the average has been over 3400 4

for each performance.

l&O

TOTAL NUMBEH SEATS SOLO

(THOUSANOSI

20-

10-

TRENDS IN O T E H A TICKET SALES 1t74- I t t 2

ItTS 197« — I —

1977 1971 1979

_II*T1NaC«»*C1TV iMrfnnMHUMCtii

— I I 1991 1993

Figure 18. Opera Ticket Sales

Finances are even more encouraging for The Dallas Opera,

In addition to being one of the few opera companies in the

United States that has no debt, the percentage of the annual

budget that is covered by earned income has been increasing.

In 1978 that figure was 29% and by 1988 it is projected to

be 50%, a reasonable maximum that they will not be able to

increase. In 1983. the budget was $3.5 million. Of that,

5% was acquired through grants, and 57% came from gifts.

From their 190 member board alone, the opera received close

to $500,000.^

About two-thirds of their annual budget is spent on

payroll. The City of Dallas benefits directly and indirectly

to the tune of $10 million each year from the opera.

161

The Dallas Opera responds to this support by programming

their activities to reach the maximum number of people. Not

only is this a source of good will, but also plants the seeds

which will yield a new crop of supporters.

Finally, what does the public want? In Figures 17, 18, and

.19, their responses to what attributes are important are g

shown.

ATTRIBUTE

ACOUSTICS

VIEW

SEAT COMFORT

ROOM TEMPERATURE

NEIGHBORHOOD SAFETY

THEATER ATTRIBUTE IMPORTANCE RATINGS

NOT IMPORTANT ^ IMPORTANCE RANKING »

1 Z 3

ATMOSPHERE

PARKING

LOCATION

VERY IMPORTANT

SUBSCRIBERS

NON-SUBSCRIBERS

Figure 19. Importance of Attributes by Theater.

162 ATTRIBUTE IMPORTANCE

1 2

INOT IMPORTANT)

ATTRIBUTE:

ACOUSTICS

VIEW

SEAT COMFORT

ROOM TEMPERATURE

NEIOHBORHOOO SAFETY

ATMOSPHERE

PARKING

LOCATION

S •

(VERY IMPORTANT)

1 /

p A

N / ^

\ • ^ '

AGE RANGE

. ^ ^ . _ _ _ _ 4 6 - M

M . I A

•

Figure 20. Importance of A t t r i b u t e s by Age,

SUBSCRIBER THEATER EVALUATIONS

ATTRIBUTE IMPORTANCE

ACOUSTICS

VIEW

SEAT COMFORT

TEMPERATURE

NEIOHaORHOOO SAFETY

PARKING

ATMOSPHERE

LOCATION

1 2

INOT IMPORTANT)

POOR EXCELLENT

5 6

(VERY IMPORTANT)

Figure 21. Attribute Evaluation by Theater.

OVERALL RANKINGS

— ^ MAJESTIC THEATRE «.»• - — — - FAIR PARK MUSIC HALL 4.70 ^ — MCFARLIN AUDITORIUM 3J7

163

ENDNOTES

Booz, Allen, and Hamilton, Inc, Planning for a Spring Season - Market Research Results. (Dallas, TX: The Dallas Opera, 1983).

^Ibid.

^Ibid.

4 The Dallas Opera Fact Sheet 1983. (Dallas, TX: The

Dallas Opera, 1983).

5 Booz, Allen, and Hamilton, Inc.

®Ibid.

APPENDIX C

ACOUSTICS

164

k

165

ACOUSTICS

Acoustic design used to be considered an art. Garnier,

the architect of The Paris Opera, upon completion of that

building said he thought acoustics would never be predictable.

He exemplifies the belief of that time that acoustics were

mysterious or circumstantial. It was not until Wallace

Sabine, at the turn of the last century, opened the door to

science.

It is simply that in acoustic design or prediction,

there are complex variables, and subjective evaluation of

the results. The first problem of complex variables makes

this particularly suited to computer applications. Acoustic

design is the quintessential "expert system."

Architectural Acoustics can be divided into four areas;

room acoustics, sound isolation, mechanical systems, and

sound amplificaton. Room, acoustics depend on four things:

volume, interior surface shapes, surface material placement

and selction, and audience seating.

Opera houses can be categorized by the shape of the

pit and use of boxes or galleries. Italian opera houses

have a shallow, visible pit and boxes or galleries. This

usually results in small cubeage (or volume-per-seat) and a

shorter reverberation time desirable for Mozart's rapid-fire

music. Wagnerian opera houses have the "mystic abyss" type

166

pit and no galleries. The consequence of this is longer

reverberation time, greater cubeage, and sound that is

blended (but not muddy).l

Early side reflections are important to the musical 2

quality, but also to articulation. This is especially

critical to opera. To assist in this, the area of wall near

the proscenium can be splayed (see Figure ) or angled

toward the main auditorium walls. In no case should these

main side walls be parallel. The rear wall should never be

smooth and concave in plan. The ceiling should slope up

toward the balcony with little or no concavity. The ceiling

shape is most critical in that it needs to thoroughly diffuse 3

the sound.

