the dalles civic auditorium renovation

CIVIC AUDITORIUM RENOVATION

RENOVATION NEEDS, OPTIONS & STRATEGIES REPORT

THE DALLES CIVIC AUDITORIUM BOARD DOWNTOWN THE DALLES, OREGON

Seder Architecture + Urban Design

September 15, 2014

CIVIC AUDITORIUM RENOVATION

RENOVATION NEEDS, OPTIONS & STRATEGIES REPORT

September 15, 2014

The Dalles Civic Auditorium Historic

Preservation Committee Board:

Sherry Munro and Trish Neal, Co-Managing Directors

Dennis Morgan, President

Trish Neal, Vice President & Social MEdia

Sherry Munro, Secretary & Volunteer Coordinator

Judy Moore, Treasurer

Jerry Brewer, Director

Lisa Commander, Director/Membership Chair

Tammy Keys, Director

Leon Surber, Director

Board members updated 3-2016

Development Consultant:

Architect & Planner, Project Manager:

Seder Architecture + Urban Design

Mark A. Seder RA, LEED ap

Theatre Consultant:

Landry & Bogan

Rose Steele, Principal

Structural Engineer:

KPFF Consulting Engineers

Jerry Abdie PE, Structural Engineer

Systems Engineers:

MKE & Associates

Richard Dusa PE, Mechanical Engineer

Steven Lockhard PE, Owner & Electrical

Engineer

PARC Resources64644 Cook AvenueBend, OR 97701541-330-0485541-322-0486 fax

TABLE OF CONTENTS:

INTRODUCTION……………………………………………………………………..Page 4

HISTORY

CURRENT CONDITIONS & USAGE

PREVIOUS & RECENT STUDIES

RENOVATION REQUIREMENTS & UPGRADE OPTIONS…………………….Page 8

LEVEL ONE Basic Upgrade Concept

LEVEL TWO Additional Upgrade Concepts

LEVEL THREE Additional Upgrade Concepts

LEVEL FOUR Additional Upgrade Concepts

LEVEL FIVE Additional Upgrade Concepts

CONSIDERED BUT NOT RECOMMENDED

CONCLUSION – THE PROMISE OF THE FUTURE CIVIC…………………..Page 12

DRAWINGS & KEYNOTES……………………………………………………….Page 15

APPENDIX…………………………………………………………………………...Page 20

THEATRE CONSULTANT REPORT

STRUCTURAL ENGINEER REPORT

SYSTEMS ENGINEER REPORT

ENERGY TRUST OF OREGON MEMO OF INTEGRATED DESIGN WORKSHOP

ENERGY TRUST OF OREGON INTEGRATED DESIGN WORKSHOP MEMO

MERLIN BERG PRIORITIES MEMO

INTRODUCTION:

Since its original construction in 1921, The Dalles Civic Auditorium Building has been an iconic downtown The

Dalles landmark and community asset. The east portion of the facility was renovated over a decade ago and

contains three major meeting spaces, restrooms, two small warming kitchens, office space, main lobby,

storage and the building elevator. The west portion is the Civic Auditorium itself including both levels of

audience seating, adjoining lobbies, and the stage and basement underneath.

Although constrained by its downtown site, having no on-site parking and somewhat narrow stage and

lobbies, the strong massing and classic motif of the facility on Fourth Street more than compensates for

these limitations in its urban presence. In no way a suburban “convenience” venue built for the auto, the

Civic facility as a whole has a strong “civic” presence and with Auditorium renovation, will even more

become a regional icon and draw.

The Auditorium half of the facility now needs major renovation and expanded purposing to realize this

potential. This portion of the Civic features a raked main auditorium level floor, significant balcony seating,

narrow but potentially accommodating lobbies at both levels, the stage and basement space under the

stage. With close to 700 potential seats for a variety of events, the auditorium will provide the largest venue

of its type between Portland, Boise and Spokane.

The purpose of this report is to provide a working document to achieve the following:

Reflect the owners goals and intentions for the renovation of the Civic in an orderly and phased

manner that when coupled with cost estimates and available funding, results in real construction and

improvements.

Guide the contractor and construction community toward initial conceptual estimates and cost

ranges and schedules for the indicated improvements, supporting the phased renovation approach.

Along with conceptual estimates, provide the overall backup and images to indicate location,

rationale and importance, general scope, extent and phase of each improvement, to assist with

development fundraising, grant applications and other support building…and finally, with all further

design, engineering, permitting and construction of the actual improvements.

HISTORY

The Dalles Civic Auditorium was built in 1921 as a memorial to Wasco County WWI soldiers. It was

successfully nominated to the National Register of Historic Places in 1978. The rich & colorful history of the

Civic includes a variety of community events and balls, coronations, graduations, proms and social events as

well as services to GI’s. Doc Severenson, the charismatic trumpeter & leader of the Tonite Show Band during

the Johnny Carson era, was raised in Arlington, Oregon 60 miles east and as a budding child musical prodigy,

played concerts in the Civic in his youth.

The gymnasium and ballroom half of the building was renovated in the early part of this century and is in

active use, hosting a variety of community and other events including banquets, meetings, weddings &

receptions, trade shows, aerobics & social services. The renovation not only brought major events spaces

including Ballroom, Gymnasium, Fireplace Room and two mezzanines back into productive use, but upgraded

restroom facilities on two levels and strategically positioned a four stop/two sided new elevator to access

both sides of the overall facility including both primary levels of the Auditorium.

CURRENT CONDITIONS AND USAGE

It is a strong testament to the creativity and tenacity of the Board and community alike, that even in its

current condition, the Auditorium is utilized on occasion for events. Portable rows of theatre seating are

stored and set up, portable lighting is brought in and other steps are taken to provide single or short-

duration events including plays and music recitals. A dual piano recital as part of the Civic Gala Kickoff event

for the Civic Renovation Fundraising campaign was one of these.

Civic Auditorium Renovation Kickoff Gala 2013

This creativity and community spirit in no way diminishes the extensive needs of the facility to become the

valuable, flexible and fully accommodating venue it was and can again be. At this time, house lighting is

nearly non-existent, there is no theatre lighting, heating is likewise inadequate with no air conditioning,

plumbing is capped off and otherwise non-serviceable, walls and ceilings are cracking and painted a variety

of colors with no acoustical treatment.

Plenty of height/room in attic truss sp.

Much potential & work in Basement Stage & Loft needing Renovation

The balcony is marginally available in parts, would not meet fire exit codes for more than a few people and is

torn up in major areas. The control room is non-functional, the entire wing is marginally insulated.

RECENT AND CURRENT AUDITORIUM RENOVATION STUDIES AND EFFORTS

Several studies in the past 1 ½ decades have made various recommendations for the renovation of the

auditorium half of the building. A non-profit corporation, the Civic Auditorium Historic Renovation

Foundation, is now in place with the mission of restoring the theatre to active use. The Civic Auditorium

Board currently chaired by Mayor Steven Lawrence and with a number of prominent community members,

guides all decisions, obligations and booking, use, maintenance and financial aspects of the Civic Auditorium

facility as a whole including both halves of the building.

The current board has successfully overcome some fiscal challenges inherited from past management and is

now actively moving toward fundraising for the auditorium-side renovation, while taking the requisite

analysis, planning, publicity and cost estimating steps with architects, consultants and a community-minded

general contractor. The board has also retained a development consultant to make grant applications and in

other ways assist in securing the resources to make the Auditorium-side renovations happen. The Columbia

Gateway Urban Renewal Agency (CGURA) of The Dalles has assisted with funding for initial efforts such as

this study and report.

The current efforts of which this report is a part, have been holistic, inclusive and phased/stepped in nature.

Commencing with investigations and assimilations of past studies, the current efforts have produced

marketing and support-building materials. With this report, the architect and consultant team adds more

detailed programmatic and building improvements recommendations in a phased plan, to further support

fundraising. This report gives the Civic Board, an engaged local contractor and others the base materials and

a phased plan for “first pass” conceptual cost estimates for the improvements.

The goal of the renovation of the auditorium is to complete the overall facility renovation by bringing this

side back to life, building on the rich history, solid layout, good acoustics and its potential for flexibility and

expanded offerings to community and visitors alike. As well as hosting community theatre and community

events, the renovated auditorium can host a variety of traveling shows, events, musical and theatrical groups

and even corporate meetings, lectures, banquets with stage needs, and others.

RENOVATION REQUIREMENTS & UPGRADE OPTIONS:

The following represents a potential Phased Plan for Renovations and Upgrades, in an orderly manner from

the most necessary and achievable work, to value-adding and venue-enhancing further upgrades, building on

the initial work. Taken in somewhat this order (per level category, not necessarily per item number), there

would be very minimal backtracking or deconstructing of previously constructed work.

LEVEL ONE Basic Upgrade Concept:

1.1: Major construction work including completion of balcony re-building, added balcony level platforms and

new seating tiers, modifications of control room, construction of new west (house left) stair from Main

Lobby to Balcony, removal and replacement of low beam at house right (east) balcony access, Structural

upgrades of balcony removing tie-rods and two of the four supporting columns and finishing of opening

between main and balcony level lobbies.

1.2: Initial remodeling of basement, organizing services and elements and creating storage space. NOTE:

This initial work is to facilitate building systems upgrades and in anticipation of a full remodel if and

when stage is re-built at street level in later phase. If this is not ever to be done, then a more complete

remodel of the basement can occur in Level One or subsequent phase.

1.3: New and upgraded finishes and materials throughout including floor, wall and ceiling finishes, window

coverings for lobby and auditorium upper windows, draperies at entries to auditorium at both levels.

NOTE: Inexpensive carpeting for auditorium floor if re-raking per later level of work is a goal and

anticipated.

1.4: Remove steps from stage up to alley, and replace with appropriate locking and warning devices and

signage, and portable steps. NOTE: This increases usable stage area.

1.5: Basic upgrades to passage between stage & Fireside Room for ADA and convenient use of room and

adjoining restrooms as Green Room, dressing rooms, back of house staging during performances, and

for after-show Receptions. NOTE: This is suggested as an “interim” measure to gain “back of house”

facilities prior to full basement renovation per later item below.

1.6: New/upgraded building systems including mechanical HVAC (heating, ventilating & air conditioning),

house lighting, certain plumbing, fire sprinklers.

1.7: Structural upgrades of existing roof trusses as required for new rooftop mechanical, making the roof

“solar-ready” (per Energy Trust incentives) and other structural considerations.

1.8: Upgrade thermal envelope particularly where most cost effective (attic, certain walls).

1.9: Install new fixed seating in arrangement and configuration determined to be most effective and

valuable. NOTE: Recommended option included in this report.

1.10: Gain ADA accessibility to Stage, basement and Orchestra Pit. NOTE: Recommendation included

herein.

1.11: Add ADA seating platform and small Concession and Coat Check, through modification of upper main

level auditorium. Add steps from platform areas to aisles. NOTE: These platforms generally alleviate

the steepest existing ramping at upper end of auditorium, without requiring the re-raking until a later

phase.

