(ffiM ^ ^ ^ ^
(ffiM
^
^ ^ ^
A NEW OPERA HOUSE FOR DALLAS, TEXAS
Presented to: Professor W. Lawrence Garvin Division of Architecture Texas Tech University
In Partial Fulfillment of the Requirements of the
Bachelor of Architecture Degree
by James Zeeck
2 January 1985
K
ACKNOWLEDGEMENTS
I took on this project with enthusiasm and naivete.
Along the way many have helped me get on the correct course.
I would like to thank them all. Those people that I inter
viewed also deserve my thanks. The sharing of their time
and expertise were invaluable to me.
My admiration and appreciation to all the staff at The
Dallas Opera. Their willingness to help me understand their
activities was essential to my work. Scott Holderer and
John Tooey are singular credits for this.
Finally I would like to thank: Rebecca Robbins, Margie
Firenze, Marte Moore, Sharilyn Birkman and everyone else who
gave me encouragement when things looked bleak.
James Zeeck 12/19/84
PREFACE
To be of any value, design must be informed. The
esoteric components of an opera house are many and varied.
It is by observation and inquiry that they become tangible
and informative.
The impetus to build is, at this time, not a widely
felt concern. It is my belief that, by nature, man does not
build until needs arise and become critical, even though
these needs may be predictable and verifyable. This is the
present case for a new opera house in Dallas. The fact that
market research focusses on this subject is cause for hope
that such a building project will not be hastily planned and
poorly thought out (see Appendix B for this type of in
formation) .
Just as a composer, librettist, conductor, technicians,
performers, and craftsmen work in concert to create art, so
must the various disciplines of architecture unite to produce
good work. This represents my omnibus attempt at organizing
pertinent information. Reader beware of an emphasis on
architecture- in the exclusive sense.
11
TABLE OF CONTENTS
Page
Acknowledgements i
Preface j^j^
List of Figures v
Project Goals and Objectives 1
Background 3
Opera in Dallas 9
Company Growth 12
Project Identification 13
Significant Issues 14
Activity Analysis 21
Public Activities 23
Experiencing the Opera 26
Activity Behind the Curtain 31
Dressing 40
Craft Works 43
Site Analysis 54
Space Summary 70
Public Space 73
Stage Space 77
Dressing Space 80
Shops/Scenery Space 83
Shops/Costume Space 85
Total of Categories 88
Systems Performance Criteria 91
111
IV
Page
Cost Analysis 101
Detailed Space List 107
Public Spaces 108
Stage Spaces 117
Dressing Spaces 122
Shop Spaces 128
Miscellaneous Spaces 138
Appendices
A. Case Studies 141
B. Market Information 157
C. Acoustics 164
D. Seating and Audience
Orientation 172
Bibliography 179
LIST OF FIGURES
liSl^I^ Page
1. Diagram of Production Sequence 8
2. Fair Park Auditorium Additions 12
3. Springer Plan of 1971 16
4. Site Location 17
5. Lifts and Traps 33
6. Typical Scenery Shop Layout 45
7. Typical Costume Shop Layout 49
8. Arts District Location 55
9. Drainage Access 56
10. Temperature and Month 59
11. Precipitation and Month 59
12. Solar Angles 61
13. Land Uses 63
14. Transportation Routes 65
15. Critical Angles for Auditoria 97
16. Age of Opera Patrons 158
17. Income of Opera Patrons 159
18. Opera Ticket Sales 160
19. Importance of Attributes by Theater 161
20. Importance of Attributes by Age 162
21. Attribute Evaluation by Theater 162
22. User Satisfaction Diagram for Auditoria . . . 167
23. Head Movement Diagram 174
24. Composite Range Diagram 174
25. Seating Types Diagram 176
GOALS
AND
OBJECTIVES
PROJECT GOALS AND OBJECTIVES
The project goals are:
- To allow greater flexibility in stage techniques,
artistic effort, patron satisfaction, and interaction
with the community
by designs which: - are capable of growth and
change
- can be made to meet new
operatic requirements
- offer opera goers unique
entertainment of the highest
quality
- facilitate reaching a
maximum audience
- Maximize operational efficiency (despite having chamber
opera and administration elsewhere).
by designs which: - operate well under long
standing procedures
- seek their own equilibrium
- utilize facility, expertise,
and material optimally
- To create environments that allow (even cause) each
individual to feel their potential is attainable
by designs which: - are sensitive to need
- have ambient quality
- foster or permit good
attitudes
• To make opera (of all styles and periods) live as
a relevant and expressive art form
by designs which: - relate to humans today
- concentrate on the percep
tual priorities of this
art form
- reflect cultural and social
strengths of this population
BACKGROUND
BACKGROUND
An opera house is an elaborate combination of spaces to
accommodate myriad functions. No less elaborate are the
contexts, meanings, and implications associated with opera.
It is necessary for the designer to be aware of the differ
ent contexts in which an opera house functions, and thereby
will be judged. This section will examine them in order,
from general to specific, and then discuss issues signifi
cant to the current state of opera in Dallas.
The term "opera" means different things to different
people. These vary with age, cultural background, and
exposure to opera. In many cases, these deviations are
polarized, making people either opera-phobes or opera-
philes. To avoid this, let us define opera.
The definition found in a common pocket dictionary can
illustrate the problem. Opera is "a drama set to music."
This would apply to musicals as well as opera. Grand opera
is defined as "a serious or melodramatic drama having the
2
entire text set to music." This is the "supreme conven
tion" that is at the heart of opera and much of opera's
criticism.'^ This definition is closer to what opera is
perceived to be and is in general the type of opera that
will be produced in the new house.
Closer scrutiny yields further distinctions between
types of opera. Singspiele, music drama, opera buffa, comic
opera, and operetta are all subsets of the broad terra.
These types are generally distinguished by structure, length,
or subject matter.
Opera has roots extending back into epic tales found in
most cultures. How has opera evolved into its present
state? Opera, in a form that we might recognize as such,
began about four hundred years ago. Of course the date is
impossible to pinpoint because previously there had been
many plays with music.
Claudio Monteverdi (1567-1643) is one of the first
great composers. Some have even called him the "creator of
4
modern music," He was patronized by nobility (under con
tract as it were), as was the custom at the time.
George Frederick Handel (1685-1759) is perhaps the next
great figure. Although he is often associated with other
types of music, most of his life was spent as a composer of
operas.
In the middle of the eighteenth century, opera had
become a prisoner of convention. Internationally, opera was
expected to be performed in an exquisite but soulless Italian
Composers and public yearned for more lively entertainment.
Enter Wolfgang Amadeus Mozart (1756-1791). Although he
was well versed, even gifted, at all forms of music, opera
was his favorite pursuit. Building on the reformed works
of Cluck, Mozart wrote many operas (in many styles and
tongues), including The Magic Flute, Don Giovani, Cosi fan
tutte, and Figaro. Although the designer need not be well
acquainted with these works, Mozart is a figure so important
to opera history (and opera staging) that he may be used as
an archetype for further study.
In the nineteenth century, opera took an even more
prominent position as an entertainment for all people.
Operas were written and produced in great numbers by such
great composers as Verdi, Rossini, and Berlioz. In addi
tion, opera took on an international air with compositions
from France, Germany, England, and Russia.
There is another important aspect for the designer to
consider. At this same time (the late 1800's), operas were
so popular with so many people that they could be vehicles
for social and political communication. Nationalism is a
theme in many operas of this time. The operas of Verdi were
sometimes banned because they threatened the occupation
armies in Italy and some of his opera music became rallying
cries for a united Italy.
With so many great composers, it is not really per
tinent to dwell on them, but one more must be mentioned.
Richard Wagner (1813-1883) was an unquestioned, though not
uncontroversial, genius. His demeanor was absolutely abra
sive, and though he had the friendship and good wishes of
few, he was ultimately respected by almost everyone.
The effect that Wagner had on opera was revolutionary
and similarly with opera staging. The epic nature of his
work, steeped in mysticism, causes an opera stage to perform
as much as the singers. He was characteristically opinionated
on the desirable qualities of all parts of an opera house
and even had one built to his specifications (see Case
Studies, Appendix A). His innovations in the requirements
and techniques of operatic staging indeed set new standards
for opera.
This illustrious history has resulted in a repertoire
that combines a large measure of old favorites, resurrec
tions of forgotten works, and a few new operas. The public
response to new operas, and therefore a company's capacity 7
to stage them, is a measure of the vitality of the company.
Although there have been new operas written all during
this century, it is part of the premise of this new house
that more are being written now and that they are a part of g
a "new wave" of composition and staging. Post-war works by
Kurt Weill and recent works by Phillip Glass are examples of
this. They share several traits, including staging, that
depend on modern technology and a willinaness to break
operatic conventions of style and length. The important
thing for the designer to be aware of in this regard is that
opera is alive and will continue to break new ground. The
technological implications of this will be examined further
in Systems Performance.
Opera as an art form has been profiled, but what else
is there to say about opera? Opera is also a process. It
bas a series of predictable phases from inception to curtain
call. It may be valuable to think of opera as a series of
designs that must interact perfectly.
Operas begin with an idea. This may be an inspiration
or the result of a specific commission. It is usually the
composer who seeks out a librettist to sketch out the dra
matic armature that the opera will be built around. Working
as a team (or as an individual doing both tasks), the opera
is written. It is not simply putting music to a play. It is
absolutely essential to remember that "music . . . governs g
all matters of timing." The designer should be aware that
there are some very popular operas in which armies appear,
advance, and march off in the space of a few minutes without
appearing unnatural or disruptive.
At this point, there is some'impresorial entity that
decides to produce the opera. Currently, scheduling is a
high priority task. An opera house, director, designers,
and especially singers, must be contracted to this produc
tion, often years in advance-
The technical designers such as lighting, scenery, and
costumes begin their work by conferring with the director as
to the intent or course to be followed. With this to go by,
they design-these features to make the production a cohesive
whole.
After these designs are completed, and about six months
before the first performance (this is true for Dallas, but
depends on the scope of the work), construction begins on
the scenery and the costumes are begun. The costumes are
fabricated to roughly fit the performer but at this point
8
are not fitted. This will be done immediately before the
performance to allow for the possibility of an understudy or
other unexpected changes that may occur.
The performers and chorus are expected to know their
roles before coming to the house, and they usually have had
some private coaching. A month or two before the performance,
all of the performers are brought in for rehearsal. In gen
eral, rehearsals take care of blocking (movement of) per
formers on stage and any final changes. Until dress rehearsals,
the practice sessions are scheduled in small groups and for
whatever time is required. This can lead to twelve-hour days
for the cast and crews who are also rehearsing and setting
up for the performance.^^
Dress rehearsals are scheduled the week before perfor
mance in order to coordinate all aspects of the opera in
cluding the performers and all systems such as lights, scene
changes, music, etc. See Figure 1 for a diagram of this
sequence.
\ \ \ / ^ C0MP08EB
DEA r *• \
t LBRETTOT
-MPRESSARIO-
>8M<1ER3-
-»DESK1NERS
> DIRECTOR 1
-CHOUSE
CRAFTSMI lEM-j > —»
- \
PERFORMANCE
Figure 1. Diagram of Production Sequence. The dashed
line represents an optional loop (a commission
by the impressario). Also, modern practice has
titled most of the designers; e.g.. Director of
Lighting.^
Meanwhile, the administration is making sure the house
is ready and the tickets get sold. All of these activities
will be managed from the Majestic theater offices.
At this point, opera takes on its third definitiion (in
addition to being an art form and a process). Opera is a
social event. In fact, for most of operatic history, this
has been its major role. The distinction between opera and
"THE OPERA" is made by its social context. Even today,
"going to the opera" is often done less to see than to be
seen.
The history of opera is largely responsible for the
link between opulence and opera. As wealth gradually re
placed birthright as the ticket to opera boxes, ostentation
replaced elegance. The existence of boxes and their ar
rangement can say a lot about the importance that the patrons
attach to this function of opera. In Cologne, as in many of
the post-war opera houses, there are still boxes but they
are neither gilded nor exhibitionist but seem democratic in
their access and detail.
Along with box seats, the public spaces such as foyers
and terraces serve as places to socialize and compare plum
age. The importance and requirements of this type of space
should be carefully considered by the designer.
Opera in Dallas
Dallas is a relatively young city, yet opera has played
10
a significant role in Dallas for over a century. Admitted
ly, early opera in Dallas was crude. However, as the level
of operatic sophistication has paralleled growth in Dallas,
the needs of The Dallas Opera have grown beyond the abil
ities of their current home at Fair Park.
The story of opera in Dallas is part of a much more
general relationship between Dallasites and entertainment
potentials. Since 1859 when the first State Fair of Texas
was held, Dallasites have used entertainment as an industry.^2
As the Fair became established, amusements superceded farm
product demonstrations in importance. At this time, Dallas
was the terminus of the railroad. The Fair and the effect
of the railroad made Dallas the regional center for enter
tainment and culture. by the time the railroad moved fur
ther west, Dallas had capitalized on this and made enter
tainment into a big business.
In 1873, Field's Opera House opened in downtown Dallas
and, subsequently renamed, became the first Dallas Opera
House. """"̂ After it was destroyed, a second Dallas Opera
House was built in 1883. It, too, was destroyed by fire in
1901. Thereafter, traveling productions held tent shows east
of downtown, near the present Southland Center location. In
1904, yet another Dallas Opera House was built, but it
burned down as had the others, seventeen years later.
Karl Hoblitzelle came to Dallas in 1905 and built the
Majestic Theater (restored in 1981 and the current home of
11
the Dallas Opera offices and their chamber operas). This is
perhaps the acme of Dallas theaters to date, largely due to
Hoblitzelle's enlightened management. It distinguished
itself by offering the highest quality family entertainment
and set a precedent for the other theaters. "̂^
It was at this time that the citizens of Dallas began
getting involved in an impresorial way with cultural 1 a.
events. Several civic groups were active in promoting
and supporting opera in Dallas. This was essential in order
to attact the tours of the Chicago Opera and the Metropolitan
Opera. These groups also produced a series of light operas
in the Dallas parks. After being away from Dallas for many
years, in 1939, the Metropolitan Opera resumed making tour
stops in Dallas. The Dallas stop was cut from the tour in
1984, due to the expense of touring.
Operas have been staged at Fair Park for over fifty
years although not always in the grandest style. The first
operas were in a boarded-over horse ring. In 1925, a new
auditorium was built to be used primarily as an automobile 17 showroom and casino during the Fair. This is the original
building that has become opera's home in Dallas, the Fair
Park Music Hall.
Maria Callas had a catalytic effect on Dallas opera-
goers through her appearances at Fair Park in the early
1960's. It was after these concerts that the Dallas Civic
Opera was begun (now known simply as The Dallas Opera). In
1971, the Fair Park Audtorium was remodeled into what is
the Music Hall today (Figure 2)
RESTAURANT
FOYER
ORIGINAU
BUILDING
BACKSTAGE
LOBBY
PORTICO
FAIR PARK MUSIC HALL Figure 2. Fair Park Music Hall
12
Company Growth
Since then the Dallas Opera has grown into one of the
nation's leading companies. As part of its philosophy that
18 "opera should be available to everyone", the Dallas Opera
has not only continued to expand its performance schedule,
but also added several outreach programs such as Friendly
Overtures and High Noon Opera. In addition, its productions
are broadcast several times each year over National Public
Radio.
Appendix B contains the results of market research
commissioned by the Dallas Opera. It gives profile data
about the audience and details the basis for using 3,600
seats as house capacity. Finally, it compares the relative
importance of different opera house attributes.
13
The latest enlargement of the Dallas Opera is the
beginning of a Chamber Opera season. This affects the need
for a new opera house in many ways. Because chamber operas
are generally shorter and lighter, these will be appealing
to a new audience that could be assimilated into its regular
season audience. By having the chamber operas at the more
intimate and affordable Majestic Theater, newcomers will be
able to try opera without having to sit in the worst seats
of the Music Hall. The chamber opera season will also make
opera in Dallas visible and available year-round.
In addition to the Dallas Opera, a second opera company,
the Dallas Public Opera, has begun a single season at Snider
Plaza in University Park, across from Southern Methodist
University. Its home is the Plaza Theater, a remarkable
restoration of an x-rated theater and a welcome addition to
its neighbors. Dallasites have historically supported opera
both monetarily and psychologically. Their reward for
sustaining such a healthy relationship, in whatever form,
must be of blue-ribbon quality.
Project Identification
Although the Music Hall has been successful in its
adaptive reuse, its strictly bounded site and original
structure seem to limit its potential for expansion. In
addition, market research indicates patrons are concerned
19 about safety, parking and acoustics at the Music Hall.
In another study, the Music Hall is described as suffering
14
from terminally congested scheduling, perceived inaccessi
bility, and its connection with the State Fair.^^
As the season expands to keep up with demand. The Dallas
Opera is faced with the need to streamline its operations.
Inefficiencies such as scattered shops and insufficient
space are becoming more critical. The long-term goal of
becoming a repertory company is impossible in the present
location.
Essentially, the goal is to consolidate the activities
of The Dallas Opera in a home of its own. The offices being
located in the recently remodeled Majestic Theater, will not
be included (although they may be in a later phase). The
Dallas Opera is somewhat unique in that it is solvent, its
annual budget coming from ticket sales and gifts. This may
make it easier to acomplish the goal of relocating in a new
and well-built facility and to do so economically.
Significant Issues
It is essential to identify issues significant to
planning, growth, perceptions and relationships. Dallas is
a city with a long record of planning and study in its
attempt to identify these kinds of issues. Through these
studies Dallas has tried to get at the essential concepts
underlying the physical results of its growth. The common
thread that runs through each of these plans is the concern
regarding public spaces. Examination of these plans will
15
show how Dallas relates to public spaces and the problems
related to this.
The first great effort at urban planning in Dallas was
the Kessler Plan of 1911.^^ The impetus for seeking
professional help was the acquisition of the State Fair
grounds (Fair Park) by the city in 1905. This instantly
doubled the size of the park system. Kessler's plan to
restructure the entire park system is notable in two
regards. First, it defined two kinds of parks that would be
in the system; small parks in the neighborhoods and large,
special purpose parks such as Fair Park. This made the
parks more useful that merely botanical museums. In a
sense, the Arts District and each of the public entities
within it are the progeny of this type of activity-oriented
special purpose park. Second, the plan called for selected
thoroughfares to become boulevards, tying all the parks
together.
In 1944, there was a study of the area surrounding
White Rock Lake known as the Bartholomew Plan. It was fair
ly limited in its scope but it is significant in that this
area was dealt with holistically. For the first time,
Dallas was using regions as planning units and considering
their effect on adjacent areas. Again, this is a progenitor
of the Arts District.
Facing numerous problems of accelerated growth in the
early 1960s, Goals for Dallas was organized to try reaching
a concensus on significant issues. Although it was only an
16
investigative step, it led to the Springer Plan of 1971
(Figure 3). The plan centered around a greenbelt that would
22
link Fair Park with downtown. This is a situation similar
to Chapultepec Park in Mexico City, Forest Park in St. Louis
and Golden Gate Park in San Francisco. By this time Fair
Park had expanded several times and litigation by the
potentially dispossessed had become a problem. It seems
that this is one of the main reasons it was not carried out.
Most recently, the Near East Dallas Plan has focused on
the area between Fair Park and downtown Dallas. In the same
place as the Springer Plan had called for a greenbelt, this
plan calls for an activity corridor. This essentially means
less disruption in the area by putting a new face on
existing uses in the corridor and revitalizing vacant and
dilapidated buildings.
Figure 3. Springer Plan of 1971
17
The Carr-Lynch Associates plan mentioned above is the latest
and most extensive of these plans. Due to the dated and
inadequate facilities at Fair Park, many of the arts groups
located there have been preparing to relocate. The report
recommends that an Arts District be created north of
downtown. This would be a network of loosely related
cultural facilities and intersperssed with supporting com
mercial and retail spaces. All of these could relate to the
existing gallery and studio areas across Woodall-Rogers
Freeway to the north. This plan is consistent with the
Kessler Plan in its use of boulevards and creating a special
purpose area. Other advantages are the relatively inexpen
sive tracts of undeveloped, downtown land, the large parking
capacity and adjacent office space.
One of the central issues regarding the Arts District
was the perception of a location belonging to one group or
another. 23 In this sense, the Arts District tries to re
main neutral by its downtown location (Figure 4)
EST-
SITE LOCATION Figure 4. Arts District Diagram.
18
Other issues that must be addressed are concerned
with the relationship with the area surrounding the site.
Within the Arts District, the Opera House will have to re
late to the other facilities and yet remain independent
with its own strong identity. Bordering the site on the
north and east are major expressays. Besides the acoustics
problems caused by this (which will be examined in Systems
Performance), it is also a matter of concern to the image
and experience value of the building. Finally, there are
other human issues. At night when most of the performances
take place, patrons will come from all over the metropolitan
area to the Opera House. How can the facility relate to
what amounts to the indigenous population, the downtown
workers, during the day when there is the greatest visi
bility for the Opera House?
19
ENDNOTES
G. & C. Merriam Co., The Merriam-Webster Dictionary, (New York: Simon & Schuster, 1974), p. 491.
2 William Morris (ed.), The American Heritage Diction
ary of the English Language, (Boston: Houghton Mifflin Co., 1979), p. 573.
3 J. Merrill Knapp, The Magic of Opera, (New York:
Harper & Row, 1972), p. 13.
^Ibid., p. 126.
^Ibid., p. 142.
^Ibid., p. 177. 7 William J. Baumol and William G. Bowen, Performing
Arts - The Economic Dilemma, (New York: The Twentieth Century Fund, 1966), pp. 254, 397, 149, 144.
®Ann Holmes, "Houston Threatened by Taste of New Wave in Opera," Houston Chronicle, October 14, 1984, section 3, p. 12.
^Reinhard G. Pauly, Music and the Theater, An Introduction to Opera, (Englewood Cliffs, NJ: Prentice Hall, Inc., 1970), p. 7.
•'•̂ Baumol and Bowen, pp. 129, 131, 141.