Material selection is not subject to cannon. About the

only thing that one may say about materials is that abosrption

of high frequencies is not good and should be avoided. This

may also involve dimensions of materials. For example, a

five foot surface will reflect sounds with wavelengths less

than five feet. Extremely small surfaces should be avoided

for sound quality.

As mentioned previously, the seats in the house should

have absorption characteristics that are the same (or close

to it), occupied or empty.

r̂

167

Unit sets as mentioned In Background require space equal to acting area for wagons behind and/or to each side-

Splayed walls at proscenium for acoustical purposes, see Appendix C.

The rear wall must not follow seating curve, but scatter reflected sound

USER PREFERENCES IN SEATING SHOWN ABOVE. A • MOST DESIRED F = LEAST DESIRED

Figure 22. User s a t i s f a c t i o n Diagram.

168

Room acoustics, sound isolation, mechanical systems, and

sound amplification act collectively to produce physical effects

such as reverberation time and early decay time. Without going

into greater detail than is necessary, it should be stated that

the range of good reverberation times is centered at 1.6 seconds 4

(l.s to 1.8 seconds). It can be estimated by the relation:

.05 volume (in cubic feet) Reverberation Time =

Total Absorption

One of the prime factors in good acoustics is the exclusion

of acoustical defects (along with the inclusion of features

just mentioned). These all have architectural implications.

They will be listed with comments.

1. Echo - when a reflected sound has enough energy

to be preceived as a distinct sound. This

also requires that the distance from source

travelled by the original sound and the

reflected sound be sufficiently different.

2. Long Delayed Reflection - an indistinct echo,

3. Flutter Echo - rapid succession of obvious small

echos, usually caused by extreme surface

irregularities, highly absorptive materials,

and irregular ceiling diffusion.

4. Sound concentration - hot spots created by the

reflection from a concave surface.

169

5. Coupled Spaces - (particularly important) shared

air media exchanging sounds. When there are

two, large air volumes with substantial

connection, the sounds in one will create

an harmonic image in the other. Also des­

cribed as sound flowing from one space,

where it persists, to an adjacent, silent

one.^

6. Sound Distortion - undesirable change in the quality

of sound, usually selective to certain

frequencies.

7. Sound Shadow - the abscense of reflected sound,

usually caused by poorly designed balconies

(See Figure ).

8. Whispering Gallery - high frequency tends to creep

along concave surfaces (soffits & facia,

especially).

9. Room Resonance - sound coloration or when sounds

at selective frequencies seem louder than

others.

10. Noise and Vibration - any penetrating (unwanted)

sound must be reduced to negligible levels.

The last defect listed also brings up a special problem

for this opera house. That is, how to have a quiet house

surrounded by freeways and landing patterns? The ideal

170

place to stop noise is at the source. This is impractical

for the conditions of my site.

Distance is the most important factor. The inverse

square law as it applies to sound means intensity decreases

exponentially. Isolation is also essential. Sound travels

up to 10 times faster through solids than through air. By

segregating different levels and degrees of enclosure, sound

paths are interrupted. Isolation is also the standard noise

reduction strategy for mechanical and equipment noise. The

proposed subway route will also make isolation necessary.

Noise screens can reduce traffic noise 15-26 dB, Imper­

vious absorptive screens, slatted screens, and other arrange­

ments (quarorails, screening buildings, etc.) can be effective,

shrubs and trees are not very helpful though. Double-

paned, sealed windows and interior arrangements that concen­

trate sensitive areas away from the source can be effective

strategies.^

171

ENDNOTES

P.H. Parkin, H.R. Humphreys, and J.R. Cowell, Acoustics, Noise and Buildings. (London: Faber and Faber 1979), p. 89.

^Wilhelm Lassen Jordan, Acoustical Design of Concert Halls and Theaters. (London: Applied Science Publishers Ltd 1980), p. 81

"̂ Ibid.

4 P.R. Parkin, H.R. Humphreys, and J.R. Cowell,

Acoustics, Noise and Buildings. (London: Faber and Faber, 1979), p. 91.

^Harold Burris-Meyer and Lewis S. Goodfriend, Acoustics of the Architect. (New York: Reinhold Publishing Corp., 1957), p. 62.

^Ibid, p. 63.

7 Consultative Group on Transportation Reserach, Urban

Traffic Noise: Strategy for an Improved Enviornment, (Organization for Economic Co-operation and Development #7), pp. 56-60.

APPENDIX D

SEATING AND AUDIENCE ORIENTATION

172

k

173

SEATING AND AUDIENCE ORIENTATION

In this age of specialization, architects as designers

are often faced with calling in an "expert." Until now this

expert has been a representative of a seating manufacturer.

The seating might be bid as a separate item, specified by

elaborations on the data (evaluative criteria) in the program.

Now these experts may take the form of "expert system" (see

Progressive Architecture October 1983, p. 61) which are the

computerized advisory capabilities of many such experts.

Nevertheless, the designer must have rudimentary know­

ledge of the methods used by these experts to supply the proper

information and evaluate their performance. This appendix is

intended to provide this and other important perception and

comfort data. It is discussed at progressively larger scales,

from the anthropomorphic details to the seats and the house.