1.12: Gain ADA seating area at front row of balcony seating.

1.13: Add steps at upper end of main level auditorium to eliminate overly steep ramp.

1.14: Initial upgrades to existing acoustics at auditorium, to be determined.

1.15: Strengthen and upgrade existing flyloft grid, while remaining manually operated.

1.16: Theatre & Performance related upgrades including new performance lighting, new theatre AV system,

new stage curtain, new/upgraded acoustical treatments and installations, second and accessible “sound

porch” control area.

1.17: Provide assisted listening system for the hearing impaired.

LEVEL TWO Additional Upgrade Concepts: (Added to Level One Upgrade Concept)

2.1: Add new catwalks in existing attic space, improved access to attic and catwalks, further upgrading of

performance lighting.

2.2: Add loading gallery, fly rail and further upgrades of rigging and grid for motorized control and increased

capacity.

2.3: Recommended (but not technically required) additional fire & life safety upgrades of stage and fly loft

areas including smoke evacuation venting of fly loft, additional alarm system upgrades.

2.4: Add further acoustic treatments which may include ceiling-level panels, wall panels or baffles, etc. to be

determined.

2.5: Add rooftop solar as feasible, including any possibilities for leasing to solar investors if market for the

power produced can be found. NOTE: Some owner sharing of power revenues possible as well if

leased.

2.6: Purchase demountable orchestra shell for stage orchestra and music performances, AV Podium,

motorized large projection screen.

LEVEL THREE Additional Upgrade Concepts: (Added to Levels One and Two Upgrade Concepts)

3.1: Re-rake/re-build the entire Auditorium Floor to eliminate overly steep ramping, gain better lower row

sightlines, etc. Re-install seats on level platforms created by the re-raking.

3.2: Enlarge orchestra pit under the stage into the basement, and deepen to set floor of pit to existing

basement level, thus increasing accessibility and headroom.

3.3: Exterior upgrades including exterior lighting, any existing masonry and wood restoration, possible

decorative banners or other treatments.

3.4 Further upgrades to auditorium acoustics, to be determined.

LEVEL FOUR Additional Upgrade Concepts: (Added to Levels One, Two & Three Upgrade Concepts)

4.1: Demolish and re-build existing stage as new at alley/street level, thus gaining more accessibility for

deliveries and sets, better crossover at this level (to make up for the limitations at current stage level

due to steps encroaching on back of stage), gain full ADA access, etc. NOTE: This ties directly to and

follows from item 3.1, re-raking the Auditorium floor and must be designed in conjunction with this.

This also eliminates steps and ramping now required to access stage from alley and from East side of

building, thus offering better back-of-stage crossover.

4.2: Further remodel basement area under the (now-raised) stage for any or all of the following: Costume

maintenance, some set building, piano storage, actor support including upgraded actor

restrooms/changing, Green Room, Headliner dressing room, other storage including for removable

audience seating and platform extension sections, (item 4.3).

4.3 Renovate existing basement level restrooms.

4.4: Add platform hydraulic lift at front of orchestra pit providing the following features:

orchestra floor at flush and raised levels,

a thrust stage when fully raised to stage level

a flat platform floor at front of audience, in combination with removable front railing of orchestra pit

An extended flat platform floor for larger events,

Accessibility and movement to and from basement, audience and stage levels for set and other

materials, removable seating, platform extenders, and piano.

4.5: Add streetscape improvements at sidewalks directly fronting building including new benches,

receptacles, decorative streetlights, sidewalk paving patterns, possible additional vegetation in the form

of street trees and/or small bio-swale installations. NOTE: These improvements might best be realized

through urban renewal or other municipality funding.

LEVEL FIVE Additional Upgrade Concept: (Added to Basic & Levels One, Two, Three & Four)

5.2: Re-pave Fourth Street in front of building (or beyond) with “festival street” treatment, for greater

foreground effect and potential closure for show openings and special events. During these events and

gala times, this portion of Fourth Street would become pedestrian only (possibly with bicycles and the

iconic horse-drawn carriages). Another possibility would be for Fourth Street itself to become a

performance space at certain times, using the strong block massing of the south side of the Civic itself

as the backdrop and stage set.

NOTES: Fourth Street currently is closed for pedestrian and booth uses during Cherry Festival. These

improvements would probably be through urban renewal or other municipality and/or arts & culture

funding and not directly by or through the Civic Renovation project.

CONSIDERED BUT NOT RECOMMENDED: (due to cost, low or no feasibility, value gained vs.

expense, etc.)

Moving the existing proscenium wall opening forward (to gain more stage space) . NOTE: Expensive

for the space gained, could lose seating, and platform thrust stage as above accomplishes some of

this for certain events.

On-site parking (just not at all feasible) NOTE: Perhaps shared parking with other adjacent land

users could add to events parking for Civic, as many events are after normal business hours or on

weekends.

Additional public restroom space. NOTE: Existing restrooms in east building at both balcony levels

provide recently renovated and more than adequate facilities.

Raising the height of the fly loft. NOTE: Not enough gain to warrant the expense.

Various renovations that would sacrifice the good proportions, basic symmetry, historic nature of the

facility, or radically reduce seat counts. NOTE: This precluded any extensive consideration of

removing entire auditorium ceiling for exposed catwalk & theatre lighting system.

Significantly expanding one or both Lobby levels. NOTE: Although quite narrow, any expansion

reducing seating seemed to be counter-productive and value-reducing, and expansion into the

sidewalk/public way is probably not feasible. A small inward alcove expansion of the first floor lobby

is shown as part of the recommended new concession, and this will much improve width and

perception at the narrowest point of the lobby. (The current narrow width at the area probably

most needing the greatest width is due to the existing curving auditorium wall).

Any box office beyond the current in the main building Lobby. NOTE: There is just not enough space

in the Auditorium portion of the Civic without losing seating and/or lobby space. Portable tables are

and can continue to be utilized to flexibly provide “points of sale” for tickets and other items in the

Lobby and elsewhere in the facility and even outside.

Example platform li ft

That becomes thrust

extension of s tage

Example theatre

lighting slot in historic theatre ceiling

CONCLUSION – THE PROMISE OF THE FUTURE CIVIC: The full renovation, upgrade and expanded purposing of the Civic Auditorium will provide a venue offering a

variety of modes of operation, facilitating an equal variety of events. These can include everything from

traditional plays, musicals, dance recitals and concerts; to banquets, meetings, awards ceremonies and films.

This scope and variety that can be achieved through the renovation and addition of flexibiltiy are well

described in the enclosed report of our Theatre Consultants, and supported by the architectural, structural

and systems design changes and upgrades as indicated in those reports and in the drawings and notes.

THE FLEXIBILITY OF CONFIGURATIONS & USES FOR A FULLY RENOVATED

CIVIC AUDITORIUM INCLUDE:

STAGE: With many added configurations and more

crossover back of stage space. Normal stage, thrust

stage, orchestra shell on stage, easily-placed and stored

piano via the platform lift, and flown/stored sets and

props.

FLY LOFT & RIGGING: Much upgraded, with

greater capacity, possibly mechanized.

AUDIENCE CHAMBER: Normal full seating of 700

+ in theatre seats, with approximately 450 on main floor

and approximately 250 at balcony. Front rows of seating

removed for differing amounts of flat floor (via the pit

platform lift and floor extensions), with tables and chairs

accessed from basement storage via the platform lift and

placed for flat floor events such as dinners, banquets,

meetings with stage, and ceremonies.

ORCHESTRA: Normal pit @ basement level, variable

extensions into basement under stage through flexible

back wall. Options to raise front of pit thru employing

platform lift, use of back 2/3rds of pit for basement-level

activities when no orchestra use.

FIRST FLOOR LOBBY: With expanded offerings of

the concession and cloak room, as well as direct stairway

connection in the auditorium wing to the balcony lobby

and level utilizing the new staircase. A wider lobby in the

center (its current narrowest point) through alcoving into

back of auditorium space as part of the new concession.

SECOND FLOOR LOBBY: New stair access

directly to and from the First Floor Lobby, coupled with

the existing building elevator and existing stairway add

fire & life safety required as well.

BASEMENT: Fully accessible per ADA and fire codes, and with new “back of house” spaces and features,

as well as much needed storage. Staging of stored items and sets via the new platform lift to audience

chamber and stage. With the rebuilding of the stage at street/lobby level, a taller and much more functional

basement.

EXISTING FIREPLACE ROOM, KITCHEN AND RESTROOMS: Tied directly to stage on the

same level, and accessible to and from audience chamber including ADA-compliant. The Fireplace Room can

offer an additional pre and post-event venue and appropriate food and beverages from the existing small

kitchen.

The following keynotes and drawings (with keynote locations indicated) depict the above recommendations,

including more specific areas and extents detail. Not all upgrade concept items are necessarily depicted on

drawings, and the information from both the above list and drawings and from the individual consultant

draft reports following, should be combined. Future further development of project design and specifics

including detailed bid/permit/construction drawings will further define concepts per each phase/level of

renovation.

CIVIC AUDITORIUM DRAWING KEYNOTES

1. New poured concrete floor with stepped platforms @ seating. Re-raked to provide best sightlines in combination with either current stage or raised stage.

2. New theatre seats as specified or procured. 3. Removable seating in first several rows, for flat floor events. Seats may be lowered on multi -stop

platform to basement level and stored. 4. Orchestra pit deepened to basement level, with extension of orchestra under stage to much enlarge

without losing auditorium seating. 5. Recessed portion of orchestra pit to accommodate multi-stop platform and mechanics. 6. Multi-stop lift platform @ Orchestra pit level 7. Multi-stop lift platform @ stage level forming thrust stage and covering orchestra pit. 8. Multi-stop lift platform at lowest level of auditorium, providing front of house flat floor. 9. Multi-stop lift platform at intermediate level, providing significant flat floor with extensions stored in

basement and custom fit to auditorium floor. 10. Platform extension sections stored in basement, brought up on platform and then placed to form

larger flat floor area for certain events such as dances, ceremonies & banquets, etc. 11. Existing proscenium arch, shortened by 18” +/- if stage is raised. Due to dimensions and also being

“grandfathered-in”, no fire curtain nor water deluge system is technically required at proscenium. 12. Existing fly loft, smoke evacuation system at roof recommended but not technically required due to

existing dimensions and being “grandfathered-in.” 13. Existing stage potentially demolished, & new stage constructed at street/alley level. This has many

advantages for stage access, stage depth and “crossover” at back of stage, and for higher and thus more usable basement space and orchestra pit extension under stage rather than into audience.

14. New steel framed grid & support @ fly loft, either mechanical or motorized, with option to motorize mechanical at later date. Continue with ladder access.