Interview with Greg Ridenour, Production Stage Manager, San Francisco Opera, 21 December, 1984.
12 Robert M. Newton, Centennial History of the Dallas,
Texas Park System, 1876-1976, Vol. 1, (Lubbock, TX: Texas Tech University Press, 1975), p. 128.
13 John William Rogers, The Lusty Texans of Dallas,
(New York: Dutton & Co., 1965), p. 206.
•^^Ibid., p. 209
•"•̂ Ibid., p. 222. •••̂ Ibid., p. 237.
20
17 • Newton, p. 68. 18
William Winsper, "A Message from the President," in Dallas Opera Magazine, p. 9.
19 Booz, Allen & Hamilton, Inc., Planning for a Spring
Season - Market Research Results for The Dallas Opera, 1983. 20
Carr, Lynch Associates, A Comprehensive Arts Facilities Plan for Dallas, Urban Planning Report to the City of Dallas, 1977, pp. 14, 30, 43.
21 Newton, p. 256.
^^ Ibid., p. 288.
23 Carr, Lynch Associates, pp. 2, 30.
ACTIVITY
ANALYSIS
ACTIVITY ANALYSIS
An opera house contains a wide variety of activity.
This section of the program will describe those activities.
First, a general description of the events that the opera
house will be used for is necessary. That will be follow
ed by an analysis of typical activities. Special activities
and adjacencies will also be discussed. In order to show
how these activities relate, they have been synthesized into
brief scenarios. The perceptions, feelings, needs, and de
sires of the users will also be considered as they relate
to these activities. Although specific references to spaces
have been avoided, boundary conditions (such as exterior-
interior, house, and proscenium) remain.
In the current situation, Dallas arts groups share a
very limited facility in the Music Hall. This sharing im
plies competition for the facility in terms of time and
resources. As a result, the competing groups have all been
unable to expand as the public demand would require. To
alleviate this problem, several specific use facilities
have been proposed. It is to be assumed that the new opera
house will be used strictly for opera although at times it
will undoubtedly be used for other purposes.
The current Dallas Opera schedule is for 16 performances
each autumn (four performances of four operas) and this year
was added a- spring season of chamber operas. These chamber
21
22
operas will be at the Majestic Theater. In the new house
there will be an expanded season (autumn through spring) of
48 opera performances, four times the current number. This
schedule may expand even further as demand warrants. In
addition, the Metropolitan Opera tour may again, play four
performances in the first part of May each year. The chamber
opera program will likely remain at the Majestic as the size
is optimal for that type of production. However, as the
audience increases chamber opera will also move to the new
house and be rescheduled to the late spring or early summer.
Although touring companies are costly to maintain, the Dallas 2
Opera would like to open an annual tour. Therefore, the
new house would also have to serve as a base of operations
for this program as well as accommodating other touring com
panies.
Currently, the opera shops are scattered between Fair
Park and downtown. Limited space at the Music Hall also re
quires the opera to have its scenery shop work contracted
out. For the new house, there is a wish to consolidate their shop
facilities and storage as well as improving the backstage
areas. The offices for the Dallas Opera are currently lo
cated at the Majestic. This is likely to continue although 3
office space may be added at a later phase.
23
PUBLIC ACTIVITIES
These activities comprise the audience's operatic
experience. In that sense, they are responsible for the
popular success or failure of an opera house. The house is
of premier importance among the public spaces which include
the foyer, the ticket booth, public and service spaces.
These activities will be considered in the order in which
the audience engages in them.
Opera patrons come to the opera from far and near.
They have prepared to varying degrees before embarking. Then
they travel some distance by automobile or opera coach,
anticipating their evening's entertainment.
As they near the opera they prepare to enter. This is
in two stages: as they drive up and park and as they walk
up to the building. In both cases, the views of their
destination are significant images. The distances in
volved should be limited, but not minimized (elimination of
this entrance experience would be disappointing).
This activity requires physical action and orientation.
In addition, self-image and conceptualization are applied
in greeting their destination. This is a phase including
confinement (in vehicles), exposure (to destination and
environment), and shelter (entrance). There are (and should
be) various possible combinations of these elements.
As opera goers arrive they will separate into those
already having their tickets and those needing to purchase
24
them. Although many of the patrons will have tickets, the
lines at the ticket window tend to seem longer than they
really are. The number of windows needs to be planned for
the maximum crowd, allowing the ticket sales to expand as
required. At any performance, the number of tickets sold
may be as great as half the number of seats, or about 1800 4
tickets maximum. Over the period of an hour or two before
the performance, the number waiting in line may be a few
hundred people. This being a "worst case scenario," it will
usually be considerably less.
The culmination of this entrance (for both ticket haves
and have nots) causes other activities such as closing
umbrellas, removing coats (now or later), and initial gather
ing and greeting. Everyone is glad to be there, or at least
gratified at arriving. Now they may look around, further
orient themselves, and begin their opera experience.
Entering patrons may need to check coats and hats
before moving further. They will want to be secure about
this and feel uncrowded as they remove the wraps. Many of
those attending the operas at the Music Hall arrive early
and dine at the catered buffet and bar where they can watch
from the side as people enter and move about. This has been
a long-time favorite in Dallas and will be incorporated in
the design of this new opera house. Others may want to have
a cocktail and relax before entering the house. In any case,
26
25
the activities of the caterers and those of the patrons
should interface only at the point of service.^ Water foun
tains and restrooms must be accessible. These may either be
consolidated in one location or be separated in several loca
tions. Of course, they all must be acoustically isolated
from the house. Ample seating areas must be provided for
comfort.
The patrons are generally here to be entertained. For
many, this may be a period of final mental preparation, stress
abatement, and relaxation. Others will be waiting for friends,
greeting people, socializing and generally being very public.
This can be more complex and structured than it might seem.
For those with social agendas or ambitions, this time before
the show may be essential to reconnoiter and schedule inter
mission activities. As curtain time approaches, they
enter the house.
Latecomers are not seated during the performance...ever.
Although this protects the punctual, it penalizes the tardy.
This can ruin an evening for people who have probably been
rushing to arrive. Solving a problem like this can be done
in many ways. The essential requirements include the
ability to perceive the opera without being perceived or
allowing light or sound to enter.
26
li
Experiencing the Opera
The house is the large space where the audience is
seated. (In the design of this opera house, the audience's
ability to perceive the performance in comfort and without
hinderance is THE most important issue. Everything is to be
considered subordinate to that goal.)
As the patrons make this ultimate entrance, they are
given programs by ushers on the public activity side of the
doors. On the other side, they will be greeted by ushers
who will aid them in finding their seats.^ For an usher, it
can be very disconcerting when those being ushered stop to
chat. They are trying to seat people expeditiously. It is
important that these abberations in the seating process not
create problems. One solution is very wide main aisles.
Another may be handicapped niches.
Appendix D contains information regarding seating and
audience orientation. Progessing from the perceptual tools
(the eyes and ears) up to seats and sections, the relation
ships between unity are examined as a whole system.
Varietal type relationships are also discussed.
The evaluative criteria for this activity can be
categorized as acoustics, sightlines, seating and access,
and safety. These four concerns must be addressed holis
tically to achieve the desired result.
27
Now the patrons are seated, waiting for the houselights
to dim (another ritual). They visit with those in adjacent
seats, get settled, and have time to really examine their
surroundings. At this point, they are most likely to form
opinions about ambience, and whether that is appropriate to
the activity. Not only do their immediate surroundings
exist perceptually, but in a cognitive sense, the three-
dimensional void may be perceived as well as the envelope.
The event begins. The houselights dim and the overture
starts. The overture is another step (this time built into
the opera) in preparing the audience, setting the emotional
and physical/cultural scene. Public visibility gives way to
public anonymity. Those sitting in the dark are now ready
to hear and see an opera.
Acoustics may be the most important aspect of the opera
house and along with sightlines, is certainly the heart of
the operatic experience. The same cognitive perception of
the volume enclosed, is now elaborated on by the addition of
sound into it. It is essential that the audience is able to
hear the words as well as the music. This is often trans
lated into a reverberation time of about 1.6 seconds.
Although this is desirable, it is not sufficient for good
acoustics. The house must also be devoid of acoustical
defects.
28
Appendix C concentrates on acoustics and four specific
components: room acoustics, sound isolation, mechanical
systems, and sound amplification. The list of typical
acoustical defects and their causes is given as well. The
designer should use this as only the most general
information. Acoustic design requires extensive study.
Sightlines refer to the visual relationship of the
audience to the stage. It is unavoidable that the rear
corners of the stage will not be seen by some members of the
audience. Directors usually take this into account by
confining the stage action to a trapizoidal area.^ In this
way, the designer affects not only the audience but future
productions by the sightlines created. The design should
optimize this relationship. In one possible solution, a
wide house with a wide stage may bring the audience closer
to the stage and allow a greater portion of the stage to be
visible to more people than a narrow house, for example.
This is only one strategy and may generate significant
drawbacks. The designer will work with these factors in an
integrated way.
A traditional compensation for inadequate visibility is
the use of broad gestures on stage.^ The audience needs to
see the action on stage. Often viewers depend on this to
provide meaning to words they don't understand and in lieu
of a libretto they have not read.
29
The seating within the house should be comfortable for
the long periods required for opera. It should also be
apart of an arrangement that will be conducive to good
viewing. This requirement may be met by sloping the floor
and staggering the seat centerlines. In addition, the seats
should acoustically resemble the absorption of an occupied
seat. This is essential in minimizing the effects of a
half-full house. All seats should be accessible from the
aisles without excessive disruption to the other patrons and
to the exits as prescribed in the codes (see Appendix D).
In order that maintenance be less arduous, the seats should
fold up though not necessarily automatically. Every seat
must be considered, not just a few.
Audience safety is often taken for granted by the
public and viewed as harshly restrictive by the designer.
To solve this problem, these restrictions must be incor
porated in the earliest stages of the design. They gener
ally deal with exit size and location, the nature of egress,
and fire safety or sprinkler systems. See Appendix D for
applicable codes and their analyses.
The design of the house is a detailed process and
should consider the acoustical properties of every material
used in addition to the life costs involved. In addition to
30
these practical considerations, the designer should keep in
mind that the audience has come to be a part of the magic,
not merely to witness to it. People's appetite for stimu
lation, elegance, and beauty is keen and the aesthetics of
the house should reinforce or supplement this rather than
distract from it. Because of its size and function, this
space will have some impact on the audience. It must be
handled with care and discretion.
31
Activity Behind the Curtain
The stage activities and all of the ancillary tasks of
stagecraft are the focus of the production of an opera in
that they are somewhat like manufacturing opera. These
activities are intertwined with spaces and equipment needs.
However, they should not be the focus of the audience; in
fact, these must empirically cease from the point of view of
the audience in order for the opera's illusion to succeed.
The efficiency and reliability with which these activities
take place in their clandestine setting is the most import
ant factor in staging an opera.
Part of the efficiency of these activities depends on
their ability to be adapted to the fantastically diverse
requirements of an opera. In the past this could be judged
on a scale of grand processions or dragons' dens. The chal
lenges of a new generation of opera may require even more
incredible capacity, especially in the realm of electronic 9
media in use of projection and sound reinforcement. The
discussion of these activities will begin with the stage
and stagecraft, then successively address secondary and
derived activities. This should not obscure the fact that
they all must be considered holistically.
The stage may be abstracted as the crucible within
which the performers create the magic of opera. This analogy
can be extended to the dressing rooms as flasks and the
32
orchestra as flame. Pragmatically, the stage can be viewed
as something that physically supports the scenery and perform
ers. Too often this is the extent of the designer's concept.
The real relation between the stage and the opera is complex
and subtle.
Performers view the stage in many ways. Generally,
they acknowledge its special status, but they also consider
it their workstation. It is a very strange perceptual and
psychological environment. They look out into a void, blind
ed by lights, on one side and overhead. Subconsciously,
they are aware of where they are, what they are doing, and
the pragmatic requirements of their role. On the other
hand, they may feel the illusion of solitude. When they
change activity (and leave the stage), their environment
becomes "real" once more.
The stage is dependent upon access. It requires access
for the performers from all sides including up above and from
below. It also requires access for all effects and scenery
whether it is fire, an ocean, or a dragon. The implication
of this is inherent flexibility, and it may be manifested in
stage machinery such as lifts and turntables. The ability
to change quickly and quietly is essential and the designer
should feel free to explore all possibilities in this regard.
The surface of the stage may be of wood or any other material
that is durable, nailable, and quiet. The degree of friction
will also be important for ballet.
33
Stage lifts and traps are standard mechanisms for
access from underneath the stage, for both performers and
scenery. The lifts are usually hydraulic platforms. In
addition, they are usually about ten feet in depth and
almost as wide as the stage. Figure 5 shows lift plans for
the opera houses discussed in Appendix A, Case Studies.
.1^ P
L;i;vijii|ii,tjjieii!;!'|-ii!ijiji!
San Francisco (above)
Metropolitan (left)
Figure 5. Traps a re r e loca t eab l e subsets of l i f t s , used for smaller opening requirements .
34
There are really only two activities that take place
on stage. These are performing (acting, singing, and dancing)
and stagecraft. Especially in opera, "scenery is an actor." ^^
The audience of this age of television is not going to accept
clumsy stagecraft. Because of the length of many operas, lengthy
intermissions are necessary. This was fortunate for scene
changes between acts, but some operas have refrains to the
overture that fill in during scene changes. Things have
changed.
"Stagecraft is anything."^^ And everything may be in
cluded. The tasks that will be required depend on the capa
city (equipment) to perform them. At the Metropolitan Opera,
the stage lifts are designed so that the environmental illu-
13 sion of each scene can change in full view. Opera has always
required illusion, but now that may be expanded to include
magic. The Dallas Opera production of Turandot (1978) re
quires the operation of a huge robotic dragon and a crystal
sphere floating free.
Even the older techniques are becoming something entirely
different. For instance, painted backdrops which have always
been done to create an authentic illusion are now done (by
painters such as David Hockney) in wild abstractions. These
are viewed by the audience existentially as works of art
in their own right, allusion replacing illusion.
In general, stagecraft today takes two-dimensional ob
jects and by lighting and position, makes them three-dimensional
In addition, light (which is in itself formless) is applied to
35
some forming medium such as mist, snow, or a semi-transparent
scrim curtain to create raw space in three dimensions.
Wagons, turntables, hydraulic lifts, traps, and all of
the other mechanical devices used in opera are still important
and necessary. However, the flexibility requirements dictate
that these be perhaps self-contained, interchangeable com
ponents and the stage and flyloft be their mounting rack.
This has a precedent in the use of unit sets. These are
complete sets that may be moved into position quickly. The
sets will be designed to fit the specific mechanical apparatus
available.
The requirements of operatic scenery and singing have
prevented widespread use of in-the-round and thrust stages.
This will likely continue to be the case and certainly in
this house. However, the designer may take some liberties
with the strictly proscenium stage. A translated subtitle
system will be incorporated into the proscenium , and as any other
15 projection, may be either from the front or rear.
Flyspace is the volume above the stage that holds all
rigging, battens, curtains, etc. It must be capable of
holding extreme weights aloft and a variety of systems in
cluding lights, snow making machines, and other special effects
generators. One of the most important aspects of the flyspace
is in fire protection. There must be an autonomous drencher
pipe for the flammable objects within. The flyspace must
have operable vents at the top and extinguishing equipment.
36
Also, the flyspace often contains a fire curtain that in
the lowered position isolates the stage from the house.
The wings are the areas to either side of the stage
and will be considered with the areas behind the cyclorama
or rear curtain. These are where most of the performers
enter and exit and must remain as unobstructed as possible
during the performance. The desire of almost everyone, in
cluding performers and stagehands, to be here is a problem.
It may be alleviated by video monitors and cueing availability
backstage. It is also where most of the scenery is stored for
other scenes or even for other operas in a repertory situa
tion. Lights are also placed in the wings, as well as projectors,
sound effects and performers delivering off-stage lines Al
though there is a lot of activity, it must be silent. At scene
changes the wings may be full of crews changing sets while
dozens of performers try to get on and off stage. The urge
to make these spaces huge is balanced by the need to keep the
stage from being too acoustically cavernous and the value
(the utility versus the expense) of this space.
Lighting the stage is one of the most critical, and
certainly the most visible, of all stagecraft tasks. One or
two operators (depending on the production) work at the light-
board. The lightboard is usually located at stage right (to the
right of an actor, the audiences' left) in the wings. This
location has control over the performance lighting and is
capable of making many preset changes at the push of a button.
37
The stage director usually stations himself there to handle
cues for entering performers. This aspect of control brings
up the issue of communication.
The wings, spot booth, backstage areas, orchestra pit,
and remote locations will be required to have an intercom
system. This system will be wireless to allow for headset
transmission and will require a central location that may
be incorporated within the spot booth.
The stage technicians who are in the wings, below and
above the stage, and in the projection booth are in control
of all environmental illusion on stage. They take their
cues from the stage director or a designated assistant at
the lightboard. This is akin to the prompter who gives
singers their cues from the foot of the stage.
As mentioned before, all things related to timing depend
on the music and therefore the conductor and stage director.
Now though, video monitors supply the conductor's image to
various remote locations This shatters the old requirements
for direct visibility and allows greater flexibility in placing
technical functions.
In general, the stage technicians are each responsible
for a well-defined set of tasks. They are "in the dark" con
ceptually as well as literally, because they must do their
jobs while relying on someone else to cue them. With the
exception of those in the projection booth, they do not have
38
a good vantage point for assessing the effects of their
actions. This can be quite stressful and these people must
rehearse their roles as do the performers.
As the medium of opera becomes electrified, television
will become extremely important. Discreet camera locations
are to be provided in the house though they will not be
made immediately operational. These should be sufficient
to cover the action on stage and the conductor, A central
location for the direction of television should be provided
for. This may be incorporated within the spot booth although
a physical separation should be maintained and the television
center is of secondary importance relative to the spot booth,"̂ ^
The orchestra pit and the prompter's box have always been
a point of contention in opera house design. As a general
trend, these functions, which were originally quite visible,
have gradually become more hidden to add to the picture box
effect or the magic illusion for the audience. It is
essential that the audience be able to view the performers in
as unobstructed a way as possible. Wagner's "mystic abyss"
is one strategy that the designer should consider (see Case
Studies, Appendix A). Its greatest strength is the degree
of invisibility it provides for the orchestra.
The orchestra pit is really the center of the operatic
universe. The conductor, working from a much annotated score,
directs the music. In some cases, he also fills the role of
prompter himself. Usually the prompter sits in a tiny hooded
39
box at the foot of the stage. By mirrors or video, he takes
his cues from the conductor, and prompts the performers on
stage. The pit must be flexible enough to accommodate various
numbers and types of musucians, all with good visibility of
the conductor. Some type of discreet access (with a large
opening potential) must be provided between the pit and the
18 backstage activities.
Those in the spot booth or projection booth are the only
ones of the stage technicians that have a view of the stage
similar to that of the audience. It is for this reason that
more and more of the directing operations of a performance are
gravitating to that location. The future of opera will require
that projections of things other than simple spotlights be
used. Therefore, its sightlines to the stage must be well
above the heads of the audience. In addition, the power
requirements of this location are great, rivalling the stage
itself.
40
DRESSING
Dressing includes all of the activities that prepare
the performers. Not only does this imply several scales of
dressing but also secondary activities, rehearsal and re
laxation. These activities are not simultaneous, so the
adaptability of their locations to other activities without
compromising their main function should be considered. All
of these activities should be acoustically isolated from the
stage and have sufficient access to the outside via the stage
door(s). Security is also important here.
During the operatic performance, the preparations are
always hectic and crowded. The degree to which this crowd
ing takes place depends on the area-limits and the produc
tion. Somewhere near a "worst case scenario" should be
planned for, especially in the large scale activities in
volving the chorus and supernumeraries. The unit for design
purposes might be considered the make-up station. At these
large scales more than one person may use a station at
different times but the size of each station should remain
based on the same anthropometric data. Mirrors, variable
lighting, electrical outlets, and counter space are all
19 important to these activities. Also to be considered is the
fact that each performer comes to the house as a "real
41
person." This means that they must change from their
street clothes and secure a place for the few valuable
essentials they must bring with them.
At the largest end of the scale is the chorus. Opera houses
often adapt rehearsal space into preparation area for dress
rehearsals and performance. If some of these areas are to
serve both activities then they must meet the additional
requirements of open and unobstructed space, floor surfaces
that are suitable stage-like, acoustical adequacy (the ab
sence of glaring defect), and ballet apparatus such as wall
bars and mirrors.
Preparation activities themselves act as holding patterns
for the performers until their entrances. These may include
exercises, meditation, and review. Keeping unnecessary persons
off stage is a real problem because everyone wants to see
the show- The addition of closed circuit television will
help keep the backstage clear only if there are adequate physi
cal and mental environments. The essential comfort of places
20 to sit can also be considered as important to the design.
Waiting can be nerve-racking, mind bending activity. The
psychological stress involved can be detrimental.
For these reasons, performers need amenity. The combi
nation of activities and people tend to produce a feeling of
family or esprit de corps. The previously mentioned analogy
of a flask (see page 30) may be a bit harsh.
42
The progressively smaller arrangements of activity of
pairs and individuals have essentially the same purpose,
that of preparing and retaining the performers until their
entrance. The change in scale permits intimacy or solitude
and greater amenity. Just as for the larger groups, closed
circuit television will be used for cueing, and the needs
of the performer for make-up. dressing, and storage will
need to be considered. Since these arrangements are con
siderably more private, the area per occupant is greater
and each should have direct access to individual bathrooms.
In addition to the performers themselves, their attending
aides will be with them (usually no more than two for any
performer). Direct access to the understage area as well as
the backstage area will be required for these people.
The chorus will require direct access to lounge-type
activities that will include sufficiently large bathrooms.
During the times that the performers are not at the opera
house, these bathrooms may be used by the people in the shops
and management areas. This area should be strictly separated
from the public areas however.