The perceptive.tool in this case is the head of the patron,

specifically the eyes and ears. Because of the reflective

capabilities of sound the acoustical considerations are sub­

stantially different and will be discussed elsewhere (see

Appendix C). The eyes and the head each have two directions

of rotation that lead to arcs of comfortable movement for

viewing.

For the human eye, comfortable movement is 15 from

straight ahead both vertically and horizontally.

174

For the e n t i r e head, movement of 45 from center h o r i ­

zonta l ly or 30 from c e n t e r v e r t i c a l l y i s considered comfor­

t a b l e . 1 See Figure 1.

30"

VERTICALLY HOREOffTALLY

HEAD MOVEMENT

Figure 23. Head Movement.

The composite of t h i s da ta would suggest a range of 120

ho r i zon t a l l y and 90° v e r t i c a l l y . See Figure 2.

30«

VERTICALLY HORIZONTALLY

COMPOSITE RANGE

Figure 24. Composite Range

175

This is, however, an extreme interpretation of these

limits. These are most critical for those patrons sitting in

edge zones of the house, especially those in the front row

who will have to turn their heads to see entrances from the

wings, for example. The seats further back will be limited

more by the distance from the stage than by these angles

(distance from the stage will be brought up a little later).

Viewing an opera is an arduous task (and sometimes, a

marathon) even with generous intermissions. It is probably

more sensible to use the head movement angles alone as a

limit. There is another angle which can be used in locating

seats. It is the cone of vision or field of vision. In

Douglas Anderson's book Testing the Field of Vision, he

discusses the link between visual acuity and the angle from

axis. Essentially, within 30° from axis the eye can see a

fair amount of detail. Beyond that, acuity falls off rap­

idly.

The armature for the above mentioned perception tool is

the seat itself. Each seat is different. For acoustical

reasons, it is usually as close to the same absorbtion

profile empty as with someone in it. This is attainable in

a wide spectrum of upholstery and fabrics. Types of seat

construction include box spring, spring edge, spring back,

and padded back.

Each seat will face the stage with slight deviations

allowable. However, the pitch of the seat or its intended

176

incline from vertical varies from the front of the house

to the back. At the front of the house, the pitch will

be greater and at the rear of the house, the pitch will

be the least. The horizontal overhang of the seat back

varies from 8-1/4" to 5-1/4" usually.^

Since each seat may have dimensional and/or direc­

tional variations from the seat next to it, locating seats

could be confusing. For this reason, they are usually set

by using a datum line of some sort. The seats are given

center to center dimensions in both directions. Seat width

(center to center) is usually +̂ 22".

The relationship between rows is usually described

in terms of aisle widths. These in turn are set by local

codes and the type of seating plan chosen. Aisle width

between rows of seats ranges from +33" for multi-aisle 3

plans to +40" for continental seating. These types of

seating plans are generally diagrammed in Figure 3.

CammtlOMl Mating csnctntrtut cIrcuUttM sptct In th* atln atilts

SIM al t lM art Mtt«r than ltd* (aats-

Contlntnul iMtlitq Mt cIrtuUtlen (put bt t t tn r«« tnd tt UM sidti

^Tlilt tytttm rtqulrtt •ort t i t t i t t tM ind of

CONVENTINAL SEATING TYPES CONTINENTAL

Figure 25. Seating Types,

177

The use of continental seating is often either pro­

hibited or strictly limited by the local building code. The

number of seats in a row depends on the type of seating and

the code. In continental seating it may be assumed to be 29

seats between any one seat and the nearest aisle or 59

maximum in a row. Other types of seating plans may have 6

seats betwen any one seat and the nearest aisle or 13 maxi-4

mum.

Aisles also run longitudinally. In any seating plan,

the main aisles are critical to life-safety and are speci­

fied by code. Aisles must be at least 3 feet wide, or if it

serves two sides, at least 3 feet 6 inches. For each 5 feet

of distance to the nearest exit or crossing aisle, the width

must be increased by 1-̂ 1/2", Exit requirements will be in

the local code-

At this point, the perceiving units have grown from

eyes to seats, rows, and sections. Something else must be

considered to prevent anyone's view from being blocked by

those seats in the next row. In plan, the seats must be

staggered. The standard requirement is that any patron

should be able to see between the heads of those in the next

two rows. Seating manufacturers make seats in many widths

in order to accommodate such staggering without unsightly

gaps. Beyond this distance the floor slope will allow the

patron to see over those in front. The slope of the main

floor is an important factor in the acoustics (See Appendix

178

C). In this consideration, however, it may be simplified.

The eye level of those on the front row should be 2" above

the stage. From this point, the slope is determined by

allowing at least 5" of head clearance between alternate

rows. Additional clearance should be given at cross

aisles.

In addition to these rudimentary techniques for locat­

ing the seats, something must be said about the other at­

tributes of any patron's seat. Opera demands a great deal

of the viewer at times. Long periods between intermissions,

the cost of a ticket, and the inestimable value of a satis­

fied public make comfortable seating very important. In

the selection of seats, the designer should specify comfort,

quietness of operation (if any), and safety (including

toxicity and the absence of sharp edges).