15. Framed openings & railings between first & second floor lobbies, for more openness and light. 16. Upgrades to existing projection/control booth as described elsewhere in report. Booth itself

shortened in length. 17. New chandelier house lighting (4 total, desired), utilizing two existing chandeliers in owner’s

possession. 18. New front glass railing @ balcony, remove existing. 19. Stage & Fly loft exterior walls, insulated with rigid insulation glued or stick-pinned to walls above 7

feet, taped joints, all painted black. 20. New batt insulation at underside of existing roof sheathing for partially conditioned attic space. 21. New batt or blown-in insulation at fly loft roof joist spaces. 22. New blown-in insulation at existing west wall furred out spaces. 23. Two new catwalks in existing attic space, supported from upgraded existing roof trusses. Access

from existing upgraded attic access. 24. Two new theatre lighting “troughs” cut into existing auditorium ceiling. Theatre lighting on bars. 25. New or refurbished/renovated rooftop mechanical units as described elsewhere in report. 26. Possible new rooftop solar if practical for bwater and/or space heating or as an investment by others

with power purchase agreements. 27. Basement ADA access via at least one stairlift @ existing eastern stair, and possibly at both stairs. 28. Access from stairs and stair lifts to lowest level of auditorium, including onto new flat platform at

both auditorium mode levels.

29. New heavy sound and light barrier drapery entries at all auditorium entries from both lobbies. To be monitored while theater events in progress to usher latecomers into audience chamber at most opportune times.

30. Strengthen existing roof trusses & proscenium wall per structural report. 31. Seating platforms @ back of house on main level for ADA. 32. Seating areas including for assistance, at front of balcony, accessible from second floor lobby and

thus from building elevator. 33. Areas if rescue assistance, if and as needed and in final determination with building official. 34. Basement remodeled to become multi-purpose with storage including platform extensions &

removable theatre seating, other chair & table storage, other theatrical and set storage, costume storage, Green Room, dressing rooms in conjunction with renovated men’s & women’s restrooms, mechanical & electrical space, headliner dressing room(s) & possibly, costume shop and minor stage set building shop.

35. New back wall under stage for orchestra pit, with double 48” wide access doors. 36. Auditorium floor location for tech deck @ seating, for rehearsals & other events. 37. Renovated lobby space including new finishes, new flooring, renovated/double glazed windows, new

lighting. 38. New doorway to exterior at one bay of existing first floor Lobby. 39. Renovated access aisles to balcony level, including restructuring to removed all or a portion of

existing low beams. 40. New balcony access/egress stair to first floor level. 41. New exterior theatrical treatments including banner arms & banners, façade lighting, general door,

window and masonry wall upgrades. 42. New streetscape treatments of existing sidewalks & street to present a more civic and theatrical feel

to community and visitors. May be through urban renewal or other program and not a cost to the project.

43. Existing Fireside Room utilized as post-performance reception and mingling venue when desired and not otherwise in schedule conflict for other events in room or in Gymnasium.

44. Existing stair hallway re-painted and new floor finishes. 45. Remove and relocate existing ductwork and establish new access corridor to east stairway from

auditorium front. This allows certain ADA access to auditorium front from Gymnasium side of building, and also to stage and basement levels from auditorium front. Note that this is not a required fire exit nor to be construed as such for ADA fire exiting.

46. Establish fire sprinkler control closet @ existing riser & shutoffs. 47. New roof plywood per structural report. 48. Remodeled and new framing, supports and tiers for balcony new seating. 49. Unutilized low headroom space under balcony tiered seating. Allowable for storage in sprinklered

building (as this is). 50. New small concession. Sink, refrigerator/cooler. For beverage, alcohol as permitted & light

snack/hors de’oveurs service. 51. Coat check one side of concession. 52. Small concession storage room. 53. If possible, modification of auditorium/lobby party wall to create lobby alcove @ concession. 54. Existing upper balcony windows blacked out and draped. 55. New steel beam, two pipe columns & footings for balcony re-support. 56. Remove existing rod supports for balcony, as they are not structurally required.

57. Re-route any existing vertical mechanical ducts at north wall of stage, to stage corners or to angled wall areas either side of proscenium opening, to couple with removal of existing stairs down to stage and maximize crossover and other use of stage depth.

58. Remove existing steps. 59. New duct chase if and as required. 60. Existing duct chase 61. Re-establish new door & opening at former existing. Add new hallway to join basement exiting stair

@ existing landing. 62. Not Used 63. Existing access/egress well & stair to remain. Make adjustments to well bottom adding small

concrete ramp as required for adjusted egress door opening from re-raked auditorium floor. 64. Modify existing stairs as required for adjustments based on re-raked auditorium floor. 65. New ramped area if and as required to adjust for re-raked auditorium floor and for removable

platform flooring. 66. Adjust doors and openings to accommodate re-raked auditorium floor and new platform flooring. 67. Removable ADA-accessible sound board, remove 8 seats when being utilized. 68. Upper wall draperies or other acoustic treatment @ Auditorium east & west walls. 69. Removable front railing at Orchestra Pit for extended flat floor & for moving seating, floor panels and

other items from auditorium level to basement storage.

Preliminary Main Auditorium Level full seating count

Preliminary Main Auditorium Level full seating count

APPENDIX:

Following are reports of the consultant team members and consulting firms on

Theatre Venue and Facility Planning noting existing conditions and recommended upgrades

Structural existing conditions and recommended upgrades

Building Systems (mechanical, electrical and plumbing) existing conditions and recommended

upgrades

Memo minutes and report on the Energy Trust of Oregon Early Design Assistance Program,

Integrated Design Meeting that was held as part of this study phase and work.

Memo of desired priorities by Merlin Berg of Merlin Berg Enterprises, related to envelope and energy

upgrades and the use of solar.

THE DALLES CIVIC AUDITORIUM

ASSESSMENT OF NEEDS FOR RENOVATION

May 19, 2014

Submitted by Landry & Bogan, Theatre Consultants , Mountain View, California

INTRODUCTION

This report is part of an on-going effort to restore the theatre within The Dalles Civic Auditorium to

active use. Landry & Bogan, Inc., Theatre Consultants was commissioned to visit the site, along with

electrical and structural engineers (under separate agreements) to provide guidance on the building

needs and systems required to effectively program the theatre.

In addition, Rose Steele of Landry & Bogan met with staff, Board members and Architect Mark Seder to

discuss programming for the renovated facility.

HISTORY

PART 1 - PROGRAMMING FOR THE THEATRE

On Feb 25th, Rose Steele of Landry & Bogan, Inc., Theatre Consultants led a programming session to

learn about and describe the planned event mix for the renovated theatre.

Participants:

Mark Seder RA, LEED ap, Seder Architecture + Urban Design

Jerry Abdie, SE, KPFF Consulting Engineers

Rick Dusa PE & Steve Lockhard PD, ME, MKE & Associates Consulting Engineers

Dennis Morgan, President, Civic Auditorium Historic Renovation Foundation

Stephen Lawrence, Managing Director, CAHRF, and Mayor of The Dalles (afternoon only)

Del Cesar, Director

Gene Surber, Director

Gerald Richmond, Director & Facility Chairman

Michael Zingg, General Contractor (afternoon only)

We discussed the desired uses of the renovated facility, the Civic’s place in and contribution to the

community of The Dalles, the theatre’s relationship to the other spaces in the building, and we toured

the facility.

The Board intends the completed theatre to be both inward and outward looking – inward to serve local

community organizations presenting their events to their own community, and outward, attracting

regional organizations to bring their talents to the community.

Examples of past presenters, or organizations expressing interest include

The Theatre Company of The Dalles – local

Cascade Singers – local

Gorge Winds Concert Band – regional

Trail Band – regional

Portland Symphony- regional

The Civic Auditorium originally seated 800, according to the 1978 National Register nomination form.

Other figures up to 1100 are recorded and remembered elsewhere. Based on best available plans, the

final seat count is likely to be between 650-700 seats. Modern standards of audience comfort,

additional circulation, handicapped accessibility, removable seats for a sound porch, dance floor etc.,

will reduce the original seat count by a noticeable amount.

Nonetheless, it will still be one of the largest venues, if not the largest, between Portland and Olympia.

Our goal for the programming session was to list and prioritize the anticipated events, discuss possible

operating strategies and begin to understand space and system needs for those events in order to begin

a renovation design that will result in a facility that is safe, efficient, comfortable and attractive for the

patrons and users for the foreseeable future.

Events and Priorities

We ranked the events into three categories:

Group 1: Uses which the facility must serve as well as the available resources permit;

Group 2: Uses which the facility should be designed to serve as well as possible, but without

significantly compromising Group 1 events;

Group 3: Uses which are desirable, but which must use the facility as it is, without the design specifically

allocating resources to them.

Group 1 events:

Musical Comedy

Straight plays

Amplified music – popular music 12-16 musicians “Name” bands and performers

Community concerts

Corporate meetings

Group 2 events:

Unamplified music

Dance recitals

Symphony orchestra

Piano recitals and festivals

Children’s events Pocket opera/operetta

Trade shows/awards ceremonies

Film/video presentation (No 35mm) Portland Opera

Portland Symphony

Group 3 events:

Staged readings TV and closed circuit broadcast

Grand opera

Ballet/classical dance

We discussed preferred characteristics of the renovated theatre:

Audience comfort level relative to seat width, row spacing and amenities – moderate to high level of comfort, but maximize seating in the balcony (more “moderate” than “high”). No cupholders at seats. Tablet arms or attachable desk trays unlikely but TBD. Investigate seat layout options (number and location of aisles and exits) for review for comfort, circulation, seat count, etc.

Provide a permanent performance lighting system and a complement of fixtures – this provides ease of use for smaller and local groups that don’t necessarily have the resources to rent and install a complete package

Provide a main sound reinforcement system with a main loudspeaker cluster or array, a control console and relevant infrastructure for mics, monitors, speakers, etc.

Provide company switches to provide power for additional lighting, audio and machinery for touring events – existing feeds to building 1 1200A and 1 400A for entire facility

Provide complete production communications system for staff use between stage, control, performer support, and other spaces to be determined. Whether system is audio only, video, or audio with infrastructure for future video TBD

Provide assistive listening system for hearing-impaired patrons (required)

Other items to explore

As planning moves forward the Board should consider whether they wish to present a “subscription season” and if that has an effect on planning (need more office space, personnel, ticket handling?)

Confirm initial idea of policy to allow drinks into audience chamber Consider re-raking the audience floor (discussed in more detail later in the report)

Spaces to consider in design

Dedicated storage for grand piano (owned by theatre)

Orchestra pit to accommodate 15-20 musicians

Variable acoustics TBD, but not electro-enhanced acoustics No scenery construction or costume construction spaces to be provided

Analyze options for reducing proscenium dimensions – teaser/torm panels at top and sides

Better truck access to site Coat check needed?