The lounge-type activities mentioned above could include
such things as a buffet, seating around a centrally located
monitor, and space to engage in warming up exercises. After
the show, the public (or certain VIPs) may be invited to join
in a reception or celebration. For large receptions, parties,
or press conferences, other facilities, off-site, will be used.
43
CRAFT WORKS
The current situation has the scenery and many of the
props being built by Dallas Stage Scenery, Having this
done out of house duplicates overhead and makes the opera
more dependent on some one else's schedule than is desirable.
The activities of Dallas Stage Scenery can be broken into
four areas. These are: management, rough cutting and mill-
work, assembly, and painting. In the consolidation of shop
facilities, the management may serve the other crafts as
well. The rough cutting and millwork may include the needs
of the property master also because the use is so infrequent.
The nature of those tasks should determine their form
criteria. The management will be handling the business of
what amounts to a cabinet shop or light industry. It will
be permanent work for at least two bookkeepers and their
files. Their relationship to the activities of shopworkers
requires easy access from the shops without allowing dust,
noise, or other irritants to enter. Filing space and the
private spaces for the managers of each of the shops may
be arranged as a buffer between management areas and shops.
These bookeeepers will be in charge of ordering materials,
correspondence, cost accounting, and any similar activities.
Their immediate supervisor will be the stage director, who
will be the liaison between the administrative people (at the
Majestic offices), the production's separate designers, and
44
the managers of each craft group.^^ Although these people
will be close to the crafts, they need a clean, quiet
orderly operation, comparable to similar but strictly
clerical jobs.
The cutting and millwork is the first step in set
building. In this activity, the raw material is cut into
pieces used to build the sets. Also, there is a significant
amount of millwork done (wood and other materials) in creat
ing small props. Although none of the carpenters will be
permanently engaged in this, they will keep their tool
chests at the location of this activity. Easy and direct
access should be maintained between this and the assembly
process. As in any setting where power tools are used, ample
room must be provided for safe operation.
The tools used are: radial arm saws (2), a band saw, and
a table saw. In addition to the tools themselves, space
should be allowed for benches (the tables used to bear long
pieces when cutting). Finally, a large layout table and
some small miscellaneous storage shelves will be necessary
v̂ 23 for this work (see Figure 6) .
Of all the scene-building phases, this is perhaps the
most like the workers' idea of being a fine craftsman. Here
is the chance to use their craft as an art form. They would
appreciate qualities like sturdiness, durability, well-
designed safety features, and the like. Staggering and
45
KXHAUST
Figure 6 Typical Scenery Shop Layout. Note skewed placement to allow greater distances between stations, and a central exhaust system. Source: Time-Saver Standards.
46
diagonally orienting these large power tools can increase
their ability to cut long pieces without interference. '̂̂
Assembly is the process of combining the pieces into
the flats, risers, and trees used on stage. Most of the
working time of the carpenters will be spent at this. Since
even the most grandiose sets can be broken down into pieces
that are large in only one dimension, flat area is more
important than ceiling height. The flats are constructed
on the floor and then laid on extra large saw horses for
the application of canvas. The number of carpenters may
vary from three to ten at the most and their tools will be
hand held (many requiring electrical outlets).
This activity has neither self-esteem (high degrees of
craftsmanship) nor comfort. It requires infinite flexibility
in flat space, so it is done on the floor with a lot of
squatting, kneeling, and bending over. It doesn't seem to
be the kind of task that they would linger at.
Painting is the final step in set production. In this
the sets are "sized" with a gesso-like mixture, then painted
with spray and brush. Painting requires good ventilation
and flat space to prevent spillover and allow for drying. 05
At most times, two to four painters will be working on these. "
Perhaps because of the fumes, painters are a very different
group. They are craftsmen on the first coat, artisans on
the second, and artists on the final detailing. Their abilities
47
to perceive their work and abstract it into its final form
are necessary for good work. A variety of lighting situations
should be available.
One of the big problems (a generic one in scene paint
ing) is how to paint backdrops. At the present, they are
laid on the floor and walked on. The two most popular solu
tions are: either hanging it on a wall and using scaffolds.
or having a rigid paint rail that can retract into the floor
26 (30 feet or so).
Storage for raw materials such as canvas, wood, paint,
etc., is important to these three set building phases.
This storage area will receive materials at random times
so exterior loading must be included.
The costume shop is located in a dilapidated store
front about a mile from the music hall. Its operations
can essentially be divided into three tasks: creation,
repair, and storage. The most space-intensive of these is
27 storage, but as a practical workspace it is used least.
Its static nature is similar to that of scenery storage and
property storage indicating that these may be grouped to
gether without compromising access to the individual shops.
The needs of costume storage are space and a system capable
of holding the great weight of hanging costumes. In addition,
fire safety and mechanical considerations (temperature and
humidity) are important. This system should be considered
to be an integrat part of the design of this space.
48
The activity of costume creation is intensive for
the period immediately preceeding the start of the season.
This is about six months and the other half of the year it
will be practically stopped. As the season expands, the
costume shop may gradually begin year round production.
The components of this system are industrial sewing machines
(3 or 4), layout tables (3), and deep narrow shelves for
bolts of cotton. A bulk cutting table may be added later.
Miscellaneous storage for the extremely small items of this
craft may be included in the cabinet work or otherwise
provided for. ̂ ^
The most extensive activity is costume repair. It
also includes later alterations. As such, it is the only one
which requires access to the stage and dressing areas. The
activity within this area is diverse including wig work, shoes,
and jewelery. Almost all of the tools are hand held al
though there will be smaller sewing machines (2), and smaller
layout tables than in the creation/construction area. See
Figure 7 for equipment details and one possible arrangement.
Unlike the building of scenery, one group of people (about
3-4 average) work in all three divisions of costuming. They
have been engaged in sewing almost all of their lives as
a rule. Two of their most often repeated complaints are thermal
comfort and good lighting. Good seating at their sewing
machines would also drastically improve their working comfort.
49
e < c 0 h
H A N O • C W I N O
a
C U T T I N a
• C W I N O nil
c U A C H I N K S
^
Q
Sewing is a strenuous task. Quality l ight ing and well
designed work stations are important.
9 ' ^ f t • -TH H i 1 "" MACHIN
COSTUME O STORAGE-' <r
E2]
4 t
ES
*^CUTTING TABLES-^
CABINETSQ
<0 I
-̂ k
o DYEING "oD
10 -3
hi DRESSING
from Timesavers Standards
Figure 7 Typical Costume Shop Layout. Sewing i s a strenuous task. Quality l ighting and well-designed work s t a t ions are important. Source: Time-Saver Standards.
50
Up to this point, the management of this shop has
been an extension of the main offices. It is likely that
in the future an office for the costume shop manager or master
be provided. As mentioned above, these offices may be used
as a buffer and, in fact, the management may be consolidated
as long as the most direct access is maintained between each
29 manager and shop workers.
Properties is a broad subject due to the fact that it
serves the most general function. Of all that is required
for an operatic production, that which doesn't fall within
the realm of scenery or costume is the responsibility of the
property department. The scale of these items ranges from
skulls to chariots. Those items which cannot be reasonably
brought or borrowed must be made. In this capacity, this
activity requires some general space even though the other
facilities will be used to make specific parts (wooden props
in the scenery shop and fabric in the costume shop, etc).
The manager's space (a term which should not necessarily
be construed as an "office") may be incorporated in this general
space. The property shop will use small hand tools (some electric,
thus implying outlets) and must be well ventilated as much of
the property business is repainting and finish work. Storage
spaces of various sizes are necessary.
In addition to these main shop activities, spaces should
be provided for the stage electricians. At the present the
stage electricians are primarily concerned with lighting. The
51
Stage electricians should have good access to the lightine
board and the stage. These spaces will grow in importance as
electronic media take a more prominent place in operatic pro
duction. Therefore, the ability to expand in size and capability
is pivotal.
Workers will be disassembling, testing, and refurbishing
equipment. One problem is lighting and the desired capacity
to eliminate it for test purposes. In addition to a sealable
room, a remote light switch (inexpensive) would save many
steps. Another problem is losing small parts such as screws,
nuts, pins, etc. This probably defies solution via a building
program, but is left up to the designer.
52
ENDNOTES
Carr, Lynch Associates, A Comprehensive Arts Facilities Plan for Dallas, (Urban Planning Report to the City of Dallas), 1977.
2 Interview with W. Scott Holderer, Production Stage
Manager, Dallas, Texas, 17 March, 1984.
^Ibid.
^Ibid.
^Ibid.
^Ibid. 7 Charles G. Ramsey and Harold R. Sleeper, Joseph N. Boaz,
ed., (New York: John Wiley & Sons, Inc., 1980), pp. 13, 32-34. ^Ibid. p Interview with Dr. Forrest Newlin, Texas Tech University
Theater, 11 December, 1984.
Interview with Terry Cooke, opera singer, Lubbock, Texas 18 August, 1984.
Interview with Dr. Forrest Newlin.
Ibid .
"'•'̂ Michael Phillip Bautista, Ten Years of Stage Design at the Met (1966-1976), doctoral dissertation, Texas Tech University, 1981, p. 20.
"""^Interview with Gene Gaylin, Dallas Stage Scenery, Dallas, Texas, 17 March, 1984.
•""̂ Interview with W. Scott Holderer.
Ibid .
^^Ibid.
^^Ibid.
^^Ibid.
^'^Interview with Terry Cooke.
^•"•Interview with Gene Gaylin
^^Ibid.
^^Ibid.
53
25 Interview with Gene Gaylin
Patricia Tutt and David Adler, VNR Metric Handbook of Architectural Standards, (New York: Van Nostrand Reinhold Company, 1979), pp. 183-193.
27
28
29
30
Interview with W. Scott Holderer.
Ibid.
Ibid.
Ibid.
SITE
ANALYSIS
SITE ANALYSIS
The criteria for site selection as listed in the
proposal, included the revitalization of a link between Fair
Park and downtown Dallas. In the initial phase of research,
this goal appeared to be essential and realistic. However,
after obtaining the latest planning proposals of the City of
Dallas, this became inappropriate to my project. My first
choice abandoned, I have selected another that will be a
part of the new Arts District, north of the Central Business
District. Figure 8 shows the Arts District and its rela
tionship to downtown Dallas.
This site will be viewed in its physical, historical,
and conceptual contexts. In each, the analysis will
progress from general to specific. Figure 4 shows the
location of my site within the Arts District.
Basically, the site is bedrock and soil. The under
lying geology consists of a consistent limestone bedrock, on
the surface of which meander old streams. These eventually
drain into the nearby Trinity River, between one and two
miles to both the south and west (see Figure 9). Above this
is 25-30 feet of Austin Chalk. The bearing capacity of this
soil is 90—100 kips/ft. uniformly.
54
55
ARTS DISTRICT
ARTS DISTRICT
Figure 8. Arts District Location,
56
Figure 9. Drainage Access,
57
The site has good drainage, sitting on a light hill in
relation to the rest of the Arts District. Within the site,
there is a gradual slope (less than 3%) down to the western
corner. However, this site has been filled and leveled for
many years. The site has good topsoil, and though unkempt,
the site is covered with native grasses. The only landform
is an old alley along the Flora Street axis.
Utilities for this site are existing, but for an opera
house, probably insufficient. There are above grade power
lines and below grade gas, water, and sewage lines along the
Flora Street axis. There locations will have to be veri
fied, but the existing infrastructure is nearly irrelevant
to a project of this scale.
As far as imageability, the site is located between the
high-rise Dallas skyline and freeways, from which most of
the first impression will be gained. The nature of this
type of image-forming is sequential views. The subtleties
of this common experience are explored by Lynch and Donald
Appleyard in "A View from the Road."l The designer must be
aware of the vantage points for viewing the site, which in
this case include highways, streets, and perches in the
nearby high-rises.
58
In general, Dallas is a city with a temperate climate.
However, a close inspection of the climatological data
reveals some things about the relationship between opera and
weather in Dallas. Figure 10 is a graph of temperatures by
month. Since most of the performances occur during autumn
in the evening, when the sun has long set and the temper
atures have begun to plunge, it is apparent that opera-goers
will be dressed for cold weather. This will have an impact
on the capacity of the cloakroom, for instance. As the
season is expanded into the early spring, whatever slack
gained from warming nights will perhaps be taken up by
evening showers. Figure 11 shows monthly precipitation.
This data will also affect the nature of the entrances for
the public and the performers, in order to protect them from
extreme conditions.
The wind at this site varies from the area figures in
direction and speed. This may be due to the relative
elevation of the site, its proximity to a wide plain (the
Trinity River floodplain), or the wind generation effects of
high rise Dallas, or all of these combined. Although
statistically the wind averages only a few miles per hour,
generally from the west, the site conditions can be very
different. Winter winds can be especially unpleasant, but
also in the spring and fall, turbulence at grade is a
noticeable occurrence.
59
110
100
90
80
70
•u
lU o
60
SO
40
Ul 3 0
20
10
1 1 1 OP ERA SI A30N 1 111 ll 1 II111 "'M**"''!* Illllllll II ••
Ill] 1 1
HIOH
AVaxiQH
AVERAGE
AVQXOW
LOW
JU. AUO SEP OCT NOV DEC JAN FEB MAR APR MAY JUN MONTH
Figure 9, Temperature and Month.
10
09
S 7 O
,z « z 2 s <
O ^ 3 Q.
— —
OP ERA SE ASON
a ——*" i ^ f JUL AUa SEP OCT NOV DEC JAN FEB MAR APR MAY JUN
MONTH
Figure 10. P r e c i p i t a t i o n and Month.
60
The sun is the ultimate provider of virtually all the
energy we use. Despite the fact that most of the performances
will take place in the evening, the sun is important in many
ways. Because of the basic form requirements of an opera
house, it has high volume-to-surface area ratio. In addition,
opera houses generally do not have many exterior windows
(unless devoted to other functions) and are built of dense
materials. To whatever these things hold true for the design,
it will retain solar heat and have a significant lag time.
Also, the sun is critical to interior visibility. In
the daylight, an interior lit to normal levels (see systems
performance) appears dark. At night, however, it appears
as the stage itself, a crystal, transparent oasis of light.
See Figure 12 for sun angle diagrams.
The area of the Arts District in which the opera house
will be located is surrounded by expressways. It is also
directly beneath one of the major approaches to Love Field,
some four miles to the north. This is of prime importance
to the acoustical environment of the opera house. One mile
east of the site is the main police station and a few blocks
west of the site is the downtown central fire station. These
facilities are both active users of sirens as are the am
bulances that go to the sprawling Baylor Medical Center,
one-half mile east. (For acoustical impact. See Appendix C).
61
- ( 7 0 * N , 7 Q
3 2 » N L A T I T U D E « o . From Architectural Graphic Standards
Victor Olgyay, AIA
Figure 12. Solar Angles. The slightly shaped portion
indicates the position of the sun relative to my site during
the entire year. The dark shading indicates the position of
the sun during the daytime hours in which the opera house
(excluding shops, etc.) may be open to the public (for
matinees for before evening performances) .This indicates
that the sun is low and setting early when the building is
being used by the public. It means that, although the
building may be viewed by the public at any time, the
closest inspection will be during late afternoon, dusk, or
at night. Little heat will be furnished by the sun, but
sunlight will be able to penetrate into the building by
virtue of its low angle.
62
The Arts District has grown out of a desire on the part
of arts facilities to relocate out of Fair Park and the need
to revitalize a blighted area adjacent to downtown. The
concept is being realized with the new art museum and the
construction of a new symphony hall a few blocks west of the
site, at the other end of the Flora Street axis. This
location is particularly suited to the opera house because
it is so close to the recently remodeled Majestic Theater,
where the main offices of the Dallas Opera are and where the
chamber operas are performed.
Land uses in this area are changing. Figure 13 shows
land uses. These fall into five categories. The existing
fabric of old commercial uses has given way to parking lots
as owners await the profit available by new development.
There are still some existing old commercial uses, however,
most of the business activity is concentrated in high rise
buildings. The Arts District generates some specific uses
such as the Dallas Museum of Fine Art, the Arts Magnet High
School, and the Dallas Concert Hall. There are also some
historic buildings to remain in the area.
Even without considering the Arts District, the
surrounding built environment is fairly benign. Although
there are numerous office towers in the area, most notable
the LTV Tower, the Olympic-York Building, and the Plaza of
63
the Americas, there are also several smaller buildings with
historical significance that provide a buffer and a compat
ible scale with the buildings in the Arts District. The
emergence of the various support businesses within the area
will complete the scene and provide a mixed-use atmosphere
in the area.
Figure 13. Land Uses
According to Kevin Lynch, one of the essential ingre
dients of a district is the feeling of entering it or being
inside it-2 This would seem to imply a boundary or physical
entry. This may be achieved in any number of ways. The
freeways that arch upon two sides of the proposed district
64
are effective visual boundaries. Also, within the Arts
District there are proposed continuity factors such as no
parking on the Flora Street axis, height limitations along
Flora, and the like.
Another one of Lynch's five key imaging dimensions is
the use of landmarks. The key feature of a landmark seems
to be that it contrasts with its surroundings. In a
district of large, special purpose, public buildings it
might be difficult to achieve this concern. The site is
bounded by well-travelled paths and is at the terminus of
the Flora Street axis.
In their commentary on Lynch's work, Altman and Chemers
point out that nodes (a third dimension) can be easily
discerned by looking at an aerial photograph,^ Using this
technique, it is readily observed that the site is tucked
into one of the more prominent nodes in Dallas. This is at
a very large scale, is existing, and is surface-mounted. In
addition to this, is the proposed DART connection."^ At this
time, there is a subway connection planned at Ross and
Routh, about one block south of the site. This might become
extremely important in the future. (See Figure 14).
"Site planning is the art of arranging the external
physical environment to support human behavior."^ There
have been movements in the last century, each it seems with
65
LEGEND • PROPOSED SUBWAY
WOODALL-RODQERS FREEWAY
INTERSTATE 45
INTERSTATE 20
INTERSTATE 35
TRANSPORTATION
Figure 14. Transportation Routes,
66
its own shining path to excellence. There are examples of
each (as defined by Jane Jacobs) in the downtown area of
Dallas.6 Le Corbusier proposed The Radiant City in which
skyscrapers at discrete locations would be spread out on a
landscape (The Garden City). The areas near Reunion Tower,
the City Hall, and Thanksgiving Square evoke this. The City
Beautiful (or the City Monumental) can be seen in the Civic
Center area, Reunion Arena, and the boulevards that run past
these sites. The designer should be wary of such "off-the-
rack" planning concepts., evaluating them for appropriate
application.
Since my site will be part of the Arts District, its
special zoning (Ordinance No. 17340) will apply. The most
important aspects of this zoning, relative to design, are:
that the buildings along Flora Street must be no higher than
their distance from the Flora Street centerline, and that at
least 50% of the frontage area be glass. Other stipulations
include thirty feet of sidewalk with three rows of bald
cypress trees on each side of Flora and the use of bollards
and special paving materials in lieu of curbs.''
The landowners in the general area of the site include
State Senator Leadom, some assorted commercial interests,
and Mrs. Lucy Billingsly. Mrs. Billingsly owns quite a bit
of downtown land but at this time has no specific develop-
67
ment plans.^ Land prices in this area are projected to be
$100-$150/s.f.,9 although land acquisition would probably be
the focus of initial fund-raising.
The historical aspect of this site is interesting as it
relates to the city's history. In the early decades of this
century, before the construction of Central Expressway, this
was an area of fine homes and neighborhood parks. Ross
Avenue which passes by one block to the southeast, was at
this time the main street of a growing Dallas. As Dallas
grew rapidly, this area became somewhat blighted. The
construction of Central Expressway cut a swath through the
area up to a quarter of a mile wide. The continued evacu
ation of homes and small business from the area left it
virtually empty with the exception of Guadalupe Cathedral.
Only in the last few years, since the construction of the
Woodall-Rodgers Freeway on the north and west borders of the
site, has the fabric of the old community been completely
erased.
At the corner of Flora and Boll, at the site's center, stands
the old, "black" YMCA that is now home to a radio paging
service. On the opposite corner of the site (Munger and
68
Routh) is the old St. Paul's Methodist Church. Although it
is almost totally cut-off from any local residential base.
Reverend Henderson reports that its attendance is
increasing. Across Routh to the southwest is the Arts
Magnet High School, formerly Booker T. Washington High.
In the last few years, as the business district has
grown toward this area, the neighborhood has been partially
revived. Across the expressway to the east, residential
development has started and the creation of the Arts
District should ensure its continued growth. Ironically,
the site is quite near the site of one of the former Dallas
Opera Houses.
69
ENDNOTES
Donald Appleyard and Kevin Lynch, "A View from the Road." Also see Cullen, Townscape.
2 Kevin Lynch, The Image of the City. (Cambridge, MA:
MIT Press, 1960), pp. 46-87.
3 Irwin Altman and Martin M. Chemers, Culture and Environ
ment. (Monterey, CA: Brooks/Cole Publishing Co., 1980), p.—52.
4 Department of Planning and Development, CBD Concept
Plan. (Dallas, TX: City of Dallas, 1983), p, 100.
^Kevin Lynch, Site Planning. 2nd edition, (Cambridge, MA: MIT Press, 1982), p. 3.
^Jane Jacobs, The Death and Life of Great American Cities, (New York: Vintage Books, 1961), pp. 23-24.
7 Ray Ydoyaga, "Dallas Arts District's Master Plan Approved;
First Phase Ooens in Mid-1984", Texas Architect, January-Feoruary 19«4, pp. 26-2B.
p Interview with Mr. Mike Bloomel of Trammel Crow, Inc.,
Dallas, Texas, October 21, 1984. g
Interview with Ms. Tammy Forrester of Forrester Radio-Paging, Dallas, Texas, November 11, 1984.