The designer must also integrate and accommodate the

handicapped in any seating plan. Seating manufacturers

may be of great help by suggesting pockets or removable

seats on the aisles at certain locations.

w

179

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The American Heritage Dictionary of the English Language William Morris (ed. ). Boston: Houghton Mifflin Co 1979.

Appleyard, Donald, and Lynch, Kevin. "A View from the Road." Also, see Cullen, Townscape.

Architectural Graphic Standards. Ramsey, Charles G. ;• Sleeper, Harold R. ; and Joseph N. Boaz (ed.). New York: John Wiley & Sons, 1970.

Baumol, William J. and Bowen, William G. Performing Arts -The Economic Dilemma. New York: The Twentieth Century Fund, 1966.

Bautista, Michael Phillip. Ten Years of Stage Design at the Met (1966-1976). Doctoral dissertation. Texas Tech University, 1981.

Blake, Patricia. "'Cendrillon' Becomes Cinderella. Time Magazine, October 17, 1983, p. 98.

Booz, Allen & Hamilton, Inc, Planning for a Spring Season -Market Research Results for The Dallas Opera. 1983.

Burris-Meyer, Harold, and Goodfriend, Lewis S. Acoustics of the Architect. New York: Reinhold Publishing Corp,, 1957,

Carr, Lynch Associates. A Comprehensive Arts Facilities Plan for Dallas. Urban Planning Report to the City of Dallas, 1977.

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180

Exploring the Met. The Metropolitan Opera Press Department. New York: The Metropolitan Opera, 1984,

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Holmes, Ann. "Houston Threatened by Taste of New Wave in Opera." Houston Chronicle. October 14, 1984, Section 3, p. 12.

Jacobs, Jane. The Death and Life of Great American Cities. New York: Vintage Books, 1961.

Jordan, Vilhelm Lasson. Acoustical Design of Concert Halls and Theaters, London: Applied Science Publishers, Ltd,

Kerr, Caroline V. (trans, and ed.) The Bayreuth Letters of Richard Wagner, New York: Vienna House, 1972,

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181

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Saffir, Kurt. "Mystic Abyss." Opera News. April 20-27, 1974:10-13,

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THESIS DOCUMENTATION

This phase of my thesis work is intended as a general

description of how I designed my project, the problems I

encountered, the reasoning behind some of the important

decisions I made, and the results of these decisions.

Included in my documentation are a number of slides

intended to illustrate the text. These generally fall

into three categories; design, the resulting model, and

something I refer to as "Any Form You Like". This last

section is a primer on the creation in plastic of just

about any impossible shape desired by the designer.

The design phase of thesis is built upon the program

created previously. The wealth of information contained

in the program may have been in a period of gestation

before entering the thesis lab, but only when design has

commenced does it really take on meaning. When I began my

design, I thought I knew a lot about the task ahead. Some

contend that a good program should eliminate surprises in

design. I must disagree, believing that all design is a

process of discovery. Looking back, I would say that I

had a lot of information but knew relatively little about

the design ahead. This is just as I would have wished.

The first major step in my design was to study the

chain of sequential experiences that everyone (patrons,

performers and staff) encounters. To this end, I made

very cartoon-like storyboards of typical days and nights

for stereotypical roles. This was important on both sides

of the curtain in order to reach a point at which I could

derive form from what was referred to in programming as

user satisfaction criteria. None of these cartoons

remain, but in slides that follow, the results of that

tvnP of in-between study can be seen.

1 Site Traffic - Initially, I examined the site I had

chosen. The questions that I tried to answer were; what do

all of these people-per-day see as they pass, how can I

establish a valid frame of reference for evaluating my

intuitive responses, and are there any inferences that can

be made about building and site from my program

information.

Views - I looked at the first question in terms of

sequential views of a moving observer. I found that just

as important as the composition of specific views, was the

degree of effect or impact. This effect could be made

clear or obscure by two factors; readability and time. In

addition to visiting the site several times, I took many

photos from what I thought would be important vantage

points of tjrpical observers.

Skyline - the analysis of views works both ways of

course. The view from nearby offices will be unique in

that the viewers are stationary and time for than to view

is virtually eternal. After careful consideration of all

the possible views from the site, this view of the Dallas

skyline was clearly the favorite. Ibis led me to look for

ways to preserve it.

Future Development - The Arts District of which my

opera house will be a part, implies intensive development

of the land adjacent to my site. Due to the precise limits

of Arts District zoning, it is possible to foresee the

effects of this. I considered various ways to place the

building on the site. I rejected the straight terminus as

too static and predictable.

Landmark - Passersby will certainly notice the opera

house. In fact, its location and mass ensure that it will

become a well known landmark. Being at one end of the Arts

District axis (along Flora) and at the extreme corner of

downtown will make it recognizable as the boundary of the

downtown core. Since it is also at the merger of two

freeways, and at the center around which ramps on the near

side of this system rotate, I predict that the effect of

these high-speed, slightly banked encounters will be

tremendous.