Use Fireside room as overflow dressing room/Green room/Meet and greet

Consider need for future orchestra enclosure Need to determine structural capability and discuss rigging options and needs

Some of the items above represent discussion on operations – what equipment will be provided for the

users and what will they have to rent? No detailed discussions on operations as far as rental policies,

staff, etc., were discussed. A 5-year sustainability plan has been prepared as a base of operations

planning.

PART 2 – EXSITING CONDITIONS AND CONSIDERATIONS FOR RENOVATION

This part of the report discusses the physical condition of the theatre and support spaces, needs and

requirements for renovation as a public assembly facility and recommendations for renovation of

theatrical spaces.

As stated elsewhere, this report does not address and underlying structural, mechanical, electrical or

architectural conditions, only those elements that relate to live performance.

APPLICABLE CODES AND REQUIREMENTS

It will be critical to determine what codes and restrictions will govern the renovation. As a broad

generality, many locations deem that a renovation whose construction budget exceeds 50% of the

building’s value requires that the project be constructed to the fullest extent of the current applicable

code.

This is modified by the applicable Historic Building Code for buildings on the Register, and may not apply

in any case if the entire building is considered, rather than just the theatre portion. However, some

elements may not be exempt; the opinion of the AHJ should be solicited early with regards to the stage

house and its required level of fire resistive construction and the need for smoke vents over the stage. If

the plans are accurate, it appears that the height over the stage is under 50’, therefore a fire curtain

would not be required by the current IBC; most state codes conform to the same requirements in this

matter.

HANDICAPPED ACCESSIBILITY (ADA COMPLIANCE)

One of the key issues for renovation of older buildings is to provide handicapped accessibility compliant

with the requirements of the Americans with Disabilities Act (ADA.) “Hardship exemptions” exist, but

they are rare and difficult to obtain – when millions of dollars are spent to renovate a space designed for

public use, it’s difficult to justify not spending enough to make the building accessible to all. “Equivalent

facilitation” is also available and somewhat more easily obtained, especially in historic structures. These

issues will be discussed area by area, but in general, for places of assembly, the requirements are:

The lobby and restrooms must be accessible The audience space must be accessible, and if the facility seats more than 299 persons,

accessible space must be in more than one location, that is, not all in the front, or all in the rear, or all in the center.

If there is a balcony it generally must be accessible Technical control rooms must be accessible (equivalent facilitation is often allowed)

There must be a path from the public area to the stage and performer support

Dressing rooms, or one of each type of dressing room if there multiple types, must be accessible and on an accessible route to the stage

Orchestra pits must be accessible

If the audience can go directly from their seats to the stage (via stairs at stage edge for instance) there must be an equivalent handicapped route.

Handicapped routes must be essentially equal to able-bodied routes, that is, the WC route can’t be outside the building or even outside the theatre envelope if the able-bodied route is within.

To repeat, some exceptions are available, and the list above is neither comprehensive nor does it quote

the regulations directly, but it’s an overview of the areas of accessibility we must provide. The existing

elevator providing access to the front of the balcony is a great start.

CURRENT CONDITIONS

This section describes the existing conditions of the theatre spaces and systems and has limited

discussion of needed mitigation or replacement. More detailed description of recommendations for

renovations and upgrades appear in a subsequent section of the report.

The theatre is currently overall very run-down, with holes in the plaster and broken lath showing

through at the proscenium wall, side walls and auditorium ceiling, and several paint colors visible in

many areas. The heating system was woefully inadequate for the conditions on the day we visited

(approximately 40 degrees outside with intermittent rain.) Evidence of destructive testing to determine

existing conditions abounds, and some preliminary demolition has occurred.

The theatre does have a very intimate feel. The balcony is higher than many theatres of this vintage,

and as a result the under balcony area does not feel oppressive. The balcony is steep and close to the

stage. The high balcony probably also contributes to the theatre’s reputation for good acoustics, as

lower balcony overhangs trap sound and audience members in the rear generally do have as good an

acoustic experience as those in front or above.

In general the construction appears to be wooden framing, lath and plaster. Some reinforcement has

been installed, particularly the columns supporting the balcony, but a full structural analysis of the

adequacy of the existing structure for current and future loads will be needed to determine the limits of

renovations and upgrades in many areas. Other firms are providing engineering services, including

analysis of electrical capacity, needs for HVAC upgrades and structural integrity.

SPACE-BY-SPACE ASSESSMENT

Stage

The existing stage is small has limited wings and is several steps below street level. The only loading

access directly to the stage or backstage area is through double doors from the street with steps or a

steep ramp to stage level. The steps and ramp are not only awkward for scenery installation, they

occupy stage space that might otherwise be available for actor crossover, as there is no backstage

corridor or crossover. (The basement could be used as a crossover after renovation, but not for very

swift exits/entrances.) The floor is in need of replacement.

The stage is accessible from the hall that divides the theatre from the gym and from a door and stair at

front row level that also goes down to the orchestra pit.

The stage is approximately 48” above the front row, which is higher than is generally appropriate for

sightlines. At that height several rows of the audience are looking at the face of the stage rather than

the stage floor, and the front rows are looking steeply up at performers.

The overhead stage rigging appears to be original, though the ropes have probably been replaced at

some time. The entire rigging system must be removed and replaced, if possible. The structural

engineer must determine the load-carrying capacity of the existing structure to see if it can

accommodate modern rigging, and how much. There is no fire curtain though the height of the flytower

over the stage would require it by today’s standards.

There is a small apron in front of the proscenium walls and an orchestra pit between the apron and the

seating area. It appears that the apron once contained footlights, and the trough remains visible

through one or more round opening through the stage. The extent and condition of the trough was not

established.

Stage lighting is essentially non-existent. No provision for any front-of-house lighting, though the ceiling

space is tall enough to create front-of-house positions. See recommendations section for discussion.

The stage proscenium walls curve steeply toward the audience and have decorative (false) box details

with a decorative grill. The walls are plaster and lath and don’t appear to be structural, at least not out

at the ends.

Orchestra Pit

The orchestra pit was covered and full of construction materials at the time of the site visit. It appears

to be fully concrete construction and the floor of the pit is several steps above the level of the

basement. A working orchestra pit would be a great advantage to users and recommendations are

included in the appropriate section of the report.

Basement level

There is a large basement level that extends fully under the stage, the hallway and beyond. It appears

to have water and waste service ready for plumbing at one end. It is accessed by a door and stair from

front row level that also leads up to the stage as well as stairs from the central building hall way. Per

above the basement must be handicapped-accessible or used only for storage. If this can be achieved it

would be a great boon for users, as the existing dressing and green rooms are remote from the theatre

and has a lowered ceiling/raised floor which does not appear to be compliant with current codes.

Audience seating, orchestra level

As everyone who enters the theatre is aware, the ramp from the lobby down to the seating is extremely

steep, much steeper than is allowable or safe. This is due to the long-ago raising of the sidewalk outside

and raising the lobby to match as a remedy for frequent flooding. This is a problem that must be

addressed in order to return the theatre to use.

The seating capacity on the main level is approximately 500 if portable seats are installed in the front.

The existing seats were obtained used and installed by the staff. They are of two different styles and are

due for replacement. Currently there are 4 aisles; two at the walls and two interior aisles. It may be

possible to modify that arrangement if it is advantageous to the rest of the renovation planning.

The orchestra seating area needs to be carefully designed for code compliance, sightlines, and audience

comfort. The final seat count will be a balance of many factors; the choice of seat, the provision for

wheelchair-accessible seating and the desired level of audience comfort, which guides the choice of

average seat width and of row-to-row spacing (leg room.) There are code minimums for all these things,

but modern audience expectations generally lead to choices above minimums.

In recent years the front rows of seats have been removed to provide a flat area that has been used as a

dance floor for popular music events. This could be retained if desired. A few rows of seating on the

same level can have acceptable (not exceptional) sightlines mostly because there are many fewer heads

between audience and stage in the front than further back.

Developing acceptable handicapped-accessibility may be one of the biggest challenges of the renovation

design; it would be preferable and may be required, depending on the reviewing agency, to provide

seating in more than one location on the main floor. It appears that it’s achievable to create wheelchair

seating in the rear, but if middle or front-row wheelchair seating is required, a great deal of careful

design work will be required.

An area of accessible seating on the main level that provides a flat area at the rear of the seating with

code-compliant steps down to the body of the orchestra seating is one possible answer, and may

provide the opportunity for a small concession area facing the lobby as well.

Audience seating, balcony level

The balcony is also wood construction and could be rebuilt if necessary and can be adjusted to

accommodate wheelchair seating as required. The existing elevator accesses the balcony at front row

level, usually some of the best seats in the theatre, so this will be important to expand and may be an

acceptable trade-off if we can’t create more than one main level location for wheelchair-using patrons.

The structural engineer has determined that the rods suspended the balcony are unnecessary and in

fact are currently not supporting anything and can be removed. The balcony seating capacity will

depend on the same factors as the main level.

This level requires an additional exit, which is planned for the house left side down to the lobby.

Control room

There is an existing projection booth in the balcony and it is constructed per the codes applicable to

movie projection. This is inappropriate for live performance control, which needs full sightlines from

booth to stage and an operable window for performance and non-performance uses, and is required to

be handicapped-accessible. See Recommendations section for more discussion of the control room.

Lobby

The lobby is small and in poor condition, but it is directly connected to the main lobby and the toilets

beyond. There are no sound/light lock vestibules between the lobby and the auditorium and there a

several windows from the street. The main lobby is too small to accommodate a theatre crowd, so it

would be very advantageous if some separation between lobby and audience area could be created to

prevent bleed through to the seating area. There has been some discussion about opening up the lobby

to the under balcony above, which would make it more gracious, and some window coverings to

mitigate light.

There is no concessions area for the theatre, which could provide some additional revenue and increase

audience satisfaction.

Performer support

The existing performer support spaces are comfortable, but they have mysteriously low ceilings and are

very remote from the stage. They may be accessible, but there is no accessible route from them to the

stage. It would be preferable to have them in the basement, since that must be made accessible for the

orchestra pit anyway.

PART 3 - RECOMMENDATIONS

General

The Board wishes to make the theatre occupiable as soon as possible in order to begin presenting

events to keep the theatre active in the community’s consciousness and to assist with fundraising for

renovation. This is a very good first goal. Toward this end, an updated list of requirements for legal

occupancy should be obtained from the local authority having jurisdiction (AHJ).

Designing for full renovation should be comprehensive but should take into account phasing such that

nothing installed in an early phase is condemned in a later phase, especially as funding may come in fits

and starts. This can’t be emphasized strongly enough – as you will see in later paragraphs, many of the

building elements are intertwined and some have more than one viable option, so understanding how

each decision affects the others is critical to a successful design plan.

It is a task for the entire design team and the Board to develop priorities for renovation and repair; the

engineers must be involved as there are many elements that be balanced for a coherent renovation

plan, as our very cold day in the building made clear.

We do have recommendations regarding elements relating to use for live performance that should be

included in the considerations, again, space-by-space.