-^
t
Ji
SPACE
SUMMARY
SPACE SUMMARY
The nature of this space summary will be to tabulate
spaces, occupants, standards (area allotments, based on the
number of occupants), and the net area assignments calculated
from this information. At this point I have chosen to alter
the footnote system. Since so many of the citations are
repeated, using the same page numbers, these citations are
coded by letter (A-H). This will also allow the designer
to refer to the entire source instead of a single page if
so desired. In most cases the total number of pages is not
great (over 2 or 3 pages), so the specific information is
not difficult to find. Some of the standards are given in
metric units. These have been translated into square feet
(sf) before totalling. All units are in standard abbrevia
tions. Some standards take the form of area per machine
or some other unit. This occurs only where the number of
occupants does not provide a true and justifiable basis.
The spaces are summarized by categories: public areas,
the stage, dressing area (backstage spaces), and the shops.
There are totals given at the bottom of each page and at the
end of each category. In cases where there are several
standards to chose from, I have given reasons for my choice
and put an asterisk by that figure which is part of the total,
70
71
CODED REFERENCE STANDARDS
A Architectural Graphic Standards, Charles G, Ramsey and
Harold R, Sleeper, Joseph N. Boaz, ed,, (New York:
John Wiley & Sons. Inc,, 1980), pp, 13, 32-34,
B Life Safety Code, Committee on Safety to Life; Jo
Armand Burgun, Chairman. (Quincy, MA: National Fire
Protection Association, 1981), pp, 181-124,
C Means Systems Cost, Robert Snow Means Co,, Inc.,
(Kingston, MA: Robert Sturgis Godfrey, Publisher,
1982), pp. 382-453.
D Problem Seeking, William Pena, (Boston: Cahners Books
International. 1977), pp. 104-117.
E Theater Check List, American Theater Planning Board,
Jo Mielziner, Chairman, (Middletown, CN: Wesleyan
University Press, 1969).
F Time-Saver Standards for Building Types, 2nd Edition,
Joseph De Chiara and John Callender, ed., (New York:
McGraw-Hill Book Co. Inc.. 1973). pp. 362-388.
72
G Uniform Building Code. International Conference of
Building Officials, (Whittier. CA: International
Conference of Building Officials, 1984), pp, 57-70,
545-589,
H VNR Metric Handbook of Architectural Standards,
Patricia Tutt and David Adler. (New York: Van Nostrand
Reinhold Company. 1979). pp, 183-193,
73
SPACE CATEGORY PTIRT i r SPACE ACTIVITY STANHARn
Ticke ts
Adminis
t r a t i o n
A.F Lobby
Se l l ing
Informing
Administra
t i on
Special
Request
Booking
Scheduling
Management
Waiting:
To Meet
To Buy
Tickets
AREA
lOOsf/p
lOOsf/p
assuming 3 workers
* 300 sf
office (house manager
* lOOsf
assume 2 assistants
* 200 sf
TOTAL THJS PAGE. eoosf
TOTAL CATEGORY 600sf
74
SPACE r.ATFfiORY PUBLIC (con t 'd ) SPACE ACTIVITY STANDARD AREA
Foyer
Cloakroom
Bar
For Cars 3sf/p
or
1.25sf/p
Ambulatory at
Intermission
Soc ia l i z ing 3sf/p
Checking
In/Out
Bulky Items .3sf/p
Refreshment
Before.
Between, &
After lOsf/p
3600 x 3sf *= lOSOOsf
3600 X 1,25 = 4500sf
due to the extroverted
nature of the activity,
I think the larger figure
is more appropriate
(see l:p, 371)
3600 x 3sf *= lOSOOsf
3600 X ,3sf *= lOSOsf
assuming 2000 p a r t i c i p a n t s
TOTAL THJS PAGE 22680sf
TOTAL CATEGORY^. 23280sf
75
SPACE nATFQQRY PUBLIC (cont.)
SPACE ACTIVITY STANDARD AREA
Dining
F,C Restrooms
Dining from a
Catered Buffejt
Waiting
Toilets
15sf/p
approx.
.625sf/p
2000 X lOsf = 20000sf
this area will be able
to overlap with the
foyer or restaurant.
In that case take 3 or
4 bar stations at 50sf
each,
*= 200sf
assuming 1800 participants
1800 X 15sf *= 27000sf
it may be good to increase
this due to "everyone at
once" effect. See cost
data for No, of fixtures,
*= 2250sf
TOTAL THJS PAGE. 29450sf
TOTAL CATEGORY. 52730sf
76
SPACE CATEGORY PUBLIC (con t 'd ) SPACE ACTIVITY STANDARn
A,H House Being Amazed
Preceiving 7sf/p
or
.84sm/p
AREA
= 25200sf
*= 32551sf
TOTAL THJS PAGE. 32551sf
TOTAL nATPftORY 85281sf
77
SPACE CATgQQRY STAGE SPACE ACTIVITY STANDARD AREA
Stage
H.F.H. Wings
Breadth &
Depth of
Acting Area
Waiting
Staging Area
For Scenery
Equipment
Effects
Actors
Approx
6400sf 6400sf
SM Office lOOsf
,19sm/seat
less stage
or
acting area
or
2-3 times
acting
area if
wagons are
used
3008sf
6400sf
TOTAL THJS PAGE. 12900sf
TOTAL CATEGORY. 12900sf
78
SPACE CATFGQRY STAGE (con t 'd^ SPACE ACTIVITY STANDARD AREA
O r c h e s t r a
G,H Spot Booth
Music ians
Conductor /
Timekeeper
Prompter
Throwing
Light
Projections
Surtitles
Cueing
18-20sf/
player assuming approx.
70 musicians x 20sf
*= 1400sf
80sf /mach
ine
+40s f / ea .
add.
or
25-30sm
assuming 4 machines
200sf
a minimum
300sf
TOTAL THJS PAGE. 1700sf
TOTAL CATEGORY ^^^^^^^
79
SPACE CATEGORY STAGT^ rr^r^ntM^ SPACE ACTIVITY STANDARD
H Broadcast
Booth Controlling
Broadcasts
AREA
25-30sm 300sf
TOTAL THJS PAGE. 300sf
TOTAL CATEGORY. 14900 sf
80
SPACE CATEGORY DRESSING SPACE ACTIVITY STANDARD AREA
F.A Chorus
H,A Rehearsal
Waiting Cues
Dressing
Makeup
Polishing
In t e r ac t ion
of Roles
Blocking
Pract ice
2 at
220sf min 440sf
assuming a near
peak load of 75
extras & super
numeraries * 1500sf
the larger of the two or
both if the larger is
also used as rehearsal
space.
35-50% of
Stage Area
or
Acting
Area
4704sf
about equal
* 4800af
TOTAL THJS PAGE_^5£l_El
TOTAL CATEGORY- 6300sf
81
SPACE CATEGORY DRESSING (con t 'd ) SPACE ACTIVITY STANDARD AREA
Shared
Dressing
Star
Dressing
Lounge
Dressing
Relaxing
Waiting Cues
Makeup
Showers
Dressing
Relaxing
Waiting Cues
llakeup
Showers
ilelaxing
:ieceptions
Par t ies
Interviews
Ifaiting
llOsf each assume 6 required *660sf
llOsf each assume 4 required *440sf
16-18sf/p 18sf X 75 people *=1350sf
TOTAL THJS PAGE. 2450sf
TOTAL CATEGORY. 8750sf
82
SPACE CATEGORY DRESSING (cont 'd^)
SPACE ACTIVITY STANDARD AREA
Restroom Toilets
Miscellaneous
Washing 300sf 2 required 600sf
TOTAL THJS PAGE. 600sf
TOTAL CATEGORY^ 9350sf
Ik
83
SPACE CATEGORY SHOPS/SCENERY SPACE ACTIVITY STANDARD AREA
Management Light
Industry
Business
Bookkeeping
Filing
Woodworking 2 radial arm
saws
1 circular
saw
1 band saw
Office
Type
Space:
100 sq ft
per person lOOsf X 2 bookkeepers
200sf
X 1 general
14m X 1.5m
= 21sm
1.5m X 10m
= 15sm
4, 5m X
3,75m
= 17sm
manager
lOOsf
X 4 shop managers
400sf
Total *= 700sf
226sf X 2 452sf
162sf
183sf
TOTAL THJS PAGE. 1497sf
TOTAL CATEGORY, 1497sf
84
SPACE CATFGQRY SHOPS / SCENERY (cont' d )
SPACE ACTIVITY STANDARD AREA
Assembly
Painting
1 layout
table
[niscellaneous
shelving
Putting Flats
Together
8' X 16'
= 128sf
3' x6'
= 18sf
128sf
18sf
Total
150sf per
approx
*= 943sf
6-8 flats at a time
* 1200sf
Painting the
Flats
Painting
3ackclothes
200sf per
flat
approx
proscenium
opn'g + 10%
taking the likely larger
3f the two approx.
45' X 80' = 35600
+ 3560
Total * 39160sf
TOTAL THJS PAGE. 40506sf
TOTAL CATEGORY. 42003sf
e\
85
SPACE C A T F G Q R Y SHOPS/COSTUME
SPACE ACTIVITY STANDARD AREA
Construc
tion
Storage
F,F,F Repair
Pattern
Layout
Bulk Cutting
Sewing
Storing
Costumes
Hanging
Alterations
Repair
Dyeing
15,5 X
26'
- 403s:fl
existing
archives
new
Costumes
9,5' X 10'
= 95s:fl
1 work
station
@ lOOsf
8' X 10'
403sf
approx 450sf
95sf
lOOsf
80sf
TOTAL THJS PAGE l l 28s f .
TOTAL CATEGORY 4313lsf
^
86
SPACE CATFGQRY SHOPS/COSTUME
SPACE ACTIVITY STANDARD AREA
Dressing
Property D i s t r i bu t ing
Props
Repair
Storage
4/ X 6 , 5 '
countertop
6' X 10'
= 60sf
approx
50sf/p
exiting
archives
new props
26sf
Total * 1154sf
Electrical r e s t i ng and
llepairing
Equipment
2 persons
approx.
+ 10%
Total
lOOsf/p
Total
TOTAL THJS PAGE 78isf
TOTAL CATEGORY 439i2sf
60sf
lOOsf
450sf
45sf
* 655sf
lOOsf
lOOsf
87
SPACE CATEGORY SHOPS/COSTUME ( c o n t ' d ^
SPACE ACTIVITY STANDARD AREA
TOTAL SHOP AREA
1154sf
655sf
lOOsf
700sf
943sf
1200sf
39160sf
TOTAL THJS PAGE.
TOTAL CATEGORY, 43912sf
88
SPACE C A T F G Q R Y TOTAL OF CATEGORIES
SPACE ACTIVITY STANDARD AREA
Public
Stage
Area
Dressing
Shops
85281sf
14900sf
9350sf
43912sf
T o t a l Net SF = 153443sf
TOTAL THJS PAGE.
TOTAL CATEGORY.
89
Using this figure as a basic space requirement, we
can calculate the gross square footage. This is the figure
we will then use to estimate building cost. It has to be
the gross square footage that is used for an accurate
estimate.
Means Square Foot Cost Data, for building types assigns
a gross-to-net coefficient of 1.42-'- for auditoriums. This
is probably quite accurate for the buildings that they
survey. However, the broad nature of their survey works
against an accurate projection for an extremely costly
genre such as opera houses. In Problem Seeking by Pena,^
a ratio of 2 is given. In this section he suggests that
it is a measure of architectural quality. This qualitative
outlook is especially appropriate to an opera house.
Deciding to select the Pena figure, we calculate the
gross square footage as:
153,433 sf
306,886 sf
This is done by multiplying the net square footage by a
selected gross-to-net ratio.
90
ENDNOTES
Stanley J. Strychaz. ed.. Means Systems Costs. 1983. (Kingston. MA: Robert Sturgis Godfrey, Publisher, 1983). p, 452,
2 William Pena, Problem Seeking, (Boston: Cahners Books
International, 1977), p. 108,
SYSTEMS
PERFORMANBI
SYSTEMS PERFORMANCE CRITERIA
A discussion of factors important to user satis
faction and design effectiveness is in order. This
section is intended to cover any uncommon requirements,
the limits of acceptability, and evaluation criteria
for component systems. Essentially, this section will
describe specific physical and environmental needs.
It is important that these descriptions be con
cerned with the ultimate goals (satisfaction of need)
and not the means of achieving them. For this reason,
any specific means or techniques for meeting these needs
will be included in Appendices C and D.
STRUCTURAL SYSTEM: The structure of any unobstructed
volume requires spanning. In a space with a high volume
to envelope ratio these spans can be quite great. Not
only does this imply rigidity (and to a degree depth),
but also that the vertical supporting members be able
to withstand considerable bending.
Also to be considered is the impact of stage machinery
If one considered the building an armature on which are
91
92
built these stage systems, it is clear (but not obvious)
that there will be great reacting forces in the structure.
The location and direction of these forces depends on the
equipment and its location. However, the designer shall
need to keep these in mind.
ENCLOSURE: The only special requirement of enclosure is
that in the house it be complete. That this enclosure be
sheltering, aesthetically pleasing, and sensitive to energy
and noise transmission requirements should be obvious.
MECHANICAL SYSTEM: The thermal comfort of the patrons is
quite important to their satisfaction. In Harris-Conde's
Modern Air Conditioning Practice, these are the recommended
temperatures:
Dry Bulb Summer Dry Bulb Winter
Lobbies 76-78°F 72-74°F
Offices 74-76°F 74-76°F
Shops 77-80°F 68-72°F
House 76-78°F 72-74°F
These may be used as limits of acceptability. The humidity
in Dallas is usually in the 50-75% range. This will have to
be compensated for. The same source recommends ventilation re
quirements in two ways: by air changes per hour, and by cubic
feet per minute per person (CFM/p).
93
Lobbies
Offices
Shops
House
Restrooms
Supply of Air
25-40 CFM/p
25-30 CFM/p
18-25 air changes/hour
(up to 60 for dyeing and
painting)
10-15 CFM/p
10-20 air changes/hour
In addition to these recommendations there are code require
ments for windows or ventilation equipment in restrooms and
dressing rooms (605).^ In other sections (3901) ventilation
requirements specific to stage construction are stated. The
relationship between the mechanical system and fire safety
should be always in the designer's mind. Due to the nature
of the activities within the house and backstage areas, the
mechanical requirements must be met as quietly as possible.
This may require special equipment.
To make the heating and cooling capacities of the systems
more efficient (and at the scale of these spaces, the savings
can be great) insulation R-values should be:
19-20 for CEILINGS
11-13 for WALLS ̂
It should also be kept in mind when dealing with such volum
inous spaces that hot air rises and the implications of this
on balconies and other places where heat might accumulate.
94
ELECTRICAL SYSTEM: The electrical system for a theater is
a large and diverse network of tasks. For illuminating a
performance in shades of epic drama to providing convenient
and dependable power for the vacuum cleaners the next day,
the electrical system must be flexible, accessible, and depend
able as well as being absolutely safe at all times. The use
of electricity in a theater is erratic, with widely ranging
peaks and valleys of demand. Even at peak demand the power
required must be dependable. Emergency power must be pro
vided to such uses as alarms and exit lights. The power
requirements will be concentrated in nodes at the shops,
the booths, the stage, elevators and mechanical areas.
In the shops, power will be required in 110 and 220V
outlets at many convenient locations as well as for a few large
machines (verify requirements with manufacturer), A similar
situation will exist in the booths behind the balcony.
Spots are usually 110 and 220V but the broadcast equipment
will likely be hardwired. The stage will need large amounts
of electrical power to be distributed through its own control
system. Concealed floor plugs should be provided between the
stage and wings. Power will also be required for special
systems such as intercom, sound reinforcement, and closed
circuit TV.^
Levels of illumination can be broken down by activity
type.
95
Meticuluous tasks
Public Spaces
General
Footcandles
100-200
20-30
50-70
shops, dressing rooms,
box office, etc,
lobbies, foyer, house,
dining (may require
more)
green room, rehearsal,
etc.
PLUMBING SYSTEM: It might seem that, of all systems involved,
the plumbing would not be that critical. After all, the use
is spread out over time (before: food preparation; during:
restrooms; after: showers; and, between performances: main
tenance). However, the plumbing system bears on user satis
faction in two ways; it must operate quietly and dependably
especially in regard to the fire system (plumbed and supplied
from a separate line). Water consumption data is available
but not very useful because of the irregular usage.
ACOUSTICS: Thepatrons should be able-to hear the performance
for which they have paid. This should be as clear and as
free from distortion as possible. As mentioned in the
Activity Analysis, the reverberation time is an important
evaluative criteria (ideally about 1.6 seconds). This and
other criteria such as cubeage, the importance of early side
reflections, etc., are discussed in detail in Appendix C.
Also important is the ability of the singers to get prompted
96
(both by sight and sound). As much as the patrons want
to hear what they have paid for, they do not want to hear
other things such as the backstage noises of people and
equipment or the extraneous sounds. See Appendix C.
VISION: The ability of everyone to see the performance is
critical to the success of this design. This of course de
pends on the locations of eyes and obstructions, which de
termine seat locations, which in turn determine seating curves
and floor slopes. A detailed discussion of this problem and
applicable techniques can be found in Appendix D. The people
on stage must be able to see the prompter and conductor.
Perhaps most in need of a good vantage point of the stage
manager, usually stage right behind the proscenium.
In the last few years, opera has been made more under
standable by the use of subtitles and surtitles. The prefex
denotes the position of the projection, above the proscenium
being the more widely used.^ Title projection systems have
been used in China, Japan. Toronto, San Francisco, and the
New York City Opera. Its new advocates include Beverly
Sills (General Director of the New York City Opera), Anthony
Bliss (General Manager of the Metropolitan Opera), and Cyril
Harris (author and most recent of the acoustical designers
for Avery Fisher Hall.) It is necessarily going to affect
the design of the proscenium, and should be carefully considered
by the designer. The use of projections requires special
placement for such equipment (see Figure 15).
97
Like back Mil In plan, Light Slot celling should scatter sound.-i ^
The zone of vision for surtitles may be extended forward by lowering source.
Booth
View fn» furthest seat
Figure 15. Critical Angles for Auditor lum.
MECHANICAL TRANSPORTATION: In addition to these fairly
typical concerns of an auditorium, an opera house has some
especially critical systems. These are generally related to
the actual performance requirements of opera. Because of
system redundancies and backups these are hard to cate
gorize. I will discuss them as listed in the Activity
Analysis: flysystems, wagons, and turntables, and lifts and
traps.
Fly systems are perhaps the oldest of these special
stage systems. The ability to lower and raise an assortment
of two-dimensional surfaces, lights, etc., depends on the
supporting structure and lifting capacity. These items are
hung on pipes or battens usually, but in special loading
conditions this may be supplemented by a small truss. This
98
is set in motion by a system of steel cables and pulleys
hung from a structural grid at the top of the flyloft. To
make lifting easier, there are variable counterweights on
each batten and cable assembly. In this system, these are
relatively small cables under high tension. This is a
hazard which cannot be mitigated but is well known.
This system of battens must be capable of being raised
and lowered by hand smoothly, silently, and at any time.
However, most of the time they are powered and controlled
by electric motors. These are often located high in the
flyloft to reduce noise and vibration.
In addition to scenery and curtains, each batten must
be capable of being wired for lights. The battens are
loaded in the lowest position (at or near the stage floor
level). A common bearing capacity is 1000 pounds per bat
ten, but may vary, ̂
In addition to these pragmatic mechanisms are two
communications systems. The first is a closed circuit
television cueing system. This uses monitors which are
placed in all of the backstage dressing rooms. When some
performer (or group) is 10 minutes or 5 minutes away from an
entrance, their name is silently flashed on the screen with
the entrance location. The broadcast is either of the
entire stage from far back in the house or a close-up of the
conductor. This also requires someone (in the broadcast
booth) to type in these cues.
99
The other system is a wireless intercom. With remote,
wall mounted stations (that can also take wired headsets)
stage technicians can be in the flyloft or in the trap and
lift vault and converse, quietly, with the stage director
about problems or changes. These will be on either side of
the stage, the pit, both booths, and underneath the stage.
Apart from the stage systems, two elevators will be
required in the front of the house for maintenance, equip
ment moving, and occasionally handicapped access. These
will only go from the main floor to the balcony. The loca
tions should be discrete to encourage able-bodied souls from
using them unnecessarily.
LIFE SAFETY: Finally but perhaps most importantly, the design
er will have to be vigilant about the safety of the patrons.
In recent theater history there have been fires which killed
hundreds. Today there are extensive code requirements that
protect the theater goer. These are reviewed in Appendix D.
The special requirements are in the areas in which codes
have not kept up with research and building practices. One
of the most dangerous aspects of any new building is its
toxicity in fire. The codes mentioned above are obviously
concerned with evacuating the patrons. However, to avoid
serious loss of life the designer will have to evaluate
each product for this characteristic.
100
ENDNOTES
International Conference of Building Officials, Uniform Building Code. (Whittier, CA: International Conference of Building Officials, 1984), p. 57.
2 Robert Snow Means Co., Inc. , Means Systems Cost.
(Kingston, MA: Robert Sturgis Godfrey, Publisher, 1982), p. 382,
^Ibid.
4 Ibid.
5 Donald Henehan, "How Much Do The Words Really Matter
In Opera," New York Times, February 6, 1983, Section H, p. 19,
Patricia Blake, "'Cendrillon' Becomes Cinderella," Time Magazine. October 17, 1983, p. 98.
7 Michael Phillip Bautista, Ten Years of Stage Design
at the Met (1966-1976), doctoral dissertation, Texas Tech University, 1981, p, 20.
COST
ANALYSIS
COST ANALYSIS
Cost, scope, and quality are three essential variables in
any construction project. In this case project scope has
been described by the functional requirements. This section
deals with the other two. In that sense it is perhaps the
most critical factor in the Dallas Opera's attempts to build
a new opera house.
For my analysis I have borrowed extensively from Means
Cost Data and Problem Seeking^ by Pena, The first step will
be to derive the gross square footage. This will be broken
down by building type and the cumulative building cost (the
sum of the costs by type) will be compared to the building
cost from the total gross square footage. Then this cumulative
cost will be broken down by standard systems. The cost of my
project including additonal fees, equipment, et cetera will be
derived using the process outlined in Problem Seeking and
finally compared to the translated costs of my case study
projects.