While making all of these observations, I was faced

with the question of scale. I felt that it covered more

than relative size. There was a desire to use the extreme

possibilities offered by this project but at the same time

have a texture to make the dimensions readable. As an

analogy, two buildings of identical form; one with brick

veneer, one in smooth seamless plaster. Within some range,

the readable units of brick will make the scale of the

entire building more understandable.

Interconnections - At the same time as these big

picture thoughts were going on, I was also working on the

relationships (functional, organizational, et al.) between

parts. Bubble diagramming is a technique that most people

use, but use differently. I prefer to keep it in a later

stage and I imagine more physical detail in it than popping

the bubbles up into floor plans.

7 Volume Studies - In all cases, but especially with the

house, it is important to be 3-D aware. In the house, the

volume is especially important. I did a little computer

program to make figuring the volume over and over with

changing parameters a little bit easier. This was really

handy because even with a basic calculation to build on, I

could gradually make it more sophisticated by adding on

other things like reverberation time and comparisons.

8 Organizations - Eventually I made a series of these

cutout plans. I tried to minimize the hazards of pop-up

bubble floor plans by having the pieces cut out so that I

could stack than or overlap them.

Nakedness - When looking at a body, one not only sees

how much mass is there, but what kind of mass as well. I

think the same is true to some extent for buildings.

Although the floor areas contained in my program make it

seem as though mass is evenly spread out, the height and

volume requirements of the house, stage, and flyloft reveal

them to be preeninent formgivers. In fact, they are so

overwhelming that the combination of all the other spaces

cannot adequately clothe them. It was while I was

experimenting with putting the foyer and entrance on the

side of the house (and other schemes) that this became

evident.

1 0 Essential Form - I came to realize what abstract,

sculptural possibilities were available. In addition to

this combination, I inverted them and tried a number of

other schemes.

11 Facadism - There were two buildings on site in

addition to St. Paul's Methodist Church on the corner. I

knew that I would keep St. Paul's but I worked on several

strategies to deal with existing buildings. The question

evolved into one of "is this stuff worth keeping and does

it support my purpose?" Clearly, it was neither.

1 2 Study Models - At this point I was working on these

things mainly in the form of study models (none of which

survive). This shows a couple of the many schemes I

modeled, mostly in cardboard and at a scale of about

1":100'.

1 3 Anti-model - I also tried abstracting these thoughts

about the opera house. I did this 2-D graphic to show how

I felt about barrier (squares), terminus (circles), and

motion (dashes).

1 4 Essential Form - I kept coming back to this basic

arrangement. For a number of reasons, it seemed

appropriate. I was very interested in what it would be

like on site, in 3-D. The sunrise/sunset profile, driving

through the shadows it would cast on the freeways,

experiencing centripetal acceleration as one orbited this

monolith, and other scenarios gave me some clues as to how

I should approach this form.

15 Enhancanents - So, I have this extremely abstract form

with extreme experiential possibilities. I want to

capitalize on these and make the result even more so. it

seemed like there were two things I wanted to achieve. I

wanted the building to seem to grow from big to huge as the

viewer approached it (pedestrians mainly). I also wanted

to give it a feeling of rotation.

1 6 Solar Control - In addition to these considerations,

there was the fact that this building sits in the sun. A

smooth skin would be striking but limiting. This abstract

form needed a transparent but expressive face turned toward

the downtown.

1 7 Waves - The next question is "Expressive of what?"

What is going on here? It needed to be something that is

easily understood, but also fit with the abstract

sculptural mode. Waves apply to many levels. On the most

basic level, it did some good things with form and the way

light struck the building. As a metaphor, the waterfall

has an operatic connection to fantasy. Throughout Dallas

and especially the Arts District, water is used in

fountains and pools. It seemed like a good opportunity to

amplify this to an appropriate extreme.

1 8 Waves Where - If I wanted to use this analogy in an

effective way, it must be consistent, rational, and

pervasive. I began looking at the site and the building in

terms of Mtoere this might be expressed.

i y Waterfall - One way to look at the facade is as a mask

for the foyer. There was the problan of resolving the

great height of the foyer required to reach the upper

balconies with the lower plaza scale entrance. The

waterfall idea did that rather well I thought and gave a

really interesting surface to be lit (from both outside in

daylight and inside by opera activities). It could also be

taken more literally as an allusion to the hiding place of

das Rhinegold, that magic place behind the waterfall where

the Rhinanaidens live.

2 0 Ripples - This could be expanded on by making the view

from any of the foyer levels looking up, into the ripples

about to cascade down. This is actually more than cosmetic

since (along with the parallel ripples of the floors, to be

described later)they give definition to one of the three

axes of movement within the foyer.

At t h i s p o i n t , I might have been g e t t i n g a l i t t l e b i t

ahead of the sequence of exper i ences of the typ ica l opera

p a t r o n . Due to zoning r e s t r i c t i o n s , c o s t , and future

development of t he s i t e , I knew tha t I wanted the parking

to be underground and concen t ra ted under the p l aza . For

some of the p a t r o n s t h e r e would need to be a drop-off area

for l i m o u s i n e s , ad jacen t to the lobby and covered.