Audience chamber (House)

Once the AHJ has provided at least preliminary guidelines on accessibility requirements, a complete and

coherent design for the audience chamber should be developed, including access, routes to required

areas, format (2-aisle, 4-aisle, etc) desired audience seat count and comfort level, integration of

concessions and control areas.

A 2-aisle format, often referred to as “continental,” has aisle only at the walls with a continuous bank of

seats from aisle to aisle. Generally, the row-to-row spacing is required to be wider in this arrangement

than in a 3- or 4- aisle plan. It is very good for audience cohesion but some people prefer shorter aisles

so there are fewer people to pass to reach a middle seat. In a 2-aisle plan we do not recommend

moving the aisles in away from the walls; sightlines are poorer at the extreme ends of the aisle and it’s

not pleasant to sit with one’s elbow at the wall. The acoustics tend to be worse close to the wall also.

A 3-aisle plan generally has one aisle in the middle, which eliminates what are considered the best seats.

We would not recommend this unless the business plan and local demand include a lot of weddings on

stage.

A 4-aisle plan can have very short rows which can be spaced more closely than a 2-aisle plan, which

compensates quite a bit for the extra aisle area. It’s good for circulation in that audiences can get in and

out easily, but if the row-to-row spacing is tighter in order to avoid reducing seat count it can be less

comfortable because there is less leg room.

Main Level: One idea that was raised at our meeting and is worth some study is that of modifying the

audience floor; re-raking the audience chamber. Since the stage is higher above the first row than is

desirable, the design team can study options including constructing a new floor over the old that

eliminates the steep ramp at the top and raises the front of the seating area to reduce the differential

between the front rows and the stage.

It may also be possible to create an ADA compliant ramp from rear or mid-audience wheelchair seating

to the stage, either within the audience chamber or along the side corridor. Neither would be easy, but

worth studying.

Another option might be to construct an addition onto the side of the building house left, incorporating

the existing emergency exit trench to provide access to mid-house or front rows seating and a new

wheelchair platform lift to basement and orchestra pit.

House sound porch: Many amplified live music performers prefer or require a sound control location

within the main audience chamber, so provision for a “sound porch” must be seriously considered. This

location must have a flat floor, provide enough power and counter space to house a control console and

1-3 small amp racks and be handicapped-accessible. It may be possible to design and designate this

area to provide handicapped-accessible control for lighting as an alternative to making the main control

booth accessible, but should the day ever arise when two wheelchair-using operators need it at once, it

will be problematic, to say the least.

Sound porches are also big distractions for those in the surrounding seats, as the operator needs light to

work by and of course moves around, breathes, flips switches, etc. They also don’t like to be under a

balcony overhang, so the rear of the auditorium is a poor location for a porch, though perhaps not

totally out of the question with the high balcony in the Civic.

If the house redesign included a mid-house cross aisle, which would provide some wheelchair seating, it

could be possible to design for a sound porch, installing power and removable seating, that would be at

the rear of the lower seating and several steps below the upper seating, which would l essen the

audience distraction.

See Control Room for other house control options.

The seating layout will also need to account for the balcony support columns, but there aren’t many and

they are pretty slender, so there will probably only be a few obstructed seats.

Balcony: The balcony may be partly or entirely modified to provide handicapped accessibility both to

seating and a reconstructed control room that is suitable for live performance. The required additional

exit from the balcony must be incorporated into the renovation plan as well, and all of the seating

considerations that apply to the main floor apply to the balcony.

Control room: Should have adequate space for a stage manager, lighting control operator, sound

equipment operator (when he or she is not in the main house “sound control porch”) and possibly a

video camera operator. We generally recommend a 6’ width of counter space for each operator and a

5’ diameter turning circle for any wheelchair-using technician must be provided. The existing control

room might be useable if the window area is maximized, and perhaps the booth expanded to either

side.

If preferable, or if a balcony-level control booth is unfeasible for any reason, consideration might be

given to a main level control booth. This would need to be elevated at the rear of the house such that

operators in the booth can see over the heads of standees in the rear of the audience. This can be

studied in conjunction with the idea of a flat area at the rear of the auditorium which provide space for a

small concession stand oriented toward the lobby, ADA seating and house rear and a handicapped-

accessible control space which has parallel capabilities to the balcony-level control booth and functions

as a house sound porch when needed. This will reduce the area available for seating.

Stage

Per the conditions section of the report, the existing stage is very small; much smaller than we would

recommend for community theatre productions like those produced by The Theatre Company of The

Dalles, but there are limited opportunities for expansion – the proscenium walls are most likely a

“defining element” and the Civic’s Historic designation is not likely to allow them to be changed, though

it is barely possible that they could be moved, or recreated a bit further forward, or at an angle that

provides more stage space.

This would require consultation with the structural engineer to see what relationship they have to the

overall structure, if any, permission from the SHPO, and coordination with the seating and circulation

designs. We’d recommend a few quick sketches to see if the possible gains are worthwhile before

deciding on such a move.

The other difficulties of stage function are the limited loading and elevation change from street to stage.

Raising the stage to street level exacerbates the differential between seating and stage, unless the

house floor is raised in relationship (even more than discussed previously). This complicates the

wheelchair access to the stage from the gym side of the building, but might make it easier if the alley

trench is enclosed, which could also provide an opportunity to re-work the circulation on that side and

eliminate the stair from the house to stage which occupies a corner of otherwise-valuable offstage

space.

Since there is no stage-level crossover corridor behind the stage, actors will sometimes need to cross

behind the scenery; if the steps and ramps were eliminated additional space would be available for this

and other purposes. If the stage is not raised to street level, we would recommend removing the steps

and ramp except for load-in and load-out. Appropriate locks, signage and operations policy can prevent

accidents. The stage exiting requirement can be met through the hallway stage left if the AHJ agrees.

Stage right might be developed in the downstage corner as part of the basement level access and

circulation modifications.

See Systems section for discussion of lighting and rigging for the stage.

Orchestra pit

The existence of an orchestra pit with concealed entrances (i.e. not through the audience and down)

greatly enhances the functions of the theatre, including the attractiveness for rentals. As stated before

the orchestra pit must be handicapped-accessible. It seems that since the basement must also be

accessible, excavating the pit to basement level is a straight-forward solution. This provides head

clearance under the stage overhang for standing musicians like percussion and bass as well. Conductors

are frequently on a podium so that they can see the performers onstage as well as the pit musicians.

If the pit is not excavated it is possible to provide access from the front row (assuming wheelchair-using

musician can get to the first row) via a small, low-profile platform lift that is concealed beneath a pit

cover. Steps can be similarly concealed at the other side, though a portion of the step rai l may extend

above the pit level, and need to be removable when not in use so that the pit can be covered.

A good quality pit cover would allow the stage to extend forward for any event not involving an

orchestra pit, which is important for such a small stage. A cover could be custom-made of aluminum

honeycomb core planks which span the pit from railing to a new ledge installed at stage edge for that

purpose. The railing could be designed to removable and the planks could be installed at house floor

level for additional seating or other use. This requires supports for the stage side of the pit, of course.

In addition, the planks can be stored on the pit floor when the pit is in use. (They would have to be

elsewhere anytime a musician with mobility issues is employed, but this is a relatively minor

adjustment.)

A more off-the-shelf solution with legs or scaffold supports is also available, but that style does not

provide the opportunity for storage underneath and requires more storage space when not in use.

Performer support

The current dressing room areas are pleasant but the low ceiling is not compliant with current codes,

and could become an issue when seeking full occupancy, but in any case they are far from the stage and

not connected electronically; some system of audio and/or video monitoring of stage activity is required

between stage and actor spaces.

The basement area is large and well-suited to provide a suite of performer support spaces, an access

corridor from stage left and right and quite a bit of storage space, including a costume maintenance area

with a washer/dryer, ironing and sewing station for repairs.

The exact configuration of performer support will require additional consultation with the Board and

perhaps any local companies that expect to occupy the theatre frequently. Consideration should be

given to the requirements of Actors’ Equity and typical headliners so that at least one “star” dressing

room is available for name performers, or for the maestro of the symphony, etc.

The Fireside room can continue to be used as a meet-and-greet, a chorus dressing room, and possibly as

a handicapped-accessible dressing room if the AHJ agrees. It will require access to an accessible toilet

room that is not shared by the audience in order to be accessible.

Lobby:

Expanding the lobby is unlikely, to say the least, unless it is expanded under the balcony into the main

level seating, so the best option is to maximize it within the existing footprint as much as possible. The

balcony area may also provide a bit of upper lobby to ease the crowding. The current plan to open up

part of the lobby to above will help aesthetically as well as visually, as will the balcony exit stair.

Previous discussions of concessions, wheelchair seating and house chamber changes will affect the

lobby, and it is recommended that some sound/light barrier be developed between the lobby and the

house seating, even if it’s only a curtain. Double door vestibules are preferred but may not be possible.

It may be possible and useful to have a small, secondary concessions area in the upper lobby. It could

take pressure off the downstairs lobby, which is so small already.

Further discussion of the lobby is premature, as it also must be part of cohesive and interlocking design

decisions.

Box office: Currently in the existing main lobby and likely to stay there. Time-of-use only at present.

Future needs TBD.

PART 4 – THEATRICAL SYSTEMS

The scope of theatrical systems to be provided can be limited or comprehensive or in-between and

should be examined with the Board in coordination with the programming expected. Discussion during

our programming session indicate that the Board members present support a facility with basic

equipment systems in place and infrastructure for additional equipment as needed for larger events.

This discussion is based on that assumption.

Stage rigging (scenery support system)

This may be one of the most difficult areas to address. Ordinarily in a facility of this type with an existing

stagehouse (flytower) tall enough to provide for it, we would strongly recommend a full

counterweighted or motorized rigging system to allow vertical travel of lighting, masking and scenery

fully in and out of audience sightlines. This allows maximum scenic capability on this small stage with

limited wing space. Backdrops and other scenic pieces can be hung and easily moved in and out of sight

to change the scene for drama and musical comedy production.

A full rigging system also allows for easy installation and changeover of lighting, masking (side stage

elements that keep audiences from seeing into the wings) cycs, scrims, projection screens, etc.

The Civic theatre has a wooden structural system over the stage and its appearance does not inspire

confidence. The original rigging equipment is still in place, further reinforcing the idea that little, if any,

maintenance has been done since the early days of the building. The structural engineer will need to

determine loading capacity of the existing structure and work with the theatrical systems designer to

figure out what can be supported with the existing system and/or what can be adde d to address the

rigging needs.

Options include

Installing a limited amount of overhead rigging that doesn’t over stress the existing structure,

Structural reinforcement to support a full rigging system,

An independent support system not connected to existing structure.

Any floor-supported additional support will take up precious stage space, and of course, have budget

implications, but at an absolute minimum, there must be lighting over the stage and masking around to

limit audience view into the backstage spaces. In a worst case scenario, though, a floor supported

system of dead-hung (non-movable) pipes could provide that minimum function.