GROSS SQUARE FOOTAGE: I took the total net square footage
from my space summary and multiplied it by the gross-to-net
coefficient in Problem Seeking.
153,443 sf
X 2 307,966 sf
101
102
I also broke the net square footage down by type into gross
square feet by type and percent of total
RESTAURANT
(Buffet & Bar)
Net sf
27200 sf
Gross sf
54400 sf
% of Total
17.70%
OFFICES
(Offices and
Dressing Rooms)
. 2500 sf 5000 sf 1.6'
FACTORY
(Shops)
43912 sf 87824 sf 2 8.6%
THEATER 55231 sf 110462 sf 35.9-
Totals 128843 sf 257686 sf b J . O -6
I then calculated the building cost by both the total gross
sf and the cumulative gross sf (and by type). The square
footage costs used were all from Means.
306,886 sf
X $75.70 $23,231,270
103
sf sf cost cost
RESTAURANTS 54400 sf $ 95.10 $ 5,173,440
OFFICES 5000 sf $ 66.00 $ 330,000
FACTORY 87824 sf $ 49.40 $ 4,338,506
THEATER 110462 sf $ 75.60 $ 8,350,927
TOTAL $18,192,873
It is futher surprising that the cost derived by this method
is five million dollars less than the other figure. I chose
to use this figure for-that reason and because it was a more
specificly detailed process.
Again using figures from Means, I figured the estimated
cost of various building systems. In all cases, I have used
the highest end of the estimating range to compensate for
the extreme differences in cost and quality between an opera
house and other buildings within this type.
EQUIPMENT $ 1,774.962
PLUMBING $ 2,149.954
HVAC $ 2,799.940
ELECTRICAL $ 2,624,944
TOTAL MECH. AND ELEC. $ 7,074.848
In Pena's Problem Seeking there is a simple and concise
method for determining total project cost. As in the previous
calculations, there is necessarily some assumption made about
quality. In this case I have assumed a very high standard
104
be kept for the various reasons indicated in my background
study. In addition, all dollars from this point forward
have been adjusted to 1987 values, that being the estimated
midpoint of construction. I used a 10% annual escalation
over four years (from the 1983 values).
A. BUILDING COSTS $ 24,999,465
B. FIXED EQUIPMENT (25% of A) $ 6,249,866
C. SITE DEVELOPMENT (10% of A) $ 2,499,946
D. TOTAL CONSTRUCTION $ 33,749,278
E. SITE AQUISITION DONATED
F. MOVABLE EQUIPMENT (20% of A) $ 4,999,893
G. PROFESSIONAL FEES (15% of D) $ 2,699,942
H. CONTINGENCIES (15% of D) $ 5.062,391
I. ADMINISTRATIVE COSTS (2% of D) $ 674,986
J. TOTAL BUDGET REQUIRED $ 47,186,490
There are two other figures to be considered. These are
the costs of permanent and interim financing. There are many
variables to be entered such as the possibility of matching
funds and the sale of bonds. However, for the sake of con
jecture, let us assume the whole project will be financed.
Ja. PERMANENT FINANCING
For the Banker (5%) $ 2,359,307
Construction Loan Fee (1%) $ 471,864
Jb. INTERIM FINANCING (14%, 4years) $ 98,335,679
105
The question becomes one of how real are these numbers?
This may benefit from comparison to the updated costs of my
case studies projects. These are adjusted to Dallas 1987
dollars.
The Metropolitan Opera $ 203,783,250
San Francisco War Memorial $ 101,374,280
Opera houses are expesive items it appears. There are other
ways to modify these cost figures such as project size dis
counts, cost concentration factors (the ratio of doors to
partition), et cetera. Although I have estimated the equip
ment cost and electrical cost at the high end of the given
range, because all opera houses are unique in stagecraft
capability,these costs are liable to fluctuate or increase.
106
ENDNOTES
Stanley J. Strychaz, ed. , Means Systems Costs, 1983, (Kingston, MA: Robert Sturgis Godfrey, Publishers, 1983), p. 452.
2 William Pena, Problem Seeking, (Boston: Cahners Inter
national Books, 1977), p. 108.
DETAILED
SPACE
LISZT
DETAILED SPACE LIST
This section is somewhat of a synthesis of previous
sections including the Activity Analysis, Space Summary,
Systems Performance Criteria, and Cost Analysis. The pur
pose is to collate the essential information of these sec
tions into a concise planning tool. The format for this
section will be an iterative examination of successive
spaces in roughly the same order they had in previous
sections. Each space will be described in the same method:
A. Title and number of identical spaces
required.
B. Number of occupants
C. Assignable floor area (total)
D. Functional description
E. Environmental requirements
F. Furnishings
G. Storage requirements
The usefulness of this section depends as no other
on pertinance of what is included, although no detail is
too specific. To this end, some things have been left out,
but in most cases a broad analysis is available either in
another section or appendix. The imposition of space stan
dards is not used because of so little space redundancy.
The spaces will be taken in this order: Public, Stage,
Dressing, Shops, and Miscellaneous.
107
108
CATEGORY : Public Spaces
TTTLE: Ticket Booth
NUMBER OF OCCUPANTS: 3
ASSIGNABLE FLOOR AREA : 300 sf
FUNCTIONAL DESCRIPTION : This will be a major center of
activity before the show. Usually there will be separate lines
for those buying tickets and those picking up their tickets.
Everyone wants this to go as quickly and smoothly as possible.
Money will be here in large amounts, but not overnight.
ENVIRONMENTAL REQUIREMENTS : There should be little visual
separation between buyer and seller. People should not be able
to reach into the booth, however. Counter height is most
comfortable at about 42" above finished floor. Separate heating
should be provided. Also a secure door with heavy duty locks.
EQUIPMENT AND FURNISHINGS : Stools for each seller, ticket
machines w/computer connection; a slotted ticket board (one
slot per seat); 3 telephones; a silent alarm from 3 stations.
STORAGE REQUIREMENTS : storage for tickets (before slotting);
Drawers and undercounter cabinets.
109
CATEGORY : P u b l i c
TITLE: Adminstration (3)
NUMBER OF OCCUPANTS: 1
ASSIGNABLE FLOOR AREA : 100 sf
FUNCTIONAL DESCRIPTION : A remote location for administration
personnel temporarily stationed at the opera house. These
people will only be here for a few days at a time and inter
mittently. Should have access to a l l front-of-the house
ac t iv i t ies .
ENVIRONMENTAL REQUIREMENTS : These should be basic offices;
nothing fancy but workable and comfortable. It should avoid
the territory-personalization process (no plaques, diplomas,
or family photos).
EQUIPMENT AND FURNISHINGS : a desk, 2 chairs, telephone
and 2 la teral filing drawers.
STORAGE REQUIREMENTS : temporary paper storage
110
CATEGORY : Public
TITLE: Lobby
NUMBER OF OCCUPANTS! no one (except 2 ticket takers)
ASSIGNABLE FLOOR AREA : 10,800 sf
FUNCTIONAL DESCRIPTION : An initial entry area, where tickets
are gotten, coats removed, rendezvous made, and entrances made
The tickets are torn at the boundary between J-obby and foyer.
ENVIRONMENTAL REQUIREMENTS : This space should be a transition
between outdoors and indoors. It should welcome the patron
with feelings of warmth, shelter, and security. The finishes
should be durable and not be affected by moisture.
EQUIPMENT AND FURNISHINGS : some seating (about 30 If),
an occasional table for displaying opera information.
STORAGE REQUIREMENTS : none
I l l
CATEGORY : P u b l i c
TTTLE: Foyer
NUMBER OF OCCUPANTS: 3000-3800
ASSIGNABLE FLOOR AREA : 10.800 sf
FUNCTIONAL DESCRIPTION ; A promenade for socializing before
the opera and at intermission. Walking space, waiting, and
other miscellaneous activit ies occur here.
ENVIRONMENTAL REQUIREMENTS : Th i s space s h a l l be t h e next to last plateau of arrival (s i te , building, lobby, foyer, house)
EQUIPMENT AND FURNISHINGS : It shall require comfortable
seating (about 1,000-1,500 If) . Comfort and elegance are
important cr i ter ia . Free standing ashtrays, side tables,
water fountains, pay telephones.
STORAGE REQUIREMENTS : none
112
CATEGORY : Public
TITLE: Cloakroom
NUMBER OF OCCUPANTS: 2 workers
ASSIGNABLE FLOOR AREA : 1080 sf
FUNCTIONAL DESCRIPTION ; After removing outerwear, patrons will
want to store these items until after the show. This procedure
will need to be as streamlined as possible.
ENVIRONMENTAL REQUIREMENTS ; Good lighting, adequate counter
space, and space between counter and hanging rods will be
necessary. The workers here will be here for the entire dura
tion of the show.
EQUIPMENT AND FURNISHINGS : a hanging system for 3000 coats,
hat shelves, an umbrella rail, drawers for receipts, 2 chairs,
telephone.
STORAGE REQUIREMENTS : no permanent storage of anything
but receipts. Lost and found items will be taken to Majestic
offices afterwards.
113
CATEGORY : P u b l i c
TTTLE: Bar station (4)
NUMBER OF OCCUPANTS! 2
ASSIGNABLE FLOOR AREA : 50 sf each
FUNCTIONAL DESCRIPTION : A small but complete bar. It will
be free-standing and self-contained and "plumbed," without
any hookups to building systems. Two bartenders will work each
station,
ENVIRONMENTAL REQUIREMENTS iThis is a high priority item for
many patrons and is also a significant income producer. Serving
as many well-mixed drinks as possible, to as many patrons as pos
sible is the goal. A 42" countertop is required and i t should
be made to wear well.
EQUIPMENT AND FURNISHINGS : A sink, ice compartment, bottle
well, utensil drawer, cash drawer, and trash compartment are
necessary. In addition, space for six pressurized tanks is
required.
STORAGE REQUIREMENTS : six pressurized tanks for mixers
114
CATEGORY : Public
TITLE: Dining
NUMBER OF OCCUPANTS: 1800 plus 20 workers
ASSIGNABLE FLOOR AREA : 27.000 sf
FUNCTIONAL DESCRIPTION : Patrons will arrive early and pay a cash
ier, then serve themselves from the buffet. Service workers will
either be doing special tasks (such as carving, serving desserts
from a cart, etc.), or be bussing tables. A direct entrance is needed.
ENVIRONMENTAL REQUIREMENTS : Clean and roomy with good light
for food display, this type of service usually implies some sort
of linear (but not necessarily straight) arrangement. The
tables (and chairs) should be easily moved and of various sizes.
A good view of public activities is required.
EQUIPMENT AND FURNISHINGS : Seating and tables for 1800, a
buffet (made up of tables or built-in), a cashier's counter,
and a skullery niche or screen.
STORAGE REQUIREMENTS : none, everything is catered.
115
CATEGORY : Public
TITLE: Restrooms (male and female, may be centralized or dispersed)
NUMBER OF OCCUPANTS : var ies
ASSIGNABLE FLOOR AREA : 2,250 sf (minimum)
FUNCTIONAL DESCRIPTION : Toilets and lavatories will be pro
vided for those wishing to relieve themselves or Just spruce up.
ENVIRONMENTAL REQUIREMENTS : Since these have fluctuating usage
(everyone during the intermissions), acoustical and mechanical
isolation is important. Privacy is also needed. The lavatories
should allow plenty of room between them. Good light and
ventilation are essential.
EQUIPMENT AND FURNISHINGS : towel dispensers, trash receptacles,
expansive mirrors (with room to step back), and the fixtures
and s t a l l s .
STORAGE REQUIREMENTS t The paper towels and similar supplies
shall be stored nearby in jani tor ' s closet.
116
CATEGORY : P u b l i c
TITLE: House
NUMBER OF OCCUPANTS: 3600 seats
ASSIGNABLE FLOOR AREA : 32,551 s f .
FUNCTIONAL DESCRIPTION : T h i s i s t h e u l t i m a t e d e s t i n a t i o n .
Here t h e p a t r o n s w i l l be e n t e r t a i n e d , e n l i g h t e n e d , and amazed,
ENVIRONMENTAL REQUIREMENTS : The p e r s o n a l r e q u i r e m e n t s ( a c o u s
t i c s and s i g h t l i n e s ) a r e of u tmost impor t ance . S e a t i n g comfor t ,
t h e rma l comfort ( t e m p e r a t u r e and h u m i d i t y ) , and an a e s t h e t i c
t r e a t m e n t a p p r o p r i a t e t o t h e o c c a s i o n w i l l a l s o c o n t r i b u t e t o
u s e r s a t i s f a c t i o n . Ease of a c c e s s and s a f e t y s h a l l be des igned
i n t o t h i s s p a c e , bu t s h a l l not be obvious o r p rominen t .
EQUIPMENT AND FURNISHINGS : 3 ,600 comfor t ab le s e a t s (+ l e s s
than 5%). Emergency e g r e s s l i g h t s and l i f e - s a f e t y sys tems
b u i l t i n .
STORAGE REQUIREMENTS : none
117
CATEGORY : Stage
TITLE: stage Acting Area
NUMBER OF OCCUPANTS : one to one hundred
ASSIGNABLE FLOOR AREA : 6400 sf
FUNCTIONAL DESCRIPTION ; Performance crucible, soapbox,
replica of heaven/hell and all that falls in between.
ENVIRONMENTAL REQUIREMENTS : This area is enclosed. It has
a definite edge at the front and the proscenium at those
front corners. The floor should be solid but quiet to walk on
and capable of being opaque or transparent with respect to the
movement of people. This implies some system of lifts and traps
The exact number and arrangement are unspecified.
EQUIPMENT AND FURNISHINGS : light trees and other equipment,
nothing else except scenery.
STORAGE REQUIREMENTS : none
118
CATEGORY : stage
TTTLE: Wings and the space all around the stage behind Proscenium
NUMBER OF OCCUPANTS : ^^n to infinity
ASSIGNABLE FLOOR AREA : 6400 sf
FUNCTIONAL DESCRIPTION : This is the holding area for all those
awaiting cues, scenes to be moved on stage, workstations for all
the backstage technicians. It is also the station of the stage
manager during the performance.
ENVIRONMENTAL REQUIREMENTS :This place should be unobstructed
and roomy. It should have wall lights for backstage travel. It
should also be quiet and all lights should have shields. It should
also have a way for the stage manager to monitor who is back there
(prevention of people just hanging around). ALL BUSINESS,
EQUIPMENT AND FURNISHINGS : There will be (usually at stage right)
a light booth or board at or near which the stage manager would
be. This should have a wall monitor intercom. At one side of
the stage (usually stage right) there will be the pinrail and
rigging for the fly loft. At some point on these walls will be a
large accessway to the shops/the loading dock. There may also be
smaller doors for access during the performances. Another inter
com should be located on the other side of the stage.
STORAGE REQUIREMENTS : This area will have to be able to store
flats, backdrops, and platforms (a lot of all types of scenery)
but not for indefinite periods. Some things such as light trees,
turntables, wagons, and other stage furniture will be stored here
permanently, against one wall.
119
CATEGORY : Stage
TTTLE: Orchestra
NUMBER OF OCCUPANTS r seventy to one hundred musicians
ASSIGNABLE FLOOR AREA : 1400 sf
FUNCTIONAL DESCRIPTION : This is the "mystic abyss." the time
regulating mechanism for the entire production. It is essential
that it be a good place to plan and that it be faithful in trans
mitting that music into the house without overpowering the singers,
Adjacent and connected to this space is the prompter box.
ENVIRONMENTAL REQUIREMENTS : It should be constructed of an
acoustically live material, have adequate area and flexibility
for any opera, be invisible from the house, and offer all the
musicians a good view of the conductor.
EQUIPMENT AND FURNISHINGS : A wall mounted intercom w/headset.
a short podium, music stands and chairs for the musicians, and
sometimes a piano; also an adjustable camera position. The
prompter box needs a small monitor and stool.
STORAGE REQUIREMENTS : The stands and chairs will probably
remain in the pit.
120
CATEGORY : stage
TTTLE: Spot Booth, Projection Room
NUMBER OF OCCUPANTS: 3 or 4
ASSIGNABLE FLOOR AREA : 300 sf
FUNCTIONAL DESCRIPTION : This will be the source of most of
the magical effects seen on stage. Its essential mission is
to throw light at the stage.
ENVIRONMENTAL REQUIREMENTS : This space should be large enough
for man and machine. Often, this will depend on the requirements _
of the machine. It should be well ventilated, completely sealable,
and have some acoustical treatment to remove machine noises.
EQUIPMENT AND FURNISHINGS : 4 machines (spotlights, projectors,
effect generators, as required), 4-6 chairs, a desk, 4 cue stands
(same as music stand), wall mounted intercom system and monitor
connection.
STORAGE REQUIREMENTS : This space will require some small
storage for spare bulbs, carbon rods, and small screws. It
should also have flat storage for gels and frames (for lights)
121
CATEGORY : stage
TTTLE: Broadcast Booth
NUMBER OF OCCUPANTS: 3 or 4 depending on number of cameras,
ASSIGNABLE FLOOR AREA : 300 sf
FUNCTIONAL DESCRIPTION : This will be the control center for mix
ing the separate images into a broadcase. Also, this area will
be control center for video cueing.
ENVIRONMENTAL REQUIREMENTS : m order to direct the mix, this
space will require a very good and complete view of the stage.
It should be acoustically isolated from the house. In addition,
it should have minimal or no light spill into the house. This
will be aided by the standard operating procedure of no lights on
except lighted displays/controls and monitors.
EQUIPMENT AND FURNISHINGS : 4 swivel chairs, a wall mounted
intercom. 2 cueing stands, and broadcast equipment as required
(monitors, mixers, videotape recorders, etc.).
STORAGE REQUIREMENTS : in addition to the equipment that
will remain, a pegboard for cords, tape storage (50 or so)
122
CATEGORY : Dressing
TTTLE: Chorus Room
NUMBER OF OCCUPANTS: 20-200 (75 typical)
ASSIGNABLE FLOOR AREA : 1500 sf
FUNCTIONAL DESCRIPTION ; This area will be used for preparation
mainly but also for some chorus rehearsal. Also, it is a
holding zone for those awaiting cues.
ENVIRONMENTAL REQUIREMENTS : It shall need to be as free from
obstructions as possible and proportional to the acting area on
stage. In addition, this space will need to have good acoustics
(absence of defects), and a surface similar to stage. It shall
be well ventilated, and well-lit. Daylight is not required here,
but acceptable.
EQUIPMENT AND FURNISHINGS : Mirrors and wall bar on one side;
collapsible make-up counters, mirrors and lights around perimeter
Seating that can be moved and stored will also be required. A
monitor connection will be required.
STORAGE REQUIREMENTS : The seating mentioned above and the
makeup stations if they are free-standing.
123
CATEGORY : Dressing
TTTLE: Rehearsal
NUMBER OF OCCUPANTS: varies
ASSIGNABLE FLOOR AREA : 4,000 sf
FUNCTIONAL DESCRIPTION : An area devoted to practice of roles
and relationships to be performed.
ENVIRONMENTAL REQUIREMENTS : This space shall emulate the
acting area on stage as much as possible, especially in floor
surface and acoustical quality. It should be well-ventilated
and wel l - l i t with lights that also emulate on stage capacity.
EQUIPMENT AND FURNISHINGS : moveable seating for 50-60 maximum,
Monitor connection, lights and small control panel.
STORAGE REQUIREMENTS : moveable seating; taping equipment
closet.
124
CATEGORY : Dressing
TTTLE: Shared Dressing Room (6) required
NUMBER OF OCCUPANTS : varies (2-4)
ASSIGNABLE FLOOR AREA : HO sf each minute.
FUNCTIONAL DESCRIPTION : Preparation of two performers, includ
ing showering, makeup, dressing, relaxation. These performers
and their aids (if any) will wait here for their cues.
ENVIRONMENTAL REQUIREMENTS: Comfort and amenity are essential
Good lighting and ventilation is required. Outside windows
are required.
EQUIPMENT AND FURNISHINGS : 2 makeup stations (including
table, chair, 3 sided mirror lights, makeup drawer, and 2
electrical outlets), one shower, one toilet and one lavatory
separated from main area. Monitor connection; 12 foot closet
space; one additional chair;'one telephone; lockable drawers in
base cabinet.
STORAGE REQUIREMENTS : personal effects in lockable drawers,
makeup, and street clothes during performance.
125
CATEGORY : Dressing
TTTLE: star Dressing Room (4) required
NUMBER OF OCCUPANTS : varies (1 performer, 1-2 assistants)
ASSIGNABLE FLOOR AREA : 110 sf each (minimum)
FUNCTIONAL DESCRIPTION : Preparation of featured performer,
including showering, makeup, dressing, relaxation. The Performer
will wait here for cue. The conductor usually occupies one of
these.
ENVIRONMENTAL REQUIREMENTS : Comfort and amenity are essential.
Good lighting and ventilation arerequired. Windows to the outside
are required.
EQUIPMENT AND FURNISHINGS : One makeup station (including
table, chair, 3 sided mirror, lights, makeup drawer, and 2 elec
trical outlets), a shower, toilet, and lavatory, monitor connec
tion; one telephone; 12 foot closet space, one small couch or
lounge; lockable drawers in base cabinet.
STORAGE REQUIREMENTS : personal effects in drawers, makeup,
and street clothes during performance.
126
CATEGORY : Dressing
TTTLE: Lounge (also known as Green Room)
NUMBER OF OCCUPANTS: varies (75 typical)
ASSIGNABLE FLOOR AREA : 1350 sf (min . )
FUNCTIONAL DESCRIPTION : Waiting, relaxing, preparation area
for miscellaneous performers during performance. Reception area
for cast, crew, and selected public afterwards,
ENVIRONMENTAL REQUIREMENTS : This space will need to be clean,
well-lighted, well-ventialted, comfortable, and good looking. It
must sustain a lot of wear and tear, so durability is importatn.
Windows to the outside are required. Stage door shall be
adjacent to this space.
EQUIPMENT AND FURNISHINGS : a monitor connection; moveable
seating and tables; counter space (15-20 If) ; kitchenette includ
ing small refrigerator, sink, warmer-top.