For the vas t ma jo r i t y of the p a t r o n s , however, the re

would be underground pa rk ing . I had s e r i ous doubts as to

the way underground parking i s u sua l l y thought of; dank,

s m o g - f i l l e d , and un imag ina t ive . I t was c l ea r tha t the

s i t e had not enough s lope to even have one level p a r t i a l l y

exposed, but t h e r e was no reason tha t every leve l should

not be provided v e n t i l a t i o n and n a t u r a l l i g h t .

Parking - I knew that I wanted light and air to f i l ter

^ 1 down to the parking garage levels at different s i tes . Each

of these would be taking up some space that could be

parking area and could easily get in the way of column

spacings and circulation patterns. I also wanted to give

the impression to people driving past that the parking was

soradaow more humane than their stereotypical view of

underground parking. For these and many other reasons, I

wanted these shafts at the edges of the s i te and near to

the building. So, as the s i te began to acquire undulations

and waves, which in turn implied source points,! decided to

use these in the placement of my lightwells. This worked

on another level as well. At the other terminus of the

Flora Street axis i s the Dallas Museum of Fine Art. The

image i t presents i s the semi-circular end of a barrel

vault with a fountain in front of i t . This is already a

part of the d i s t r i c t image and what I've done is to turn

i t from elevation to plan and amplify i t . At the point of

origin, directly in front of the house, I have planted

Parking cont. - something like a flag. A sumner

fountain/winter searchlight shooting up through the plaza

will become a surrealistic marquee, calling the faithful

and curious alike. Once there, at the corner of Ross and

Routh, the passersby will see the sani-random lights of

cars as they park, shining up through a quarter-circle gash

in the plaza.

^ ^ Parking Lobby - Since the parking patrons will be most

likely to enter the building from the garage rather than at

the plaza level, these garage lobbies take on added

significance. The location near the fountain was an

advantage. I did some sketches of what I would like to see

as I entered the building and used that to aid in its

design. I found that I could use this a display space or

for a variety of uses, with each level different from the

others. One of the materials I show in this view is red

brick, salvaged from one of the buildings to be torn down.

This makes it sort of a conceptual ghost of the old

edifice.

23 Lobby Activity - Re-examining the previous analysis I

had made of the lobby area, I concluded that there were

three things going on in the lobby- They were; getting

tickets, waiting to meet friends, and passing through this

into the foyer. Further, I saw the first two as important

but peripheral to the latter. Getting tickets required a

special kind of social space. Waiting required space and

an interior landmark so that one could say, I'll meet you

over by the ''. Passing through required some sort

of constriction at which tickets could be taken (if not at

the doors to the house).

2 4 Grand Stairs - I decided to combine the latter two in

the form of a grand stair. Handicapped access had to be

provided as well, of course, but I thought this would also

Grand Stairs cont. - be a familiar feature from other opera

houses and provide a transition for the waterfall metaphor

going on in the facade.

2 5 Elevators - In addition to stairs, there would be

elevators. These ascending rooms were another fertile

field for the enhancement of fantasy. I have used music

notation here but in a way that even the uninitiated can

read.

26 Foyer - Recalling from the caption to slide twenty, I

have stated that there are three axes of movement in the

foyer. One of these is the vertical axis and the other two

(side-to-side and in-and-out I called than) are shown in

the middle upper right of slide twenty-three. In those

previous notes I have described these foyer levels as

stacked ripples waiting to cascade down the facade. There

are other factors involved in the form. The option of

catered dining at some of the performances (but not all)

caused me to search for convertible space. I used the

ripples as waves in plan to create strips at the front of

each foyer level. Each of these step down a couple of

steps as one moves toward the glass facade. These areas

could be used for dining or skyline gazing.

2 7 Foyer Materials - In the selection of color and

material for this area, I was very precise. I envisioned

it as a green wave. The wall of the house recalls that

essential abstract form, being a shear, glossy surface of

lightweight marble panels. Nothing approaches this surface

across a majestically empty space except some bridges

leading to the doors into the house. These are framed by

flat and very square looking arches of marble panels of a

slightly different color than the house wall. These

bridges and the house doors are flat black as are the

28

Foyer Materials cont. - backsides of those square arches in

order to accentuate this vertical gap. The rest of my

thoughts concerning materials for this space are on the

slide, but I would add that one of the best things about

using the color green is that it allows you to use plant

forms as sort of random explosions of color. This is

difficult with standard building products as in this

example where I've used than as frothy crests of the foyer

waves

The House - This is the view one would have entering

the house, there are several things that can be

illustrated with this. I have continued the metaphor of

being under water. The rippled ceiling shown here is

acoustically necessary to create well-integrated sound

reaching the audience from above. Close inspection of

these ripples shows that they are much darker on the stage

side so that they will be as dark as possible with the

house lights off. In addition, the proscenium goes to

black as the surfaces bend in toward the edge. The form of

the proscenium is determined by several factors. It must

first of all reflect sound properly. I also wanted it to

contain sufficient volume so that it could hold technical

tools/toys of the future. At the lower edge of the

proscenium, directly above the stage, there is a slightly

tilted screen for the projection of surtitles (the latest

rage in opera). The colors in the house are also of

interest. I wanted than to be as dark as possible between

the viewer and the stage so that with the house lights off

it would be close to black. On the other hand, making the

entire wall dark would be oppressive. This led me to make

these walls a gradually lighter and bluer green as they

rise to the ceiling. Other benefits of green are that it

is so close to black in dim light and that by changing the

color of the house lights ever so slightly, the entire mood

can be altered. In order to break the monotony of this

vast amount of green, I have included segments of warm reds

and yellows. The exit lights of the emergency exits also

work into this scheme.