If our interpretation of the drawings is dimensionally accurate, it appears that the height of the roof

structure over the stage does not trigger the requirements of a “proscenium wall” and fire curtain.

Two other important parts of the system that require analysis are the loading gallery and the fly rail.

The loading gallery is a heavy-duty “catwalk” that provides access to the counterweight arbors, to add

and remove weights to counterbalance the scenery load on the overstage pipes (battens.) This is

generally well above the stage and accessed by ladder. A fully motorized system does not require

counterweights, but a catwalk to access the equipment for installation, maintenance and repair is

needed; it does not have to have the weight-bearing capability of a loading gallery.

The fly rail is the rigging operating position; it has an operating rope and rope lock for each lineset (the

collective term for the entire mechanism raising and lowering one pipe.) In the existing Civic the fly rail

can be seen on the side wall stage left. It is currently accessed by a wooden straight ladder, but is

reported to be unsafe (the rail area, not the ladder) so we did not inspect it. Having it raised above the

stage conserves stage space, so while it’s less convenient, if counterweighted rigging is reinstalled, we

would recommend keeping the fly rail at its present location. Motorized systems don’t require manual

operating locations either, but do need an operating position for the control console that is in sight of

the stage for safety.

Adjunct to the rigging system are the soft goods; a front curtain, masking legs and overhead borders to

conceal lighting, entrances and equipment, a cyclorama at the rear stage for creating lighting effects,

and perhaps a midstage and upstage traveler curtain to conceal parts of the stage when needed. The

extent of this package can be determined much later in the design process, and can be phased to suit

timing and budgets.

Performance lighting positions, equipment and controls

A complete performance lighting system needs to be supplied and installed, with lighting positions over

the stage, out in the house (front-of-house lighting), at the balcony front and possibly from the house

side walls (box booms) though the proscenium walls seem to preclude that. No front-of-house lighting

positions currently exist, but the space over the existing ceiling provides opportunity for the creation of

such positions. Generally we recommend two FOH positions, one for the area of the orchestra pit

(called the forestage when the pit cover is in place) and apron and a second one for the plane

immediately upstage (toward the rear stage wall) of the proscenium line.

Structural capabilities and acoustical analysis are determined

Control and equipment is distributed around the stage and house per below, including controls mid-

house for a tech desk, which is used for final rehearsals to set looks for lighting, base sound levels, etc.

Tech desk is generally a home-built table with legs suitable for straddling two rows of seats and needs

utility power and receptacles for lighting, sound and communications equipment.

Can they be placed so that they can serve as followspot locations? Can we create a followspot location

at the balcony or above it? Followspots are still standard and important parts of many events.

Whichever solution is chosen, a route for technician access must be developed as well. There is a path

into the truss space that might be improved and made safe for technician access – such spaces do not

have to be handicapped-accessible.

The lighting system includes:

Power and distribution at stage walls, in orchestra pit, at balcony rail, overstage, front-of-house, in the control room and followspot locations.

Control wiring and equipment: Main control console and monitors, auxiliary stage manager’s console in booth, controls backstage, remote focus console, remote designer’s console for use at tech desk, low voltage wiring and network for system.

Complement of theatrical lighting fixtures and accessories

Controls for house lighting system (fixtures and home runs by electrical engineer as part of building systems.)

Companion systems needed for theatrical function but included within the general electrical design for

the building include low voltage control systems for backstage worklighting, rehearsal lighting and

vestibule lighting.

Egress lighting is required for the audience chamber; this is usually accomplished by a combination of

aisle lighting in chair end panels, step lighting and other low-level lighting. Specific codes apply which

must be designed for.

Sound and communication systems:

A well-equipped theatre requires a great deal of audio and video equipment, and digital technology use

is growing exponentially in theatre as in every other part of our lives. This makes a lot more equipment

much less expensive, but it raises audience expectations as well.

The basic requirement is still for reinforcement; amplifying live stage sound and distributing it to the

audience in a controlled way. Generally, a main speaker cluster or center-right-left array is required,

possibly with delay speakers for rear and balcony, orchestra fill speakers for the front rows and possibly

a surround sound system, though that could be phased in at a later time. A multi-channel control

console is needed for mic inputs and speaker outputs, and distributed infrastructure to provide input

from multiple device types throughout house, stage, pit, etc.

Adjunct to the reinforcement system is playback equipment to play scene music, effects, etc. through

the reinforcement system. Equipment can be added as needed, as the technology advances so quickly;

right now a CD player and iPod dock would be the minimum, but newer and older technol ogy can be

brought in by users.

Production communications: Provides communication between technicians at various locations for

rehearsal and performance. Master station, local stations at each side of stage, at fly rail, loading

gallery, lighting catwalks, control positions, tech desk. Wall-mounted stations at box office, green room,

and performer support areas.

Program monitor: Audio and/or video monitoring of stage program for performers, staff, and audience

(in lobby if desired.) Provides sound and/or video of stage activity to selected locations. Generally

includes point-of-use controls for on/off and volume. Allows performers and staff to be in the right

place at the right time and provides program view for latecomers. Lobby monitors are especially

important if no sound/light locks are developed as staff can time late entrances for minimum distraction

to audience and performers. Requires microphone and camera for stage activity and distribution and

controls at designated locations.

Assistive listening system: An ADA-required system of program amplification for hearing-impaired

patrons. Dedicated emitters transmit program sound to individual receivers borrowed by patrons on a

show-by-show basis. Includes “loop” receivers for patrons with hearing aids. Can be a two-channel

system for future inclusion of stage description for vision-impaired patrons.

AV podium: A movable podium at stage level with controls for projection screen, a single microphone

projecting through the main speaker system, connections for computer connection to proje ctor for

presentations, etc., is recommended to enhance rental use, particularly for corporate meetings.

Infrastructure can be provided and the equipment purchased in a later phase as required.

Projection equipment: Per our discussion at the programming session, projection of film of any kind

triggers specific and onerous requirements for a projection booth. The Board representatives at the

meeting made a preliminary decision not to pursue film projection and limit events to digital media. A

projection screen with control at booth and stage will greatly enhance rental opportunities and limit

technician requirements and is recommended. Scenic projection, rear projection and other special

effects equipment can be rented by users as needed.

Variable Acoustics: This is a system to vary the reverberation time of the auditorium. It is optional, and

considered TBD in our programming session, but some information is appropriate for future

consideration. A full complement of movable acoustical elements like heavy velour drapes, operating

banners or panels can vary the response time of a room by as much as 1 full second very reliably. This

change, from 1 second to 2 seconds of reverb time, can have a noticeable effect on the experience of

sound in a room. Low reverb time, a “dry” room, is better for speech intelligibility; sounds decay

quickly, don’t bounce around the room and make speech crisper to the audience. Longer reverb times

provide a fuller listening experience for music performance, particularly unamplified music

performance.

Generally, curtains are provided over the audience and along side walls; when extended they absorb

sound waves; when retracted (into hard sided pockets to they are acoustically “out of the room”) the

natural acoustics of the room are in play.

If a room is designed for such variable acoustics it will not perform as designed until they are installed.

The room will perform with natural acoustics until the drapes are installed to reduce the reverb time, so

they are generally not a good candidate for phased installation.

Another option is electro-enhanced acoustics, which uses a large number of very small speakers

distributed over audience and stage, and many microphones over the stage and electronically

transforms the effect of the program sound to behave as if it were being produced in very different

acoustic environments, from a dry room to a Gothic cathedral. Such systems are still fairly rare, but they

are well-regarded by many. They are quite expensive and not user-programmable. At the programming

session the Board did not feel that this was appropriate for this venue.

Stage floor: We recommend determining the existing stage floor structure and the condition of the

under floor elements. If replacement is appropriate we recommend a resilient floor system of neoprene

pads on sleepers with two layers of plywood under a layer of tempered hardboard as the top surface.

The hardboard can be painted, nailed, screwed and cut and is easily replaced when necessary. The

plywood provides enough stiffness for scenery and furniture and grip for hardware, and the sleepers

and pad and air space between provide resilience for dancers, though dance performance groups will

still require a vinyl dance floor (a ‘Marley’.)

Orchestra enclosure: One more optional element of theatrical equipment discussed in our

programming session is an orchestra shell for music performance. This can be optional or future, but if

there is a rigging system some preliminary decision about desirability of such a shell should be

considered before a rigging system design is complete.

A high-quality orchestra shell system usually consists of rolling towers to create “walls” and rigged

ceiling pieces to create a ceiling that prevents stage sound from going up into the flytower and not

reaching the audience. There are made of heavy, stiff materials to reflect sound and are large and

ungainly. The towers are counterweighted at the base for safety and they nest for storage, but still need

8’x10’ of storage space 20’ high. The ceiling pieces can be as much as 3000 lbs, so heavy-duty linesets

are required to support them. They are stored vertically, then lowered and tilted and locked into the

optimum angle and raised to playing position, and then the towers are rolled into place to create a

complete environment for the musicians. Typical designs can be viewed on the website of Wenger

Corp. (www.wengercorp.com) “Diva” or Stageright (www.stageright.com) “Opus II”.

BUDGET ALLOWANCES FOR THEATRICAL EQUIPMENT

Without more design direction it is impossible to provide budgets for theatrical systems with any degree

of confidence. Experience has taught us that early allowances by estimators who are not themselves

http://www.wengercorp.com/

http://www.stageright.com/

designers of such systems are often very much too low. Understanding that these are little more than

educated guesses, we provide the following:

Catwalks: $180/LF (more for loading gallery due to high dead loads from counterweights) Stage floor: $18/SF

The above items are general budget recommendations for items that are part of the architectural

package. They are not supplied as theatrical equipment

Orchestra pit cover (manually moved): $45-$60K

Mechanical orchestra pit lift in lieu of manual cover: $160K plus electrical work and finishes

Sound and communications systems: $400K min for basic systems required Projection equipment (TBD depending on extent.) Screen: $10-15K

Stage rigging: 25-lineset manually-operated counterweight rigging system, including heavy-duty sets for electrics, full-stage travelers and future orchestra ceiling pieces, including tee-bar wall, locking rail, counterweights and arbors, battens, blocks, wire rope and handline and motor winch for first electric: $300,000 Does not include structural upgrades, loading gallery, improvements to locking rail positions.

Fully-motorized system in lieu of manual system: $700,000. This system also requires an upper access catwalk but no locking rail. Also does not include structural upgrades.

Allowance for soft goods (curtains, drapes and tracks, cyclorama etc.) $70,000

Allowance for proscenium reducer panels (lightweight sliding/rigging panels to reduce proscenium opening $40,000

Performance lighting system: Low voltage control and network wiring, distribution and control equipment (high voltage wire and conduit not included): $250,000

Allowance for complement of fixtures and equipment: $75,000 and up Allowance for variable acoustics: $125-$300,000 depending on extent

Orchestra enclosure: $110-160,000

Again let me emphasize the preliminary and imprecise nature of these estimates; and they are for full

systems as described, with no attempt to meet a specific budget, phasing, or value engineering. We

believe they do help toward understanding the overall cost and scope of theatrical equipment and to

prevent sticker shock at a later time.