STORAGE REQUIREMENTS : supplies and eating utensils , table
cloths, etc.
127
CATEGORY : D ress ing
TITLE: Restrooms (1 male, 1 female)
NUMBER OF OCCUPANTS: v a r i e s
ASSIGNABLE FLOOR AREA : 300 s f each ( m i n . )
FUNCTIONAL DESCRIPTION : t o i l e t s and l a v a t o r i e s , no showers
ENVIRONMENTAL REQUIREMENTS : The f i x t u r e s and sur faces w i l l have
t o be durab le . Lavator ies r equ i re i n d u s t r i a l grade dra ins and
t r a p s . Acoust ica l and mechanical i s o l a t i o n i s necessary . Good
l i g h t i n g and v e n t i l a t i o n a re e s s e n t i a l .
EQUIPMENT AND FURNISHINGS : towel d i spense r s , t r a s h r e c e p t a c l e s ,
l a rge m i r r o r s , f i x t u r e s , and s t a l l s .
STORAGE REQUIREMENTS : paper towels and s imi l a r supp l i es s h a l l
be s to r ed in a nearby j a n i t o r ' s c l o s e t .
128
CATEGORY : Shop
TTTLE: Office of Shop Manager
NUMBER OF OCCUPANTS: 0" e
ASSIGNABLE FLOOR AREA : 100 sf
FUNCTIONAL DESCRIPTION : This will be a work station for a
very general manager. He will want privacy occasionally and
quick access to the shop areas.
ENVIRONMENTAL REQUIREMENTS : This office will require acoustic
isolation from the noisy shop as well as isolation from the dust
and paint as well as perhaps some degree of social isolation. A
window would be welcome. Access to the bookkeepers and the
separate shop foremen is necessary.
EQUIPMENT AND FURNISHINGS : telephone, filing cabinet, desk,
three chairs, adding machine.
STORAGE REQUIREMENTS : papers, etc.
129
CATEGORY : shop
TTFLE: Office of Bookkeeper/Clerical Staff for Shops
NUMBER OF OCCUPANTS: Two
ASSIGNABLE FLOOR AREA : 200 sf
FUNCTIONAL DESCRIPTION : This is a workstation for two secretaries
who will keep the books, answer the phone, research for shop
managers, etc.
ENVIRONMENTAL REQUIREMENTS : Isolation from dust, noise, fumes,
etc. Daylight would be nice but not sufficient. Some durable
but attractive finishes would be good. Ergonometrics could/should
be applied.
EQUIPMENT AND FURNISHINGS : two work stations consisting
of: desk, chair, phone, etc, filing cabinets (lateral, 6-10
drawers).
STORAGE REQUIREMENTS : filing for the entire shop complex;
letters, contracts, product information, payroll, etc. A safe
is not required but could be used.
130
CATEGORY : Shop
TTTLE: Woodworking: Roughcutting and millworking of raw material
NUMBER OF OCCUPANTS: 12-15 (shared with assembly & painting)
ASSIGNABLE FLOOR AREA : 943 sf
FUNCTIONAL DESCRIPTION : Here raw materials (usually stored in
small quantities elsewhere) are cut into pieces that will be
used to build the flats or other pieces as per the designers'
drawings. Inhabited only when necessary, it also serves as a workspace for small parts. ENVIRONMENTAL REQUIREMENTS : Working with potentially dangerous
tools requires an extra concern for worker safety. Smooth,
unobstructed floors and good lighting are necessary. A dust
vacuum system will be used. Skylights are good.
EQUIPMENT AND FURNISHINGS : 2 radial arm saws, 1 circular saw,
1 band saw, a layout table with a vice or two, and miscellaneous
shelving for small pieces. Also, a couple of adjustable,
moveable stands.
STORAGE REQUIREMENTS : just small pieces and hand tools (us
ually in customized, worker-made cabinets.)
131
CATEGORY : Shop
TTTLE: Scenery Assembly Area
NUMBER OF OCCUPANTS : 12-15 (shared)
ASSIGNABLE FLOOR AREA : 1200 sf
FUNCTIONAL DESCRIPTION : This area will receive the cut
pieces and here they will be made into the flats and platforms
to be painted. After the framework is built, it will be covered
with canvas or ducking then "sized" on saw horses (about 6 ft. long)
ENVIRONMENTAL REQUIREMENTS : Most of the work is done on the
floor. Although the floors must be durable because of things
dropped onto and nailed into it, they should be as comfortable
as possible to stand or kneel on. Moderate lighting levels are
okay but the light should be even so they can see spots that sag
or have too little gesso,
EQUIPMENT AND FURNISHINGS : The only things in this area will
be the sawhorses mentioned above and pneumatic or electric nail
guns, hand tools, etc.
STORAGE REQUIREMENTS : Corners of this area will be used to
store small quantities of raw materials and flats waiting to
be painted. These may be wall hung to preserve floor area.
132
CATEGORY : Shop
TTTLE: Painting Area for Flats and Backdrops
NUMBER OF OCCUPANTS : 12-15 (shared)
ASSIGNABLE FLOOR AREA : 39,160 sf
FUNCTIONAL DESCRIPTION : Painting on both small flats and very
large backdrops goes on in this area. This .usually takes two
Steps; spraying and detailing. A large painting frame is needed
along the longer wall either on the wall accessible by scafold-
ing or mounted (flown) so that it may slide below the floor to the level desired.
ENVIRONMENTAL REQUIREMENTS : it should have the capacity to re
produce colors of stage lighting to a limited degree and the lightj
ing should be uniform. It may be that this activity requires
a large cavernous space - often there is some wall-mounted stor
age for old scenery and flats to be repainted. Noise and paint
fumes are a hazard, -•
EQUIPMENT AND FURNISHINGS : The items required for this
space are: a large compressor, a paint shaker, a custom mixer
for colors, a cleaning unit, and shelves.
STORAGE REQUIREMENTS : Fire rated storage of paint and chemicals
is necessary along with scenery storage..
133
CATEGORY : Shop
TTTLE: Costume Construction, Cutting, and Layout Area
NUMBER OF OCCUPANTS: Four (shared)
ASSIGNABLE FLOOR AREA : 403 sf
FUNCTIONAL DESCRIPTION : After receiving the designs and fabrics
from the designer, these workers will make patterns, cut them
into cloth, and sew them into finished form.
ENVIRONMENTAL REQUIREMENTS : Good lighting, especially at
the machines is important. Also, this area should be free from
the air environments of the dyeing area and the storage area.
Easy to keep clean surfaces would be good so as not to soil
the fabrics.
EQUIPMENT AND FURNISHINGS : 4 sewing machines (heavy duty),
a layout table, possibly a bulk cloth cutter, and miscellaneous
shelves.
STORAGE REQUIREMENTS : cubbyholes for bolts of fabric (4' x
10" dia.), drawers for thread and scissors, etc.
134
CATEGORY : Shop
TTTLE: Storage of Costumes and Accessories, A Costume Library
NUMBER OF OCCUPANTS: none
ASSIGNABLE FLOOR AREA : 545 sf
FUNCTIONAL DESCRIPTION : A huge walk-in closet. Efficient but
with room to get around in. Costumes can be very heavy and
at the same time, fragile, so a system should be developed
that will hold the hung costumes and protect them after cleaning (off premises). This area is uninhabited,
ENVIRONMENTAL REQUIREMENTS : A c o o l , d ry , and modera te ly
well-lit environment. The protection of the costumes may require
some variation of the cedarchest-mothballs strategy.
EQUIPMENT AND FURNISHINGS : none
STORAGE REQUIREMENTS : storage is what this space is al l
about. In addition to designing a storage system for hanging
costumes, provision should be made for storing the corresponding
accessories, such as shoes, hats, etc.
135
CATEGORY : Shop
TTTLE: Repair of Costumes, Refurbishment, Refitting
NUMBER OF OCCUPANTS: four (shared)
ASSIGNABLE FLOOR AREA : 1154 sf
FUNCTIONAL DESCRIPTION : Often the use of an old costume re
modelled to meet current needs can result in a big savings of
time and money. This space can be broken down into areas for
making alterations, a dyeing room with vats, and a dressing room,
ENVIRONMENTAL REQUIREMENTS : This is were a lot of evalua
tion goes on so it will require mirrors. The dressing room should
be ample and comfortable. The dyeing room will have good ventila
tion and have easy to clean surfaces.
EQUIPMENT AND FURNISHINGS : 2 dye vats (about 30" dia,),
a smaller sewing machine, 2 chairs.
STORAGE REQUIREMENTS : The dye room will need to store
liquid dyes.
136
CATEGORY : Shop
TTTLE: Property Shop Storage and Distribution
NUMBER OF OCCUPANTS : one (or two)
ASSIGNABLE FLOOR AREA : 655 sf
FUNCTIONAL DESCRIPTION : From this point props will be received,
modified, stored, and distributed. The distribution will take
place at a limited access point like a counter or window.
ENVIRONMENTAL REQUIREMENTS : Since some spray paint or glue will
be used it must be well ventilated and have included in it a venteji
spray booth. It should be moderately well-lit also. Some of
the props will no doubt be "uncubbyholeable" so a spare corner
in any spot would be good.
EQUIPMENT AND FURNISHINGS : The only things in this space
are a stool or chair and maybe a ladder.
STORAGE REQUIREMENTS : There must be storage for a wide
variety of objects of all sizes.
137
CATEGORY : Shop
TTTLE: Electrical Shop
NUMBER OF OCCUPANTS! One
ASSIGNABLE FLOOR AREA : 100 sf
FUNCTIONAL DESCRIPTION : This will be a shop in the sense that
repair and construction will go on in here. It will need to
be very active at times.
ENVIRONMENTAL REQUIREMENTS : Due to the activity i t will
require the abil i ty to be isolated-from light but only at
certain times, A blank white wall is good.
EQUIPMENT AND FURNISHINGS : a workbench with plugstrips,
a light tree (about 15' t a l l ) .
STORAGE REQUIREMENTS : storage for a l l those itsy, bitsy
electr ical parts, tools, and metering equipment.
138
CATEGORY : Miscellaneous
TTTLE: Janitor's closet
NUMBER OF OCCUPANTS: 1 works t a t ion
ASSIGNABLE FLOOR AREA : 50 sf each
FUNCTIONAL DESCRIPTION : This is the home base for maintenance
ac t iv i t ies . The number and location depend on space arrangements
A janitor should not have to carry equipment more than 300 ft.
ENVIRONMENTAL REQUIREMENTS : Simple, durable, chemical,
and water resis tant . These should have lights and vents in each.
EQUIPMENT AND FURNISHINGS : shelves to hold cleaning supplies
and stock items. a jani tor 's sink (large and deep; a drip
rack with floor drain.
STORAGE REQUIREMENTS : vacuum cleaner, supplies, broom, mop.
139
CATEGORY : Miscellaneous
TTTLE: Elevator(s) 2 required
NUMBER OF OCCUPANTS: va r ies
ASSIGNABLE FLOOR AREA : 60 sf each
FUNCTIONAL DESCRIPTION : Service and handicapped access, primarily
ENVIRONMENTAL REQUIREMENTS : These should have good, durable
finishes w/removable pads and carpet for interchangeability,
Each requires light and a fan. Hydraulic elevators would be
most suitable.
EQUIPMENT AND FURNISHINGS : removable pads and carpet
STORAGE REQUIREMENTS : none
140
CATEGORY : M i s c e l l a n e o u s
TTTLE: Trap and L i f t Vaul t
NUMBER OF OCCUPANTS : none
ASSIGNABLE FLOOR AREA : r ough ly equa l t o a c t i n g a r e a on s t a g e
FUNCTIONAL DESCRIPTION : Mechanical space fo r t h e o p e r a t i o n of
below s t a g e l i f t s and t r a p s . The l i f t s and t r a p s w i l l be loaded
w/scenery from s t a g e l e v e l .
ENVIRONMENTAL REQUIREMENTS : Access from shops i s r e q u i r e d ,
as a r e good l i g h t i n g , w e l l b u i l t h a n d r a i l s and c a t w a l k s , p l e n t y
of c l e a r a n c e above and below.
EQUIPMENT AND FURNISHINGS : mechanica l equipment as r e q u i r e d ;
wa l l mounted i n t e r c o m .
STORAGE REQUIREMENTS t none.
APPENDICES
_• ^
APPENDIX A
CASE STUDIES
141
142
In any design endeavor, it is useful to study previous
solutions to similar situations. The ability to note their
individual successes and failures is essential. This appendix
deals with three opera houses. In chronological order they
are: The Bayreuth Festspielhaus. the San Francisco War Memorial
Opera House and the Metropolitan Opera House in Lincoln Center,
Each house is briefly profiled in terms of context, func
tion, site, form, systems and cost. Each profile is followed
by relative illustrations. Then these three houses are com
pared and contrasted. This appendix will be most useful in
conjunction with the body of the program and other appendices.
143
CASE STUDIES SUMMARY
In applying what was revealed in the case studies, it is
useful to summarize the specific lessons of each facility.
Bayreuth Festspeilhaus:
- Innovation is possible in this field. It is also
possible to depart from the popular expectations
(or prejudices) and still have an opera house that
is popular and effective.
- Opera is enhainced by illusion. The success of the
opera production depends on the success of the
illusion, to some extent.
- A good set of priorities would emphasize the
experience of opera rather than its trappings.
War Memorial Opera House:
- A public edifice such as an opera house can be
built without extreme controversy whenever there is
a popular desire and will to do so. Public and
private support can accomplish anything.
- Inadequate consideration of the ceremonial/cultural/
social context of opera will be detrimental to the
operatic experience.
144
- Flexibility and facility in an opera house are
desirable attributes. However, the need for these
should be assessed rather than including an un
usable capacity.
Metropolitan Opera
- Bigger is not always better, but if well thought out,
can be capable of more flexibility and original
stagecraft.
- Classical elements (such as boxes) can be adapted
to current need.
- Backstage facility and amenity can yield dividends
on stage.
- The operating and scheduling structure of an opera
house must be taken into account in the design.
145
BAYREUTH FESTSPIELHAUS
Architects: Wilhelm Neumann, Berlin, and
later Otto Bruckwald. Leipzig
Built: Begun 1872, completed 1876.
As the nineteenth century entered its second half,
the composer, Richard Wagner, was synthesizing his experience
in various concert halls and opera houses of Europe. He
longed for a perfect setting to stage his operas, princi
pally "The Ring of the Nibelung," In this opera house, all
of his ideas were manifested under his watchful eye. He was
well-known as an unconventional individual and. to some extent,
this encouraged him to ignore the context of his contemporaries.
He was dependent on the patronage of King Ludwig of Ba
varia and this combined with his contempt for certain cities,
led him to choose Bayreuth as the location of his ideal set
ting. This choice was fortunate in that it fostered mutual
respect and devotion between Wagner and the citizens of Bayreuth.
This relationship was fundamentally important to the comple
tion and success of the Festspielhaus.
This house was to function as a home for Wagner's operas
exclusively and as the intended cornerstone of a cultural mecca
and training facility.^ In his words, it could be an "Art
Washington". Admission would be by subscription only.
146
Conceptually, the Festspielhaus was to be more of an event 3
than an edifice.
The Festspielhaus was built on the outskirts of Bayreuth,
on a small hill. Its nature as an event location required
it to have a country flavor, parks and gardens for attendees
to walk through and"picnic in. These factors, in addition
to the festivals, made it a local landmark immediately.
Its form was dictated by Wagner's desire for an ideal
setting. One of his chief concerns was the preservation of 4
the magic effects of a "theatron." The audience was to be
directly related to the action on stage and neither the sight
5
nor sound of the orchestra was to interfere- This require
ment eliminated the conventional box seats and created the
famous "Mystic Abyss" orchestra pit.
In addition to his desire for artistic/aesthetic ex
cellence was an equal determination to be frugal in the build
ing itself. The priorities were clear. First, the opera house
was to have "no further solidity than what is necessary to
ensure against collapse . . . no ornamentation." Second,
the functioning systems of the opera house were required to
be "absolutely perfect. Here no economy." Third, the personnel g
were to receive "only compensation, but no salary."
The cost of the Festspielhaus is difficult to separate
from all the other money that Wagner spent in Bayreuth. How
ever, it cost 1,272,876.09 marks (1876) for the first festival 7
including the building.
147
WAR MEMORIAL OPERA HOUSE. SAN FRANCISCO
Architects: Arthur Brown, Jr., and G. Albert Lansburgh
Built: January 28, 1931 September 9, 1932 3,252 seats
San Francisco has had opera since 1851. In the years
since, the city has built an opera house, lost it in the great
1906 earthquake and, in the wake of the Depression, built
another opera house. This opera house is part of the sprawl-
ling War Memorial Center, just across Van Ness Avenue from
City Hall.
In the 1920s, a movement was begun to raise funds to
build a performing arts complex. By a combination of bond
issues, donations and pledged underwriters, the San Francisco
Opera Association raised funds to build the facility. The
desire for opera and the determination to build an opera house g
were matters of civic pride. However, even after the money
had been acquired, delays put groundbreaking off until 1931.
The Opera House is part of the War Memorial Group, along
with the Veterans Building, Davies Sjmiphony Hall, Herbst
Theater and the Museum of Modern Art. The Opera House, in
addition to opera,.Qan. stage recitals and ballet. The main
floor of an adjoining recital hall was designed to tilt mechan
ically, allowing it to become flat for dances and ceremonial
occasions,^ though little use is made of this expensive capacity,
148
The site was chosen partly out of self defense, A moving
and storage company had bought the earthquake-demolished cam
pus of St, Ignatius Church and College, across the street from
the City Hall. Acquisition of this site allowed a Civic
Center to be planned, just off the intersection of Market
Street and Van Ness Avenue, both major arteries.
The design of the Opera House, along with the Veterans
Building, is complementary to the City Hall, which Brown also
designed. Stylistically, it is "somewhat reminiscent of
Palladio's Basilica in Vicenza." It has a fairly straight
forward plan; the house opening into a large foyer and out to
the street through five pairs of doors. It shows the influ
ences on Brown of his mentor, Bernard Maybeck, and more,
L'Ecole des Beaux Arts.
The only complaint in regard to this opera house design
was that it allowed much of the social potential to go unused.
The huge ballustrade on the front could have been opened out
to the mild San Francisco climate (when the weather conditions
permitted).
Systems in the Opera House are all designed to be moveable,
flexible, and adjustable. In addition to the tilting floor,
the stage is extensively trapped; the spotlights are on an
adjustable bridge; the orchestra pit is mechanically variable;
and many of the battens are electronically controlled. Built
with 300 headset locations for the hearing-impaired, the War
Memorial Opera House now features projected super titles for
149
many of its performances. The ventilation system is an upflow
system, which has the advantage of putting tempered air direct
ly to the audience via ventilators under the seats.
The cost of the War Memorial Opera House in 1932 was
$6,000,000 ($69,240,000 in Dallas, 1983 dollars. )-^^ The
total cost for the entire Civic Center was $23,000,000 (in
1932 dollars).
150
THE METROLPOLTAN OPERA HOUSE
Architects: Harrison, Johnson. Belluschi, Saarinen,
Abramovitz & Bunshaft
Built: Begun summer 1962, completed summer 1966 3,788 seats
Known as "the General Motors of the performing arts,"
the Metropolitan Opera has been staging operas in New York
and elsewhere for over a century. In its home ("the old Met")
during the 1950s and 1960s, the Metropolitan Opera had increas
ing maintenance costs, frustration with the sightless box seats.
no backstage space, and inadequate dressing and rehearsal
14 facilities. The company had been trying to relocate since
before the Depression but was deterred by financial pressures.
The scale of the Met's finances are extraordinary. Ten percent
of all the money spent on professional musical performances in
the United States is-spent by the MET.
The Metropolitan Opera House is strictly that. Virtually
no other activity takes place there on a regular basis. This
is due, primarily, to the rigorous production schedule of the
Met. There are occasionally ballet performances, but usually
these are held in the New York State Theater. Harrison referred 16
to it as "a frame for the great operas of the world."
The site is the premier location at Lincoln Center, at
the center and facing Columbus Avenue. The decision to relocate
151
there was the result of a serious courtship between the Met
and Lincoln Center. The simultaneous commitments of the Met
ropolitan Opera and the New York Philharmonic to build new
houses in Lincoln Center made 1955 a year of realization for
New Yorkers.
The form taken by the Metropolitan Opera is distinctive
and identifiable. The five great arches that face Columbus
Avenue are somewhat like stained glass windows. These window
walls are repeated with a different treatment on the north and
south facades. It is almost a classic floor plan with the pros
cenium line differentiating the stage spaces from the public
spaces. The public areas include the house, a grand foyer,
and seven levels of seating, restaurants and offices.
Of course, the new house has made significant improve
ments in the backstage, dressing, and rehearsal areas. In
fact, in that area, they are one of the biggest in the world.
But perhaps more important to the opera lover, all the seats
have a view of the stage, rather than of other seats.
The Metropolitan Opera House is lavishly equipped with
seven stage elevators, fifty traps, a turntable, and a hydrau
lic equalizing system. The lighting above the stage includes
nine border battens and four light bridges. The stage is
supplied with steam for special effects. In addition, there
are three large motorized wagons for special situations. A
closed circuit television system is used for prompting and
17 cueing.
152
The Metropolitan Opera House cost almost $47,000,000 in
1965 ($139,186,700 in Dallas, 1983 dollars),^^
153
Conclusion
Of the three opera houses described, Bayreuth surely
stands out as the most specialized. There is no doubt that
the Festspielhaus has characteristics especially suited to
Wagner's operas. Essentially, the biggest difference is in
the longer reverberation times desirable for Wagnerian opera.
The effect of this longer reverberation time is a fullness of
19 tone, more blended sound.
The specialized nature of this condition makes the Fest
spielhaus less than desirable for other operas. Although the
Bayreuth house has some innovations and attributes that are
applicable to a new design, it must be kept in mind that
these can be overdone to the detriment of the general acoustical
conditions.