2 9 Seating - This sketch shows what I had in mind as a

typical seat. Color is suggested and several selection

criteria are listed. However, due to the rapidly changing

response to concern over toxicity, I thought it best not to

be too specific. I also wanted the aisle lights to have

motorized or hydraulic covers so that they could

participate in house light dimming at the floor level in

addition to ceiling lights.

30

31

Sidewalls - This shows an above view of the walls of

the house. The color scheme mentioned above can be seen as

well as some curvaceous bumps on the wall, placed just

forward of the balconies.

Acoustic Diffusers - That there are projections from

the walls is nothing new. Almost all auditoriums have

than. What is novel is the shape of these. My contention

here is that in some ways, form directly translates into

acoustic experience. In this case, it is a quality of

smoothness. The graphs indicate what I predicted the sound

would be in each case. I tested my prediction by asking an

expert in acoustics if this would be the probable effect.

I tested my subjective choice of what constitutes a

desirable sound by simulating each. To do this, I played

opera recordings through a Tandberg stereo amplifier with

an AudioPulse stereo digital delay. Using four Advent

speakers for the direct sound and four Minimus 7 speakers

for the delay, I could get very close to state of the art

simulation and use this to make my choices easier. Another

important factor that came to bear was that the direction

from vstoich the sound comes determines what qualities that

sound should have. The sound should be as clear as

possible from the front and side, but should be well mixed

from up above.

O ^ Performance - this is intended to show what an

observer might see during an actual performance. I have

chosen to depict a brightly lit scene from "Die Valkure",

in most cases the proscenium, walls, and ceiling would

retain a high degree of blackness. This also shows the

surtitle system at work.

o3 Wall Section - In addition to showing some of the

aspects of the construction of this opera house, this wall

section has a lot to do with the noise reduction that is

necessary. Essentially, what I did was to use the mass law

to achieve normal transmission loss, and then use the

surface finishes to meek peak requirements.

THE RESULT

This section is not intended to take the place of my

model, but to augment it. I have also omitted slides of

many things shown on the model for the sake of brevity.

The captions of this section are much more brief and

concentrate on the things that I learned from my model.

From the previous slides, one might get the impression

that I worked mainly in graphic methods while designing.

Though there were many drawings along the way, I can say

without any reservations that I learned most and decided

most by the use of models. My final presentation model

which is pictured here was also a study model in the sense

that many design details were worked out even at this late

phase. Before it can be built it must be designed.

However, that is not to imply that these phases are

exclusive.

There are a number of things that I think are

important, but cannot be covered by slides of the model.

One is that I tried to be as innovative as possible in my

selection of materials. My model contains everything from

spaghetti to steel to sawdust, as well as several types of

plant material. I used rolled floor vinyl upside down in

order to eliminate seams. I think that in the

construction of this model, I became an artisan in the use

of an Xacto knife. A sharp blade can do things that I

would have thought impossible before I did them in this

task. Finally, I would like to emphasize the value of a

good copier. This is not usually thought of as a model

building tool. I can say that almost every piece of my

model has, at one time or another, been a xerox copy.

3 4 Copies - Model making can be sunmed up as the creation

of a three dimensional likeness from two dimensional

information. Of the many techniques I anployed, three are

shown here. Sketches on "crude paper" are fast and

approximate ... and cheap. When building a model, fit is

of the utmost importance. That means that pieces should be

cut to fit what is really there rather than what is

theoretically there. Sometimes just placing the pattern

piece on a scrap of blue line paper in the sun will do.

When more exact patterns are necessary, copiers are really

handy. Sometimes I made copies on adhesive film and then

applied than to the piece to be cut out. It is a real time

saver.

O O Patterns - In my work, I developed a series of about

four master patterns that I could use over and over again.

It is important to retain the originals as patterns so that

successive generation distortion won't ruin the good fit

that this can provide.

36

37

Shadows - One implication of having my building site

out in the open is that some really dramatic shadows are

cast at sunrise and sunset.

View from Southbound Central Expressway - Although

this is a static looking view, it is like a capital letter

at the beginning of a sentence, with the rest of the Dallas

skyline stretching out to the right of this monolith. As

one gets closer, the rehearsal hall becomes more three

dimensional until the whole picture is set into rotation.

v3o View from Eastbound Woodall-Rogers Freeway - It can be

seen from this how strange the juxtaposition of St. Paul's

and the opera house is. I wanted the opera house to be

large enoiigh to be a backdrop to its neighbor, yet not be

devoid of small scale detail.

3 9 Pedestrian view from Plaza - I was trying to show the

effect of ray wavy (and in this case, out of focus) glass

facade. I think that the irregular reflection and the

strong vertical elements make it interesting.