CONCLUSION

The Civic Auditorium is a project well worth pursuing; the finished facility will provide a valuable

community amenity and a showcase for local talent, an opportunity for the community to experience

performers and performances not currently available locally and an excellent companion to the existing

facilities on the other side of the building.

The auditorium has a lovely intimacy and a reputation for excellent acoustics (hard to assess in an empty

room in its current condition, but no negatives were audible on my tour, and it was easy to project and

unamplified voice to the back of the house.)

The possibility for a first-class result exists. The Board seems to have a good grasp of the necessary steps

to take and resources to muster. Careful and disciplined planning to keep desires and available

resources in line, along with thorough operations planning and an understanding of ongoing financial

support requirements should result in a successful outcome.

Thank you for the opportunity to assist you and to provide our expertise.

Respectfully submitted by Rose Steele, Prinicpal Consultant, Landry & Bogan, Inc., Theatre Consultants,

733 W. Evelyn Ave., Mountain View, CA 94041-1316 650-969-5195 www.landb.com

THE DALLES CIVIC AUDITORIUM RENOVATION

STRUCTURAL DESIGN DEVELOPMENT NARRATIVE

KPFF CONSULTING ENGINEERS 5-15-14

The following are the structural impacts/modifications required for the renovation concept options:

LEVEL ONE Basic Upgrade Concept:

1.1: No structural work.

1.2: Structural work for the balcony would include removing the four supporting columns and adding two new

6 inch diameter steel pipe columns to be located as required wi thin the new seating layout. New concrete

footings would be added at each column. New steel beams would be added at the edge of the balcony

directly below the existing steel channels. These beams would be bolted to the new columns and also

attached to the existing concrete walls on the east and west sides with epoxy bolts. With the beams and

new columns in place the existing hanger rods can be removed. Additional wood framing modifications

will be required at the balcony area for access to the seating from the balcony lobby, to repair

miscellaneous existing conditions, and around new and existing openings. A new wood framed stair will

be added from the Main Lobby to the Balcony at the west side.

1.3: Demolition and miscellaneous framing required.


1.5: Minor structural work to accommodate miscellaneous new openings / holes and support for new building

systems.

1.6: To support new roof top mechanical equipment and future solar panels, addition roof joists would have to

be added between or sandwiched to the existing joists. The existing trusses under the mechanical units

would be upgraded by adding steel plates and channels to the top and bottom chords and some diagonal

members as required by analysis.


1.8: Expansion or epoxy anchors required to attach the fixed seating to the concrete slab on grade.

1.9: Structural modifications as required for ADA accessibility.

1.10: Provide concrete topping and wood framing as required.

1.11: Modify wood framing at front row of balcony seating as required.

1.12: Provide concrete steps on top of existing slab. T ie to slab with epoxy dowels.


1.14: Provide a series of new steel beams to support the fly loft grid. The new steel beams would be anchored

to the existing concrete walls at the north, east, and west walls. At the proscenium/south side a new steel

girder would support the steel grid. The girder would have to be supported by new steel tube columns on

either side of the proscenium opening that continue down to new footings.




LEVEL TWO Addition Upgrade Concept: (Added to Level One Upgrade Concept)

2.1: Add new catwalks in existing attic space. The catwalks would consist of steel channels with angle cross

members and a plywood floor. The catwalks would hang from the roof joists or tie directly to an adjacent

trusses. New wood beams would be added at hanger connections within the existing roof joists. T russes

over the balcony would not have to be upgraded for the new loads from the catwalks since they used to

support loads from the balcony. Other trusses over the main seating would have to be upgraded by

adding steel plates and channels to the top and bottom chords and some diagonal members. This could

be part of the upgrade required for adding mechanical units on the roof per Item 1.6.

2.2: Add additional steel beams as required to those required for Item 1.14.


2.4 Add back-up structure as required for ceiling panels.

2.5: Add curbs or steel framed rails to support the PV racks.

LEVEL THREE Additional Upgrade Concept: (Added to Level One Upgrade Concept)

3.1: Re-rake/re-build the auditorium floor by demolishing portions of the existing slab on grade and pouring

back a new 4 inch thick concrete slab. Areas of the new slab that are higher than the existing slab could

be poured on top of the existing slab. The existing slab has a series of under slab concrete utility

trenches/tunnels in which the existing slab is the lid over the trench/tunnel. New lids will have to be

formed if the trenches/tunnels are to be re-used.

3.2: Enlarging the orchestra pit will require demolition of the existing pit and excavation for the new pit. New

concrete walls with footings will be added around the south, east, and west sides, which will tie into the

existing basement wall on the north side. The pit will have a 4 inch thick slab on grade which will tie in to

the perimeter walls.

3.3: Exterior upgrades may require some mortar repointing and epoxy injection of concrete cracks.


LEVEL FOUR Additional Upgrade Concept: (Added to Level One Upgrade Concept)

4.1: Provide all new wood framing for stage floor utilizing existing wood column locations below with new

wood columns. Re-use existing framing where possible.


4.3: Provide framing modifications and concrete pit as required for lift.



LEVEL FIVE Additional Upgrade Concept: (Added to Level One Upgrade Concept)

5.1: No structural work. Assume stage extension system is a pre-engineered system.


Civic Auditorium Renovation The Dalles, Oregon

Mechanical, Electrical & Plumbing Study September 16, 2014

MECHANICAL

Fire Sprinklers:

Existing Conditions: The building is fully sprinkled. Piping appears to be Schedule 40 steel with a

combination of grooved and threaded fittings. Recommendations: There is little to recommend other than head relocations and/or upgrades to

chrome in finished areas.

Storm Drainage

Existing Conditions: The building appears to have adequate roof drainage with interior, cast iron, rain drains. The storm and sanitary have reportedly been separated in the past with the exception a one rain drain on the west side, near the stairwell. It is assumed there was too much difficulty and expense to make

that separation.

Recommendations: No recommended upgrades.

Plumbing

Existing Conditions: The plumbing services and fixtures are confined to the stage area on the north

side of the building. Waste (and Storm) is connected from the alley behind. The existing sanitary waste is

cast iron and drains to the alley on the north.

Water and Fire enter the building on the south side from 4th Street. A 2-inch copper water main was

observed in the below stage mechanical area.

There is a small electric water heater in the mechanical space under the stage.

Where visible, the waste lines appear to be in good condition and the 2-inch water service has been

upgraded to copper. In the Ballroom space adjacent to the Auditorium, there are public restrooms;

recently upgraded. Those facilities can readily serve the Auditorium.

Plumbing

Recommendations: With the planned addition of a Concession on the south side Entry Lobby, new

waste and water services will be needed. The existing plumbing services are available on the opposite

side of the Auditorium OR at the existing Restrooms in the Gymnasium/Ballroom adjacent.

Trench a new waste line below grade from the mechanical space under the stage.

This option requires negotiating the route through (or around) the Orchestra Pit.

Due to available grading, this appears difficult.

Trench new waste into the existing Gymnasium/Ballroom and connect. This is

disruptive to the existing space and available grades may not be adequate.

Given the relatively low water and waste demands, a small lift pump, flush to floor,

is recommended. This option allows piping overhead towards the existing

Restrooms to connect with minimal disruption to use of the building and overall

least cost. Water service can follow the same routing.

Heating, Ventilating and Air Conditioning

Existing Conditions: The original heating system has been demolished and replaced with 2 (two), gas-

fired, electric cooling packaged roof-top units. The units are 25-ton capacity each; Bryant model

579FPV300360AGHB. The Refrigerant is R-22. The equipment is believed to be mid-1990’s vintage with

little apparent use.

Both units are ducted through the ample attic space to primarily serve the Auditorium as a single zone

of control. The duct system is rigid fiberboard and is breaking apart in some areas.

Recommendations: The existing equipment (and ducts) is undersized to serve the anticipated maximum

occupancy of 850 people on a design cooling day. Total load to the Auditorium is estimated to be closer

to 100-tons. This estimate is based upon an insulated and leak-sealed building envelope. It is also

recommended that the Auditorium be broken into 3 zones of heat/cool temperature control;

Front Lobby (5-ton unit / 1000 lbs.)

Auditorium (2 each 40-ton units / 6,000 lbs. each)

Stage (15-ton unit / 2000 lbs.)

All of these units require 100% OSA economizers with demand control ventilation activated by CO2

sensors.

New ducts will be required, Sheet metal is recommended.

As an upgrade option to the above, heat recovery should be considered for the two 40-ton Auditorium

units which will have high outside air volumes during periods of occupancy. Heat recovery can save

about 70% of the cost of heating or cooling the outside ventilation air. This option would clearly qualify

for any available incentives, the payback value to the owner is dependent upon how often the facility is

used.

ELECTRICAL OBSERVATIONS

Electrical Service

Existing Conditions: The electrical service is currently fed overhead from a pole mounted

transformer bank. There are two main services located in the basement. There is a 400 amp,

120/208 volt, 3 phase amp servi ce for rooftop HVAC equipment, and a 1200 amp, 120/208 volt, 3

phase service for the balance of the building, ie ballroom, basement, stage, and vestibule. The

services were installed in 1992 and appear to be in good condition.

Recommendation: Retain existing electrical service equipment. Note: Existing grounding electrode

connection to the cold water pipe is not within 5 feet of where cold water enters the building.

Extend the conductor and connection to within 5 feet. Also, the new theatrical lighting system will

need to be coordinated with the capacity available in the existing electrical service.

Electrical Branch Panels

Existing conditions: Branch panels that were installed in 1992 appear to be in good condition.

Recommendations: replace panels older than 1992 and install new panels for new loads.

Wiring

Existing Condition: Most of the wiring appeared to be in reasonable condition. We observed some

cloth covered wiring that was installed in conduit, and some non-metallic cabling (ROMEX).

Recommendation: replace existing cloth covered wiring with new conductors. Replace non-

metallic cabling with MC cable.

Lighting

Existing condition: All lighting was in poor condition.

Recommendation: Replace all lighting with new. This includes Emergency Lighting, Exit Signs, General

purpose lighting and decorative lighting. Note: There are two chandeliers that are stored in the

basement that could possibly be refurbished.

Fire Alarm

Existing Condition: The existing fire alarm panel is a newer EST-2 panel. It appears to be expandable.

We did not observe any visual notification devices (strobes).

Recommendation: Expand existing fire alarm panel as needed for building upgrades, and add new

audible and visual notification devices in renovated spaces.