The Metropolitan Opera has unique acoustical advantages
as well. The apron area of the stage was designed as a
special zone. Surrounding this area are spayed side walls,
the prosceniiim arch above and the orchestra below. The effect
is to cause early side reflections to become more apparent.
20 This is advantageous for articulation, which can be a big
problem in opera.
Bayreuth and the Met share an acoustical feature. This
is the factor of cubeage (volume per seat). The new Met has
o 21 3
about 8.4m /seat and Bayreuth about 7m /seat. This causes
a richer sound although extreme volume must be avoided. The
old Met was cavernous to the point of causing singers to strain themselves.
154
The Metropolitan is the most expensive, even in adjusted
dollars. Bayreuth, on the other hand, is on the cheap end of
the scale. The extent to which the costs are reflective of
decoration versus equipment costs cannot be ascertained. The
Met is better equipped, but its value is not necessarily
applicable to other opera house designs. The War Memorial
Opera House is a median point between the two extremes. It
is sufficiently equipped for the productions staged there. It
is the matching of facility in systems with need that defines
value.
All three houses are landmarks. This is a function of
the success of the respective solutions and contexts. However,
the function of an opera house as a ceremonial spacer need^
to be considered. The operatic environment at Bayreuth is
permeated by true believers. In this setting, ornament is
more of a crime (or at least a superfluous gesture) than at
the War Memorial,
155
ENDNOTES
Hans Mayer, Richard Wagner in Bayreuth. trans. Jack Zipes, (New York: Rizzoli International Publications 19 ) p. 30. . .̂
2 Caroline V. Kerr, trans, and ed., The Bayreuth Letters
of Richard Wagner (New York: Vienna House, 1972), p. 299.
^Ibid,, p, 84.
4 Robert Hartford, ed., Bayreuth: the Early Years, (Cam
bridge, MA: Cambridge University Press, 1980), p. 29.
5 Kurt Saffir, "Mystic Abyss," Opera News (April 20-27,
1974): 10-13.
g Robert Hartford, p. 32.
^Ibid., p. 39.
g San Francisco War Memorial and Performing Arts Center,
Fifty Years of Performing Arts 1932 to 1982, (Press Kit, 1984), p. 4.
9 Herbert 0. Warren, "Forward Steps,' The American City,
Vol. XLVII (October 1932): 76.
San Francisco War Memorial and Performing Arts Center, p. 8.
•'••'•Herbert 0. Warren, p. 76.
12 Stanley J. Strychaz, ed. Means Square Foot Costs, 1983.
(Kingston, MA: Robert Sturgis Godfrey, 1983).
Martin Mayor, Bricks, Mortar and the Performing Arts, (Millwood, NY: Knaus Reprint Co., 1975), p. 29.
Edgar B. Young, Lincoln Center, the Building of an Institution, (New York: New York University Press. 1980), p. 15.
156
•'•̂ Martin Mayor, p. 29,
-I g
The Metropolitan Opera Press Dept., Exploring the Met, (New York: The Metropolitan Opera, 1984), p, 28,
•'•̂ Ibid, , p. 14.
18 Stanley J. Strychaz.
19 P. H. Parkin, H. R. Humphries and J. R. Cowell,
Acoustics Noise and Buildings. 4th Ed., (London: Faber and Faber, 1979), p. 89.
20 Vilhelm Lasson Jordan, Acoustical Design of Concert
Halls and Theaters (London: Applied Science Publishers, Ltd.), p. 78.
Ibid.
k k k. .
APPENDIX B
MARKET INFORMATION
157
Ik
158
MARKET INFORMATION
The relationship between an opera company and the
public is a complex one. Rarely is there any direct com
munication about this relationship, except at fundraising
perhaps. The Dallas Opera retained the firm of Booz, Allen,
and Hamilton, Inc., to examine this relationship. The Back
ground Section of this program describes the historical re
lationship and the current climate. This section is intended
to examine the more quantifiable aspects of community support
and artistic response.
First, it may be appropriate to identify this public.
Just who is it that attends the opera?
These people can be divided into two groups right away.
There are the subscribers and the non-subscribers. The sub
scribers may be further categorized by sex. Women make up
65%, or almost two-thirds of the subscribers.
The age and income of these attending the opera is also
important. Figure 1 shows the age distribution for subscribers
AGE DISTRIBUTION
Figure 16.
SUBSCRIBERS
Age of Opera Patrons,
YEARS or AGE
159
and non-subscribers. It is not surprising that the sub
scribers are slightly older.^
The income distribution of subscribers and non-subscrib
ers is show in Figure 2. The subscribers are slightly more
2 affluent.
INCOME DISTRIBUTION
<
u cc
S 2 M 0 0 tISOOO- SSSOOO- tSSOOO- SMOOO- tlOOOQO J^SWB D 4 V O T T W W H M V W
_ . ANNUAL INCOME RANGE
Figure 17. Income of Opera Patrons,
How has the public support of opera grown? Figure 3 3
indicates the ticket sales between 1975 and 1982.
This is not the whole story though. Even though the
chart indicates stable sales of at least 3000 tickets for
each performance, since 1957 the average has been over 3400 4
for each performance.
l&O
TOTAL NUMBEH SEATS SOLO
(THOUSANOSI
20-
10-
TRENDS IN O T E H A TICKET SALES 1t74- I t t 2
ItTS 197« — I —
1977 1971 1979
_II*T1NaC«»*C1TV iMrfnnMHUMCtii
— I I 1991 1993
Figure 18. Opera Ticket Sales
Finances are even more encouraging for The Dallas Opera,
In addition to being one of the few opera companies in the
United States that has no debt, the percentage of the annual
budget that is covered by earned income has been increasing.
In 1978 that figure was 29% and by 1988 it is projected to
be 50%, a reasonable maximum that they will not be able to
increase. In 1983. the budget was $3.5 million. Of that,
5% was acquired through grants, and 57% came from gifts.
From their 190 member board alone, the opera received close
to $500,000.^
About two-thirds of their annual budget is spent on
payroll. The City of Dallas benefits directly and indirectly
to the tune of $10 million each year from the opera.
161
The Dallas Opera responds to this support by programming
their activities to reach the maximum number of people. Not
only is this a source of good will, but also plants the seeds
which will yield a new crop of supporters.
Finally, what does the public want? In Figures 17, 18, and
.19, their responses to what attributes are important are g
shown.
ATTRIBUTE
ACOUSTICS
VIEW
SEAT COMFORT
ROOM TEMPERATURE
NEIGHBORHOOD SAFETY
THEATER ATTRIBUTE IMPORTANCE RATINGS
NOT IMPORTANT ^ IMPORTANCE RANKING »
1 Z 3
ATMOSPHERE
PARKING
LOCATION
VERY IMPORTANT
SUBSCRIBERS
NON-SUBSCRIBERS
Figure 19. Importance of Attributes by Theater.
162 ATTRIBUTE IMPORTANCE
1 2
INOT IMPORTANT)
ATTRIBUTE:
ACOUSTICS
VIEW
SEAT COMFORT
ROOM TEMPERATURE
NEIOHBORHOOO SAFETY
ATMOSPHERE
PARKING
LOCATION
S •
(VERY IMPORTANT)
1 /
p A
N / ^
\ • ^ '
AGE RANGE
. ^ ^ . _ _ _ _ 4 6 - M
M . I A
•
Figure 20. Importance of A t t r i b u t e s by Age,
SUBSCRIBER THEATER EVALUATIONS
ATTRIBUTE IMPORTANCE
ACOUSTICS
VIEW
SEAT COMFORT
TEMPERATURE
NEIOHaORHOOO SAFETY
PARKING
ATMOSPHERE
LOCATION
1 2
INOT IMPORTANT)
POOR EXCELLENT
5 6
(VERY IMPORTANT)
Figure 21. Attribute Evaluation by Theater.
OVERALL RANKINGS
— ^ MAJESTIC THEATRE «.»• - — — - FAIR PARK MUSIC HALL 4.70 ^ — MCFARLIN AUDITORIUM 3J7
163
ENDNOTES
Booz, Allen, and Hamilton, Inc, Planning for a Spring Season - Market Research Results. (Dallas, TX: The Dallas Opera, 1983).
^Ibid.
^Ibid.
4 The Dallas Opera Fact Sheet 1983. (Dallas, TX: The
Dallas Opera, 1983).
5 Booz, Allen, and Hamilton, Inc.
®Ibid.
APPENDIX C
ACOUSTICS
164
k
165
ACOUSTICS
Acoustic design used to be considered an art. Garnier,
the architect of The Paris Opera, upon completion of that
building said he thought acoustics would never be predictable.
He exemplifies the belief of that time that acoustics were
mysterious or circumstantial. It was not until Wallace
Sabine, at the turn of the last century, opened the door to
science.
It is simply that in acoustic design or prediction,
there are complex variables, and subjective evaluation of
the results. The first problem of complex variables makes
this particularly suited to computer applications. Acoustic
design is the quintessential "expert system."
Architectural Acoustics can be divided into four areas;
room acoustics, sound isolation, mechanical systems, and
sound amplificaton. Room, acoustics depend on four things:
volume, interior surface shapes, surface material placement
and selction, and audience seating.
Opera houses can be categorized by the shape of the
pit and use of boxes or galleries. Italian opera houses
have a shallow, visible pit and boxes or galleries. This
usually results in small cubeage (or volume-per-seat) and a
shorter reverberation time desirable for Mozart's rapid-fire
music. Wagnerian opera houses have the "mystic abyss" type
166
pit and no galleries. The consequence of this is longer
reverberation time, greater cubeage, and sound that is
blended (but not muddy).l
Early side reflections are important to the musical 2
quality, but also to articulation. This is especially
critical to opera. To assist in this, the area of wall near
the proscenium can be splayed (see Figure ) or angled
toward the main auditorium walls. In no case should these
main side walls be parallel. The rear wall should never be
smooth and concave in plan. The ceiling should slope up
toward the balcony with little or no concavity. The ceiling
shape is most critical in that it needs to thoroughly diffuse 3
the sound.
Material selection is not subject to cannon. About the
only thing that one may say about materials is that abosrption
of high frequencies is not good and should be avoided. This
may also involve dimensions of materials. For example, a
five foot surface will reflect sounds with wavelengths less
than five feet. Extremely small surfaces should be avoided
for sound quality.
As mentioned previously, the seats in the house should
have absorption characteristics that are the same (or close
to it), occupied or empty.
r̂
167
Unit sets as mentioned In Background require space equal to acting area for wagons behind and/or to each side-
Splayed walls at proscenium for acoustical purposes, see Appendix C.
The rear wall must not follow seating curve, but scatter reflected sound
USER PREFERENCES IN SEATING SHOWN ABOVE. A • MOST DESIRED F = LEAST DESIRED
Figure 22. User s a t i s f a c t i o n Diagram.
168
Room acoustics, sound isolation, mechanical systems, and
sound amplification act collectively to produce physical effects
such as reverberation time and early decay time. Without going
into greater detail than is necessary, it should be stated that
the range of good reverberation times is centered at 1.6 seconds 4
(l.s to 1.8 seconds). It can be estimated by the relation:
.05 volume (in cubic feet) Reverberation Time =
Total Absorption
One of the prime factors in good acoustics is the exclusion
of acoustical defects (along with the inclusion of features
just mentioned). These all have architectural implications.
They will be listed with comments.
1. Echo - when a reflected sound has enough energy
to be preceived as a distinct sound. This
also requires that the distance from source
travelled by the original sound and the
reflected sound be sufficiently different.
2. Long Delayed Reflection - an indistinct echo,
3. Flutter Echo - rapid succession of obvious small
echos, usually caused by extreme surface
irregularities, highly absorptive materials,
and irregular ceiling diffusion.
4. Sound concentration - hot spots created by the
reflection from a concave surface.
169
5. Coupled Spaces - (particularly important) shared
air media exchanging sounds. When there are
two, large air volumes with substantial
connection, the sounds in one will create
an harmonic image in the other. Also des
cribed as sound flowing from one space,
where it persists, to an adjacent, silent
one.^
6. Sound Distortion - undesirable change in the quality
of sound, usually selective to certain
frequencies.
7. Sound Shadow - the abscense of reflected sound,
usually caused by poorly designed balconies
(See Figure ).
8. Whispering Gallery - high frequency tends to creep
along concave surfaces (soffits & facia,
especially).
9. Room Resonance - sound coloration or when sounds
at selective frequencies seem louder than
others.
10. Noise and Vibration - any penetrating (unwanted)
sound must be reduced to negligible levels.
The last defect listed also brings up a special problem
for this opera house. That is, how to have a quiet house
surrounded by freeways and landing patterns? The ideal
170
place to stop noise is at the source. This is impractical
for the conditions of my site.
Distance is the most important factor. The inverse
square law as it applies to sound means intensity decreases
exponentially. Isolation is also essential. Sound travels
up to 10 times faster through solids than through air. By
segregating different levels and degrees of enclosure, sound
paths are interrupted. Isolation is also the standard noise
reduction strategy for mechanical and equipment noise. The
proposed subway route will also make isolation necessary.
Noise screens can reduce traffic noise 15-26 dB, Imper
vious absorptive screens, slatted screens, and other arrange
ments (quarorails, screening buildings, etc.) can be effective,
shrubs and trees are not very helpful though. Double-
paned, sealed windows and interior arrangements that concen
trate sensitive areas away from the source can be effective
strategies.^
171
ENDNOTES
P.H. Parkin, H.R. Humphreys, and J.R. Cowell, Acoustics, Noise and Buildings. (London: Faber and Faber 1979), p. 89.
^Wilhelm Lassen Jordan, Acoustical Design of Concert Halls and Theaters. (London: Applied Science Publishers Ltd 1980), p. 81
"̂ Ibid.
4 P.R. Parkin, H.R. Humphreys, and J.R. Cowell,
Acoustics, Noise and Buildings. (London: Faber and Faber, 1979), p. 91.
^Harold Burris-Meyer and Lewis S. Goodfriend, Acoustics of the Architect. (New York: Reinhold Publishing Corp., 1957), p. 62.
^Ibid, p. 63.
7 Consultative Group on Transportation Reserach, Urban
Traffic Noise: Strategy for an Improved Enviornment, (Organization for Economic Co-operation and Development #7), pp. 56-60.
APPENDIX D
SEATING AND AUDIENCE ORIENTATION
172
k
173
SEATING AND AUDIENCE ORIENTATION
In this age of specialization, architects as designers
are often faced with calling in an "expert." Until now this
expert has been a representative of a seating manufacturer.
The seating might be bid as a separate item, specified by
elaborations on the data (evaluative criteria) in the program.
Now these experts may take the form of "expert system" (see
Progressive Architecture October 1983, p. 61) which are the
computerized advisory capabilities of many such experts.
Nevertheless, the designer must have rudimentary know
ledge of the methods used by these experts to supply the proper
information and evaluate their performance. This appendix is
intended to provide this and other important perception and
comfort data. It is discussed at progressively larger scales,
from the anthropomorphic details to the seats and the house.
The perceptive.tool in this case is the head of the patron,
specifically the eyes and ears. Because of the reflective
capabilities of sound the acoustical considerations are sub
stantially different and will be discussed elsewhere (see
Appendix C). The eyes and the head each have two directions
of rotation that lead to arcs of comfortable movement for
viewing.
For the human eye, comfortable movement is 15 from
straight ahead both vertically and horizontally.
174
For the e n t i r e head, movement of 45 from center h o r i
zonta l ly or 30 from c e n t e r v e r t i c a l l y i s considered comfor
t a b l e . 1 See Figure 1.
30"
VERTICALLY HOREOffTALLY
HEAD MOVEMENT
Figure 23. Head Movement.
The composite of t h i s da ta would suggest a range of 120
ho r i zon t a l l y and 90° v e r t i c a l l y . See Figure 2.
30«
VERTICALLY HORIZONTALLY
COMPOSITE RANGE
Figure 24. Composite Range
175
This is, however, an extreme interpretation of these
limits. These are most critical for those patrons sitting in
edge zones of the house, especially those in the front row
who will have to turn their heads to see entrances from the
wings, for example. The seats further back will be limited
more by the distance from the stage than by these angles
(distance from the stage will be brought up a little later).
Viewing an opera is an arduous task (and sometimes, a
marathon) even with generous intermissions. It is probably
more sensible to use the head movement angles alone as a
limit. There is another angle which can be used in locating
seats. It is the cone of vision or field of vision. In
Douglas Anderson's book Testing the Field of Vision, he
discusses the link between visual acuity and the angle from
axis. Essentially, within 30° from axis the eye can see a
fair amount of detail. Beyond that, acuity falls off rap
idly.
The armature for the above mentioned perception tool is
the seat itself. Each seat is different. For acoustical
reasons, it is usually as close to the same absorbtion
profile empty as with someone in it. This is attainable in
a wide spectrum of upholstery and fabrics. Types of seat
construction include box spring, spring edge, spring back,
and padded back.
Each seat will face the stage with slight deviations
allowable. However, the pitch of the seat or its intended
176
incline from vertical varies from the front of the house
to the back. At the front of the house, the pitch will
be greater and at the rear of the house, the pitch will
be the least. The horizontal overhang of the seat back
varies from 8-1/4" to 5-1/4" usually.^
Since each seat may have dimensional and/or direc
tional variations from the seat next to it, locating seats
could be confusing. For this reason, they are usually set
by using a datum line of some sort. The seats are given
center to center dimensions in both directions. Seat width
(center to center) is usually +̂ 22".
The relationship between rows is usually described
in terms of aisle widths. These in turn are set by local
codes and the type of seating plan chosen. Aisle width
between rows of seats ranges from +33" for multi-aisle 3
plans to +40" for continental seating. These types of
seating plans are generally diagrammed in Figure 3.
CammtlOMl Mating csnctntrtut cIrcuUttM sptct In th* atln atilts
SIM al t lM art Mtt«r than ltd* (aats-
Contlntnul iMtlitq Mt cIrtuUtlen (put bt t t tn r«« tnd tt UM sidti
^Tlilt tytttm rtqulrtt •ort t i t t i t t tM ind of
CONVENTINAL SEATING TYPES CONTINENTAL
Figure 25. Seating Types,
177
The use of continental seating is often either pro
hibited or strictly limited by the local building code. The
number of seats in a row depends on the type of seating and
the code. In continental seating it may be assumed to be 29
seats between any one seat and the nearest aisle or 59
maximum in a row. Other types of seating plans may have 6
seats betwen any one seat and the nearest aisle or 13 maxi-4
mum.
Aisles also run longitudinally. In any seating plan,
the main aisles are critical to life-safety and are speci
fied by code. Aisles must be at least 3 feet wide, or if it
serves two sides, at least 3 feet 6 inches. For each 5 feet
of distance to the nearest exit or crossing aisle, the width
must be increased by 1-̂ 1/2", Exit requirements will be in
the local code-
At this point, the perceiving units have grown from
eyes to seats, rows, and sections. Something else must be
considered to prevent anyone's view from being blocked by
those seats in the next row. In plan, the seats must be
staggered. The standard requirement is that any patron
should be able to see between the heads of those in the next
two rows. Seating manufacturers make seats in many widths
in order to accommodate such staggering without unsightly
gaps. Beyond this distance the floor slope will allow the
patron to see over those in front. The slope of the main
floor is an important factor in the acoustics (See Appendix
178
C). In this consideration, however, it may be simplified.
The eye level of those on the front row should be 2" above
the stage. From this point, the slope is determined by
allowing at least 5" of head clearance between alternate
rows. Additional clearance should be given at cross
aisles.
In addition to these rudimentary techniques for locat
ing the seats, something must be said about the other at
tributes of any patron's seat. Opera demands a great deal
of the viewer at times. Long periods between intermissions,
the cost of a ticket, and the inestimable value of a satis
fied public make comfortable seating very important. In
the selection of seats, the designer should specify comfort,
quietness of operation (if any), and safety (including
toxicity and the absence of sharp edges).
The designer must also integrate and accommodate the
handicapped in any seating plan. Seating manufacturers
may be of great help by suggesting pockets or removable
seats on the aisles at certain locations.
w
179
BIBLIOGRAPHY
Altman, Irwin, and Chemers, Martin M. Culture and Environ-ment. Monterey, CA: Brooks/Cole Publishing Co. , 1980.
The American Heritage Dictionary of the English Language William Morris (ed. ). Boston: Houghton Mifflin Co 1979.
Appleyard, Donald, and Lynch, Kevin. "A View from the Road." Also, see Cullen, Townscape.
Architectural Graphic Standards. Ramsey, Charles G. ;• Sleeper, Harold R. ; and Joseph N. Boaz (ed.). New York: John Wiley & Sons, 1970.
Baumol, William J. and Bowen, William G. Performing Arts -The Economic Dilemma. New York: The Twentieth Century Fund, 1966.
Bautista, Michael Phillip. Ten Years of Stage Design at the Met (1966-1976). Doctoral dissertation. Texas Tech University, 1981.
Blake, Patricia. "'Cendrillon' Becomes Cinderella. Time Magazine, October 17, 1983, p. 98.
Booz, Allen & Hamilton, Inc, Planning for a Spring Season -Market Research Results for The Dallas Opera. 1983.
Burris-Meyer, Harold, and Goodfriend, Lewis S. Acoustics of the Architect. New York: Reinhold Publishing Corp,, 1957,
Carr, Lynch Associates. A Comprehensive Arts Facilities Plan for Dallas. Urban Planning Report to the City of Dallas, 1977.
Code for Safety from Fire in Buildings and Structures. Also known as Life Safety Code. Committee on Safety to Life, J. Armand Burgun, Chairman. Quincy, MA: National Fire Protection Association, 1981.
C!BD Concept Plan. Department of Planning and Development, Dallas, TX: City of Dallas, 1983.
The Dallas Opera Fact Sheet 1983.. Dallas, TX: The Dallas Opera, 1983.
180
Exploring the Met. The Metropolitan Opera Press Department. New York: The Metropolitan Opera, 1984,
Fifty Years Of Performing Arts 1932 to 1982, San Francisco War Memorial and Performing Arts Center. Press Kit 1984.