4 0 Afternoon - As the sun begins to set, the building to

cast shadows on itself.

4 1 Silhouette - As the sun sets further, from the dark

side the building looses any surface definition and becomes

a silhouette.

4 2 Sunset - At twilight the lights within the opera house

begin to bring it to life as the setting sun reflects off

the facade.

43 Darkness - The building becomes transparent and its

form is defined by the light from the opera house interior.

44 The Gap - This is a view of the foyer pulled away from

the house, showing details of that connection. Also shown

is the rear of the dumbwaiter structure cutting through the

edge of each foyer level.

45 Detail of Foyer - T^e front view of this duntowalter Is

shown here along with other foyer details.

ANY FORM YOU LIKE

Go i n t o t h e t h e s i s s t u d i o and watch them b u i l d

m o d e l s . Some w i l l have b u i l d i n g s t h a t a r e des igned to f i t

t h e m a t e r i a l s t h e y have a t hand t o b u i l d t h e model .

O t h e r s w i l l have d e s i g n e d t h e m s e l v e s i n t o a c o r n e r and

must s e e k ou t t h a t odd p i e c e of w a t c h a m a c a l l i t t h a t w i l l

make a p e r f e c t l y s c a l e d w h a t s i t . But l e t us suppose t h a t

you a r e i n a d i f f e r e n t f i x . You have des igned something

which you know y o u ' l l neve r f i nd and ye t you f e e l i s t h e

r i g h t t h i n g t o p u r s u e - What can you do? The purpose of

t h i s s e c t i o n i s t o l i b e r a t e t h e r e a d e r and a l l o w him t o

c r e a t e j u s t abou t any form i m a g i n a b l e .

I t i s t r u e t h i s can o f t e n be done in o t h e r ways. But

vacuum fo rming i s e x p e n s i v e and not n e a r l y as f l e x i b l e

w h i l e s c u l p t i n g m a t e r i a l s can r a r e l y be as t h i n , r i g i d or

t r a n s p a r e n t a s a model b u i l d e r might l i k e . Here i s

a n o t h e r way t o make any form you l i k e wi th t h e s i m p l e s t of

t o o l s .

4 D Mold Type 1 - For t h i s , I made a scribe out of wood

and then used i t to inc ise slabs of rolled out clay. The

sc r ibe in t h i s case was made from a computer drawn shape,

glued to a piece of wood and then cut out.

4 7 Mold Type 2 - This one was made by glueing several pieces

of i l l u s t r a t i o n board together at the edges, cutt ing than out

on a band saw, separat ing them, glueing than to a board (in

t h i s case, in a radia t ing pa t t e rn ) , and then f i l l i ng the gaps

with c lay .

4 8 Mold Type 3 - t h i s one i s jus t a block of blue insulating

styrofoam, cut free-form on a hot wire machine.

49 Plaster Mold 1 - Take the original and spray it with

cooking oil (like PAM), then surround it with a fence made of

cardboard plaster from a ceramics maker. It is actually

cheaper than the low grade stuff in hobby stores. Mix it

according to directions and, after checking for leaks in your

cardboard fence, pour it into the mold. Wait a day or two

before you remove it from the mold. However, you can carefully

remove the fence after a new hours to speed drying.

5 0 Plaster Mold 2 - After drying the first pour in the sun for

a few days, repeat the process with the cooking oil and fences,

but use pour number one as the mold. The result is a pair that

fit together quite well.

51 Baking - After drying both molds in the sun for a few days,

they will become lighter and it will be easy to tell that they

are dry. Now, cut out a piece of clear vinyl about the same

size as the mold. Vinyl works far better than acetate or

plexiglass and I have concluded that 10 or 20 mil is the best

thickness. Heat your oven to 375°. Place the vinyl in between

the two molds and slide into the oven. After about five

minutes, take it out to make sure they are correctly aligned.

Then put it back in the oven with a brick on top to press the

two together. After 15 minutes have past, check to see if the

molds have come together. If not, more time or more bricks

will be needed. When it looks like the two molds have met,

turn off the oven and leave it in to cool off gradually. If

you do this often, you can get a sense of how to work

semi-cooled vinyl with your hands.

5 2 The final result is a piece that can be cut, painted, or

sanded to fit. If you want lines on it, it is best to apply

them with a rapidiograph before baking.

CONCLUSIONS

Thesis was a learning experience, much more than a

demonstration of what I knew. I could have made it a much

easier task in many ways, but all things considered, I'm

glad that I did what I thought was best. Of course, I

made many mistakes, but that is how one learns.

One thing I would have done differently is that I

wish I had made a comprehensive site model at the very

beginning. It would have been an invaluable tool in

design using study models. Another would be that my

indecisiveness really hurt me time-wise. I wish that I

had stuck to my schedule better.

Time management was an immense problem for me.

Having been employed as a draftsman for years, it was no

problem to estimate time required for drawing, but model

building is totally different, each project being unique-

How can one accurately estimate how long it will take to

paint spaghetti. Drying times were totally unknown and

could vary from seconds to hours in what seemed to be

similar circumstances. This is one of my highest

priorities to get a handle on in the future.

L