End of Report

Integrated Design Meeting Agenda and Report for

CIVIC AUDITORIUM RENOVATION, THE DALLES, OREGON

Meeting Date, Time & Location: Tuesday, 2-25-14, 1 pm, at the Civic Auditorium, 323 East Fourth Street, The Dalles, Oregon Required and confirmed Attendees: Owner: Steven Lawrence, Civic Managing Director 503-807-0724 [email protected] Architect: Mark Seder, owner, Seder Architecture + Urban Design 503-209-5596 [email protected] Mechanical Engineer: Richard Dusa PE, Principal, MKE & Associates, 503-892-1188, [email protected] Energy Trust Outreach Manager: Misti Nelmes (by phone conference call) Meeting Facilitator: Mark Seder RA, LEED ap Other/Optional Attendees: Energy Analyst: North Wasco PUD (Invited, did not attend) General Contractor: Michael Zingg, Design Structures, Inc. Commissioning Agent: None Electrical Engineer: Did not attend Gerald Richmond: Civic Board Member, Maintenance Director

I. Meeting Objective: Assess the sustainable development goals, strategies and integrated design solutions for the Civic Auditorium in The Dalles.

II. Discussion Topics:

(The details listed below are meant to be suggestions/guidelines. The purpose of the charrette is

to focus on sustainable development goals, strategies, and integrated design solutions. Meeting attendees should seek ways to use the site to leverage energy saving opportunities, as well as to design and equip the building structure for energy efficiency.

a. Building Attributes: 1. Shape: The Civic Auditorium is one half of a straightforward rectangular three-

level block of a building with a near-flat roof 2. Orientation: The building is oriented on a Northwest/Southeast axis,

mailto:[email protected]

mailto:[email protected]

3. Massing: The three story rectangular massing is very straightforward, without real insets or projections. The Auditorium portion in turn, is a simple rectangle of just under ½ of the total building area, taking all three stories of the overall massing on the western half, plus a partial basement under the stage.

4. Type: The use is auditorium and related support space (stage, lobbies, support rooms, etc.) for significant concert, drama and other events.

5. Usage: The nature of use for drama, concerts and other events, and rehersals, setup and demobilization after them, dictates an intermittent use of the Civic Auditorium rather than continuous use.

6. Occupancy Type: The entire structure including auditorium is classified as an assembly A-1 occupancy, due to the predominant assembly and meeting uses throughout.

7. Occupancy Schedule: The Civic Auditorium will be occupied intermittently, for events and their setup, breakdown and for practices and rehearsals.

b. Energy Use Breakdown 1. Use Energy Use Breakdown Tool to discuss end uses that should be/will be

targeted with energy efficiency measures: Ceilings/roofs, especially the bulk of the Auditorium where ample room and good access exists, will be over insulated to compensate for wall areas that are much more difficult/expensive to insulate (i.e. thru-wall masonry and concrete walls). There are incentives for $ 0.30 per square foot of new insulation.

2. Submit Energy Use Breakdown Tool (or similar tool provided by project) to program with meeting report. (see attached)

c. Energy Efficiency Measures 1. Building envelope design

1. Glazing percentage: 510 square feet of actual glass area including glazing in exterior doors. This is just 4.5 percent of the overall exterior wall area of 11,160 square feet.

2. Glazing performance: The existing glazing is single pane glass, predominanty clear, in wood sash windo.w frames and with wood separating mullions. There are no incentives available for glazing upgrades. However, measures to upgrade the windows such as replacing existing glazing units with double pane glass, or installing custom (i.e. historic in character) storm windows is also a possibility.

3. External shading: Although windows are slightly inset from the main exterior masonry plane of the building, the primary shading of the southern and western facing windows on the auditorium section of the Civic is by large surrounding trees. These deciduous trees are in full leaf during the main cooling season in The Dalles, i.e. Spring thru early Fall, thus actually allowing more sunlight into windows during the winter heating season.

Given the small amount of windows and historic character of the building, new external shading devices are not anticipated.

4. Wall performance: The existing exterior walls are thru-wall brick

masonry on the south side with plaster interior finish and some stud frame “furred out” interior walls. The north and west walls are predominantly thru-wall cast-in-place concrete with again, some wood stud furring. The east wall of the Auditorium section of the Civic is a totally interior party wall. Where easy and feasible, new exterior wall insulation may be added, at the same incentive rate as the

5. Roof performance: The roof primarily consists of a relatively flat built-up roof on sheathing. The roof is supported on large trusses creating a tall attic space that has partial blown-in insulation. This space can be easily further insulated to and well above prescriptive code standards. The stage itself has a fly loft with stick framed 2 x 12 or 2 x 14 roof joist framing and built-up roof on sheathing. It was difficult to ascertain the insulation if any, of the fly loft. However, this space should be easy to insulate to code standards, while also creating required joist space ventilation.

6. Infiltration: There is undoubtedly some air infiltration into both the attic and through exterior walls in this longstanding older facility. These leaks can be sealed and otherwise closed as part of the anticipated renovation process.

2. Daylighting & lighting design 1. Daylighting: In general, daylighting is not desired and is counter to the

primary usage of this facility type. Lobby spaces however, can be daylit for those times and events in which they are utilized during the day. Windows in both the main level and second level lobbies now allow significant daylight to penetrate these relatively narrow spaces completely.

2. Lighting Fixtures: New and replacement lighting fixtures will fall into two categories: a) House lights for general and accent lighting, and b) theatrical/events lighting. Both lighting types can utilize low energy lighting solutions. The advancements in LED fixtures make their use practical for certain of both types of lighting.

In addition, there may be other new exterior lighting for both effect and for safety/visibility. This lighting can be photocell and/or manually activated. Some of this lighting can be full-cutoff. However, lighting of the historic brick façade may be best as soft uplighting. Again, low energy usage fixtures can be utilized.

3. Lighting Controls: Lighting controls will be as required and normal for major events venues, allowing full control of both house lights and theatrical/events lighting as well as exterior lighting. Room occupancy sensors may be used in certain support rooms but are not generally appropriate to this use type.

4. Heating, ventilation & air conditioning systems and passive heating and cooling strategies: The existing facility is served by two, mid-90’s, 20 ton packaged units. They are gas heating with electric (DX) cooling. Capacity is insufficient for the intended use. Refrigerant is R-22. EER is below current Oregon. Code. Recommend newer equipment of appropriate size.

5. New HVAC to incorporate 100% OSA economizers with relief fans and demand control ventilation.

6. New HVAC equipment is recommended to be air-to-air recovery type to capitalize on large ventilation volumes.

3. Domestic hot water systems: Domestic water use is limited to small areas and volumes. Point of use water heating should be considered to avoid recirculation and piping costs.

4. Plug load & miscellaneous load management

1. Flat screen monitors 2. Laptop computers 3. LED task lighting 4. Energy Star appliances and equipment (dishwashers, copiers, printers,

computers) 5. Additional energy efficiency measures:

d. Additional discussion topics

1. Solar and Solar Ready design: The roof of the Auditorium appears to have good solar access and to be ideal for an unobtrusive but effective solar installation. The roof structure can be strengthened if and as required to make the roof “solar-ready”. There is ample space for conduit and inverters in the existing tall attic space immediately underneath.

2. Whole Building Monitoring and Sub-monitoring:

3. Operations and Maintenance: The intermittent nature of the operations and

use of the Auditorium and its support spaces will allow an HVAC system that allows interior temperatures to vary during non-use periods. When not in use, the Auditorium can be allowed to be above normal comfort temperatures in summer, and below those in the winter, with the space being brought to comfort levels in advance of events and other usage.

4. Life Cycle Costing/Additional Energy Modeling or analysis: None performed at

this time.

e. Role of the Energy Trust and how to work with the New Buildings program: The Energy Trust was very helpful during their involvement leading up to and then by phone conference call during; the Integrated Design Meeting conducted as part of this grant. The design team will remain in contact with the Energy Trust as mechanical, electrical, gas, plumbing and insulation systems are further studied and identified.

f. Next Steps: The project consultant team is now completing recommendations for the renovation and upgrade of the Auditorium portion of the Civic that this project consists of. These recommendations, including those achieved through the Energy Trust Early Design Assistance Program and the completed Integrated Design Meeting, will be a part of the recommendations.

A local general contractor has been engaged by the owner and will utilize the recommendations to achieve an initial cost estimate for the renovation project. This estimate will help guide current and future fundraising efforts for the actual renovation, including grant applications and appeals to potential donor companies and individuals.

g. Action Items: Approval of this and other submittal materials by the Energy Trust and release to the owner of the Early Design Assistance grant monies. Completion of recommendations to owner in a report and then, preliminary and initial construction cost estimate from owner-engaged General Contractor.

h. Next Meeting: Project meetings will be ongoing, as continued fundraising allows and as the owner feels are appropriate and timely to move the project forward. No meetings are currently scheduled.

Merlin Berg Enterprises LLC July 18, 2014

Dear Dennis,

Here are my recommendations for Civic Auditorium improvements to the Theater. Serious

consideration needs to be given to basic energy efficiency upgrades. As a result, reducing the cost of

heating and cooling will have a positive benefit not only on the comfort level but on the cost of

operating the Civic. The Civic Board can take advantage of energy efficiency programs offered by Energy

Trust and North Wasco PUD.

The Seder Civic Auditorium Renovation – Renovation Needs, Options & Strategies Report (Report)

provides recommendations to guide the Civic Board, a road map to restoration of the Civic. In the

Report Level One Basic Upgrade Concept gives priorities for renovation. My focus is on items: 1.66

New/upgraded building systems, 1.77 Structural upgrades of existing roof trusses and 1.88 Upgrade

thermal envelopes. The Civic Board needs to make a serious consideration reduce heating costs while

providing temperature controlled environment for Civic Auditorium patrons and performers.

1.66 New/upgraded building systems. The engineering report recommended. The existing

equipment (and ducts) is undersized to serve the anticipated maximum occupancy of 850 people on

a design cooling day. Total load to the Auditorium is estimated to be closer to 100-tons. This

estimate is based upon an insulated and leak-sealed building envelope. It is also recommended that

the Auditorium be broken into three zones of heat/cool temperature control;

Front Lobby (5-ton unit / 1000 lbs.)

Auditorium (2 each 40-ton units / 6,000 lbs. each)

Stage (15-ton unit / 2000 lbs.)

All of these units require 100% OSA economizers with demand control ventilation activated by CO2

sensors. New ducts will be required; Sheet metal is recommended.

As an upgrade option to the above, heat recovery should be considered for the two 40-ton

Auditorium units which will have high outside air volumes during periods of occupancy. Heat

recovery can save about 70% of the cost of heating or cooling the outside ventilation air.

1.77: Structural upgrades of existing roof trusses as required for new rooftop mechanical, making the

roof “solar-ready” (per Energy Trust incentives) and other structural considerations.

In my opinion, the Civic Auditorium is the ideal location to install solar water heating. The raising the Auditorium floor would allow the installation of heating tubes in the new concrete floor. The solar water heating panels on the roof transfers heat from the solar to potable water. The potable water then flows

the dalles civic auditorium renovation

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