Hartford, Robert (ed,) Bayreuth: the Early Years, Cambridge Cambridge University Press. 1980.
Henehan, Donald. "How Much Do The Words Really Matter In Opera." New York Times, February 6, 1983, Section H. p. 19.
Hogan, Patricia R. Centennial History of the Dallas, Texas, Park System, 1876-1976. Volume II. Lubbock, TX: Texas Tech University, 1975.
Holmes, Ann. "Houston Threatened by Taste of New Wave in Opera." Houston Chronicle. October 14, 1984, Section 3, p. 12.
Jacobs, Jane. The Death and Life of Great American Cities. New York: Vintage Books, 1961.
Jordan, Vilhelm Lasson. Acoustical Design of Concert Halls and Theaters, London: Applied Science Publishers, Ltd,
Kerr, Caroline V. (trans, and ed.) The Bayreuth Letters of Richard Wagner, New York: Vienna House, 1972,
Knapp, J, Merrill. The Magic of Opera. New York: Harper 8s Row, 1972.
Lynch, Kevin. The Image of the City. Cambridge, MA: MIT Press, 1960.
. Site Planning. 2nd Edition. Cambridge, MA: MIT Press, 1982.
Mayer, Hans. Richard Wagner in Bayreuth. Translated by Jack Zipes. New York: Rizzoli International Publications.
Mayor, Martin. Bricks. Mortar and the Performing Arts. Millwood, NY: Knaus Reprint Co., 1975.
Means Systems Costs. 1983. Stanley J. Strychaz (ed.). Kingston, MA: Robert Sturgis Godfrey Publishers, 1983.
181
The Merriam-Webster Dictionary. C. & C. Merriam Co. New York: Simon & Schuster, 1974.
Local Climatological Data - Monthly Summaries. National Oceanic and Atmospheric Administration. U.S. Department of Commerce, 1983.
Newton, Robert M, Centennial History of the Dallas, Texas Park System, 1876-1976. Volume 1. Lubbock, TX: Texas Tech University Press, 1975,
Parkin, P.H,; Humphries, H. R,; and Cowell, J,R, Acoustics Noise and Buildings. 4th Ed. London: Faber and Faber, 1979.
Pauley, Reinhard. Music and the Theater, An Introduction to Opera. Englewood Cliffs, NJ: Prentice Hall, Inc., 1970.
The Performing Arts, Problems & Prospects. Rockefeller Panel Report, New York: McGraw-Hill Book Co., 1965.
Pena, William. Problem Seeking. Boston, Cahners Books International, 1977.
Rogers, John Williams. The Lusty Texans of Dallas, New York: Dutton & Co., 1965.
Saffir, Kurt. "Mystic Abyss." Opera News. April 20-27, 1974:10-13,
Surratt, Marshall E. Land Values in Texas Cities, Fort Worth, TX: Historical Publishers, Inc,, 1973,
Theater Checklist. American Theater Planning Board, Jo Mielziner, Chairman. Middletown, CN: Wesleyan University Press, 1969.
Time-Saver Standards for Building Types. 2nd Ed. Joseph De Chiara and John Callendar, et al, (ed.). New York: McGraw-Hill Book Co., 1973.
Tutt, Patricia, and Adler, David. VNR Metric Handbook of Architectural Standards. New York: Van Nostrand Rein-hold Company, 1979.
International Conference of Building Officials. Uniform Building Code. Whittier, CA: International Conference of Building Officials, 1984.
Urban Traffic Noise: Strategy for an Improved Environment. Consultative Group on Transportation Research. Organization for Economic Co-operation and Development #7.
182
Warren, Herbert O. "Forward Steps." The American City. Vol. XLVII (October 1932): 76.
Winsper, William. "A Message from the President." Dallas Opera Magazine, p. 9.
Ydoyaga, Ray. "Dallas Arts District's Master Plan Approved; First Phase Opens in Mid-1984." Texas Architect, January-February 1984, pp. 26-28.
Young, Edgar B. Lincoln Center, the Building of an Institution. New York: New York University Press, 1980.
Interviews
Mike Bloomel. Trammel Cros, Inc., Dallas, Texas. October 21, 1984. (personal).
Forrester, Tammy. Forrester Radio-Paging, Dallas, Texas November 11, 1984. (telephone).
Holderer, W. Scott. Production Stage Manager, Dallas, Texas. March 17, 1984. (personal).
Howard, Mr. Mason-Johnston, Inc., Dallas, Texas (Mason-Johnston, Inc., is a soils engineering firm.) May 14, 1984. (telephone).
Newlin, Forrest. Texas Tech University Theater. December 11, 1984. (personal).
THESIS DOCUMENTATION
This phase of my thesis work is intended as a general
description of how I designed my project, the problems I
encountered, the reasoning behind some of the important
decisions I made, and the results of these decisions.
Included in my documentation are a number of slides
intended to illustrate the text. These generally fall
into three categories; design, the resulting model, and
something I refer to as "Any Form You Like". This last
section is a primer on the creation in plastic of just
about any impossible shape desired by the designer.
The design phase of thesis is built upon the program
created previously. The wealth of information contained
in the program may have been in a period of gestation
before entering the thesis lab, but only when design has
commenced does it really take on meaning. When I began my
design, I thought I knew a lot about the task ahead. Some
contend that a good program should eliminate surprises in
design. I must disagree, believing that all design is a
process of discovery. Looking back, I would say that I
had a lot of information but knew relatively little about
the design ahead. This is just as I would have wished.
The first major step in my design was to study the
chain of sequential experiences that everyone (patrons,
performers and staff) encounters. To this end, I made
very cartoon-like storyboards of typical days and nights
for stereotypical roles. This was important on both sides
of the curtain in order to reach a point at which I could
derive form from what was referred to in programming as
user satisfaction criteria. None of these cartoons
remain, but in slides that follow, the results of that
tvnP of in-between study can be seen.
1 Site Traffic - Initially, I examined the site I had
chosen. The questions that I tried to answer were; what do
all of these people-per-day see as they pass, how can I
establish a valid frame of reference for evaluating my
intuitive responses, and are there any inferences that can
be made about building and site from my program
information.
Views - I looked at the first question in terms of
sequential views of a moving observer. I found that just
as important as the composition of specific views, was the
degree of effect or impact. This effect could be made
clear or obscure by two factors; readability and time. In
addition to visiting the site several times, I took many
photos from what I thought would be important vantage
points of tjrpical observers.
Skyline - the analysis of views works both ways of
course. The view from nearby offices will be unique in
that the viewers are stationary and time for than to view
is virtually eternal. After careful consideration of all
the possible views from the site, this view of the Dallas
skyline was clearly the favorite. Ibis led me to look for
ways to preserve it.
Future Development - The Arts District of which my
opera house will be a part, implies intensive development
of the land adjacent to my site. Due to the precise limits
of Arts District zoning, it is possible to foresee the
effects of this. I considered various ways to place the
building on the site. I rejected the straight terminus as
too static and predictable.
Landmark - Passersby will certainly notice the opera
house. In fact, its location and mass ensure that it will
become a well known landmark. Being at one end of the Arts
District axis (along Flora) and at the extreme corner of
downtown will make it recognizable as the boundary of the
downtown core. Since it is also at the merger of two
freeways, and at the center around which ramps on the near
side of this system rotate, I predict that the effect of
these high-speed, slightly banked encounters will be
tremendous.
While making all of these observations, I was faced
with the question of scale. I felt that it covered more
than relative size. There was a desire to use the extreme
possibilities offered by this project but at the same time
have a texture to make the dimensions readable. As an
analogy, two buildings of identical form; one with brick
veneer, one in smooth seamless plaster. Within some range,
the readable units of brick will make the scale of the
entire building more understandable.
Interconnections - At the same time as these big
picture thoughts were going on, I was also working on the
relationships (functional, organizational, et al.) between
parts. Bubble diagramming is a technique that most people
use, but use differently. I prefer to keep it in a later
stage and I imagine more physical detail in it than popping
the bubbles up into floor plans.
7 Volume Studies - In all cases, but especially with the
house, it is important to be 3-D aware. In the house, the
volume is especially important. I did a little computer
program to make figuring the volume over and over with
changing parameters a little bit easier. This was really
handy because even with a basic calculation to build on, I
could gradually make it more sophisticated by adding on
other things like reverberation time and comparisons.
8 Organizations - Eventually I made a series of these
cutout plans. I tried to minimize the hazards of pop-up
bubble floor plans by having the pieces cut out so that I
could stack than or overlap them.
Nakedness - When looking at a body, one not only sees
how much mass is there, but what kind of mass as well. I
think the same is true to some extent for buildings.
Although the floor areas contained in my program make it
seem as though mass is evenly spread out, the height and
volume requirements of the house, stage, and flyloft reveal
them to be preeninent formgivers. In fact, they are so
overwhelming that the combination of all the other spaces
cannot adequately clothe them. It was while I was
experimenting with putting the foyer and entrance on the
side of the house (and other schemes) that this became
evident.
1 0 Essential Form - I came to realize what abstract,
sculptural possibilities were available. In addition to
this combination, I inverted them and tried a number of
other schemes.
11 Facadism - There were two buildings on site in
addition to St. Paul's Methodist Church on the corner. I
knew that I would keep St. Paul's but I worked on several
strategies to deal with existing buildings. The question
evolved into one of "is this stuff worth keeping and does
it support my purpose?" Clearly, it was neither.
1 2 Study Models - At this point I was working on these
things mainly in the form of study models (none of which
survive). This shows a couple of the many schemes I
modeled, mostly in cardboard and at a scale of about
1":100'.
1 3 Anti-model - I also tried abstracting these thoughts
about the opera house. I did this 2-D graphic to show how
I felt about barrier (squares), terminus (circles), and
motion (dashes).
1 4 Essential Form - I kept coming back to this basic
arrangement. For a number of reasons, it seemed
appropriate. I was very interested in what it would be
like on site, in 3-D. The sunrise/sunset profile, driving
through the shadows it would cast on the freeways,
experiencing centripetal acceleration as one orbited this
monolith, and other scenarios gave me some clues as to how
I should approach this form.
15 Enhancanents - So, I have this extremely abstract form
with extreme experiential possibilities. I want to
capitalize on these and make the result even more so. it
seemed like there were two things I wanted to achieve. I
wanted the building to seem to grow from big to huge as the
viewer approached it (pedestrians mainly). I also wanted
to give it a feeling of rotation.
1 6 Solar Control - In addition to these considerations,
there was the fact that this building sits in the sun. A
smooth skin would be striking but limiting. This abstract
form needed a transparent but expressive face turned toward
the downtown.
1 7 Waves - The next question is "Expressive of what?"
What is going on here? It needed to be something that is
easily understood, but also fit with the abstract
sculptural mode. Waves apply to many levels. On the most
basic level, it did some good things with form and the way
light struck the building. As a metaphor, the waterfall
has an operatic connection to fantasy. Throughout Dallas
and especially the Arts District, water is used in
fountains and pools. It seemed like a good opportunity to
amplify this to an appropriate extreme.
1 8 Waves Where - If I wanted to use this analogy in an
effective way, it must be consistent, rational, and
pervasive. I began looking at the site and the building in
terms of Mtoere this might be expressed.
i y Waterfall - One way to look at the facade is as a mask
for the foyer. There was the problan of resolving the
great height of the foyer required to reach the upper
balconies with the lower plaza scale entrance. The
waterfall idea did that rather well I thought and gave a
really interesting surface to be lit (from both outside in
daylight and inside by opera activities). It could also be
taken more literally as an allusion to the hiding place of
das Rhinegold, that magic place behind the waterfall where
the Rhinanaidens live.
2 0 Ripples - This could be expanded on by making the view
from any of the foyer levels looking up, into the ripples
about to cascade down. This is actually more than cosmetic
since (along with the parallel ripples of the floors, to be
described later)they give definition to one of the three
axes of movement within the foyer.
At t h i s p o i n t , I might have been g e t t i n g a l i t t l e b i t
ahead of the sequence of exper i ences of the typ ica l opera
p a t r o n . Due to zoning r e s t r i c t i o n s , c o s t , and future
development of t he s i t e , I knew tha t I wanted the parking
to be underground and concen t ra ted under the p l aza . For
some of the p a t r o n s t h e r e would need to be a drop-off area
for l i m o u s i n e s , ad jacen t to the lobby and covered.
For the vas t ma jo r i t y of the p a t r o n s , however, the re
would be underground pa rk ing . I had s e r i ous doubts as to
the way underground parking i s u sua l l y thought of; dank,
s m o g - f i l l e d , and un imag ina t ive . I t was c l ea r tha t the
s i t e had not enough s lope to even have one level p a r t i a l l y
exposed, but t h e r e was no reason tha t every leve l should
not be provided v e n t i l a t i o n and n a t u r a l l i g h t .
Parking - I knew that I wanted light and air to f i l ter
^ 1 down to the parking garage levels at different s i tes . Each
of these would be taking up some space that could be
parking area and could easily get in the way of column
spacings and circulation patterns. I also wanted to give
the impression to people driving past that the parking was
soradaow more humane than their stereotypical view of
underground parking. For these and many other reasons, I
wanted these shafts at the edges of the s i te and near to
the building. So, as the s i te began to acquire undulations
and waves, which in turn implied source points,! decided to
use these in the placement of my lightwells. This worked
on another level as well. At the other terminus of the
Flora Street axis i s the Dallas Museum of Fine Art. The
image i t presents i s the semi-circular end of a barrel
vault with a fountain in front of i t . This is already a
part of the d i s t r i c t image and what I've done is to turn
i t from elevation to plan and amplify i t . At the point of
origin, directly in front of the house, I have planted
Parking cont. - something like a flag. A sumner
fountain/winter searchlight shooting up through the plaza
will become a surrealistic marquee, calling the faithful
and curious alike. Once there, at the corner of Ross and
Routh, the passersby will see the sani-random lights of
cars as they park, shining up through a quarter-circle gash
in the plaza.
^ ^ Parking Lobby - Since the parking patrons will be most
likely to enter the building from the garage rather than at
the plaza level, these garage lobbies take on added
significance. The location near the fountain was an
advantage. I did some sketches of what I would like to see
as I entered the building and used that to aid in its
design. I found that I could use this a display space or
for a variety of uses, with each level different from the
others. One of the materials I show in this view is red
brick, salvaged from one of the buildings to be torn down.
This makes it sort of a conceptual ghost of the old
edifice.
23 Lobby Activity - Re-examining the previous analysis I
had made of the lobby area, I concluded that there were
three things going on in the lobby- They were; getting
tickets, waiting to meet friends, and passing through this
into the foyer. Further, I saw the first two as important
but peripheral to the latter. Getting tickets required a
special kind of social space. Waiting required space and
an interior landmark so that one could say, I'll meet you
over by the ''. Passing through required some sort
of constriction at which tickets could be taken (if not at
the doors to the house).
2 4 Grand Stairs - I decided to combine the latter two in
the form of a grand stair. Handicapped access had to be
provided as well, of course, but I thought this would also
Grand Stairs cont. - be a familiar feature from other opera
houses and provide a transition for the waterfall metaphor
going on in the facade.
2 5 Elevators - In addition to stairs, there would be
elevators. These ascending rooms were another fertile
field for the enhancement of fantasy. I have used music
notation here but in a way that even the uninitiated can
read.
26 Foyer - Recalling from the caption to slide twenty, I
have stated that there are three axes of movement in the
foyer. One of these is the vertical axis and the other two
(side-to-side and in-and-out I called than) are shown in
the middle upper right of slide twenty-three. In those
previous notes I have described these foyer levels as
stacked ripples waiting to cascade down the facade. There
are other factors involved in the form. The option of
catered dining at some of the performances (but not all)
caused me to search for convertible space. I used the
ripples as waves in plan to create strips at the front of
each foyer level. Each of these step down a couple of
steps as one moves toward the glass facade. These areas
could be used for dining or skyline gazing.
2 7 Foyer Materials - In the selection of color and
material for this area, I was very precise. I envisioned
it as a green wave. The wall of the house recalls that
essential abstract form, being a shear, glossy surface of
lightweight marble panels. Nothing approaches this surface
across a majestically empty space except some bridges
leading to the doors into the house. These are framed by
flat and very square looking arches of marble panels of a
slightly different color than the house wall. These
bridges and the house doors are flat black as are the
28
Foyer Materials cont. - backsides of those square arches in
order to accentuate this vertical gap. The rest of my
thoughts concerning materials for this space are on the
slide, but I would add that one of the best things about
using the color green is that it allows you to use plant
forms as sort of random explosions of color. This is
difficult with standard building products as in this
example where I've used than as frothy crests of the foyer
waves
The House - This is the view one would have entering
the house, there are several things that can be
illustrated with this. I have continued the metaphor of
being under water. The rippled ceiling shown here is
acoustically necessary to create well-integrated sound
reaching the audience from above. Close inspection of
these ripples shows that they are much darker on the stage
side so that they will be as dark as possible with the
house lights off. In addition, the proscenium goes to
black as the surfaces bend in toward the edge. The form of
the proscenium is determined by several factors. It must
first of all reflect sound properly. I also wanted it to
contain sufficient volume so that it could hold technical
tools/toys of the future. At the lower edge of the
proscenium, directly above the stage, there is a slightly
tilted screen for the projection of surtitles (the latest
rage in opera). The colors in the house are also of
interest. I wanted than to be as dark as possible between
the viewer and the stage so that with the house lights off
it would be close to black. On the other hand, making the
entire wall dark would be oppressive. This led me to make
these walls a gradually lighter and bluer green as they
rise to the ceiling. Other benefits of green are that it
is so close to black in dim light and that by changing the
color of the house lights ever so slightly, the entire mood
can be altered. In order to break the monotony of this
vast amount of green, I have included segments of warm reds
and yellows. The exit lights of the emergency exits also
work into this scheme.
2 9 Seating - This sketch shows what I had in mind as a
typical seat. Color is suggested and several selection
criteria are listed. However, due to the rapidly changing
response to concern over toxicity, I thought it best not to
be too specific. I also wanted the aisle lights to have
motorized or hydraulic covers so that they could
participate in house light dimming at the floor level in
addition to ceiling lights.
30
31
Sidewalls - This shows an above view of the walls of
the house. The color scheme mentioned above can be seen as
well as some curvaceous bumps on the wall, placed just
forward of the balconies.
Acoustic Diffusers - That there are projections from
the walls is nothing new. Almost all auditoriums have
than. What is novel is the shape of these. My contention
here is that in some ways, form directly translates into
acoustic experience. In this case, it is a quality of
smoothness. The graphs indicate what I predicted the sound
would be in each case. I tested my prediction by asking an
expert in acoustics if this would be the probable effect.
I tested my subjective choice of what constitutes a
desirable sound by simulating each. To do this, I played
opera recordings through a Tandberg stereo amplifier with
an AudioPulse stereo digital delay. Using four Advent
speakers for the direct sound and four Minimus 7 speakers
for the delay, I could get very close to state of the art
simulation and use this to make my choices easier. Another
important factor that came to bear was that the direction
from vstoich the sound comes determines what qualities that
sound should have. The sound should be as clear as
possible from the front and side, but should be well mixed
from up above.
O ^ Performance - this is intended to show what an
observer might see during an actual performance. I have
chosen to depict a brightly lit scene from "Die Valkure",
in most cases the proscenium, walls, and ceiling would
retain a high degree of blackness. This also shows the
surtitle system at work.
o3 Wall Section - In addition to showing some of the
aspects of the construction of this opera house, this wall
section has a lot to do with the noise reduction that is
necessary. Essentially, what I did was to use the mass law
to achieve normal transmission loss, and then use the
surface finishes to meek peak requirements.
THE RESULT
This section is not intended to take the place of my
model, but to augment it. I have also omitted slides of
many things shown on the model for the sake of brevity.
The captions of this section are much more brief and
concentrate on the things that I learned from my model.
From the previous slides, one might get the impression
that I worked mainly in graphic methods while designing.
Though there were many drawings along the way, I can say
without any reservations that I learned most and decided
most by the use of models. My final presentation model
which is pictured here was also a study model in the sense
that many design details were worked out even at this late
phase. Before it can be built it must be designed.
However, that is not to imply that these phases are
exclusive.
There are a number of things that I think are
important, but cannot be covered by slides of the model.
One is that I tried to be as innovative as possible in my
selection of materials. My model contains everything from
spaghetti to steel to sawdust, as well as several types of
plant material. I used rolled floor vinyl upside down in
order to eliminate seams. I think that in the
construction of this model, I became an artisan in the use
of an Xacto knife. A sharp blade can do things that I
would have thought impossible before I did them in this
task. Finally, I would like to emphasize the value of a
good copier. This is not usually thought of as a model
building tool. I can say that almost every piece of my
model has, at one time or another, been a xerox copy.
3 4 Copies - Model making can be sunmed up as the creation
of a three dimensional likeness from two dimensional
information. Of the many techniques I anployed, three are
shown here. Sketches on "crude paper" are fast and
approximate ... and cheap. When building a model, fit is
of the utmost importance. That means that pieces should be
cut to fit what is really there rather than what is
theoretically there. Sometimes just placing the pattern
piece on a scrap of blue line paper in the sun will do.
When more exact patterns are necessary, copiers are really
handy. Sometimes I made copies on adhesive film and then
applied than to the piece to be cut out. It is a real time
saver.
O O Patterns - In my work, I developed a series of about
four master patterns that I could use over and over again.
It is important to retain the originals as patterns so that
successive generation distortion won't ruin the good fit
that this can provide.
36
37
Shadows - One implication of having my building site
out in the open is that some really dramatic shadows are
cast at sunrise and sunset.
View from Southbound Central Expressway - Although
this is a static looking view, it is like a capital letter
at the beginning of a sentence, with the rest of the Dallas
skyline stretching out to the right of this monolith. As
one gets closer, the rehearsal hall becomes more three
dimensional until the whole picture is set into rotation.
v3o View from Eastbound Woodall-Rogers Freeway - It can be
seen from this how strange the juxtaposition of St. Paul's
and the opera house is. I wanted the opera house to be
large enoiigh to be a backdrop to its neighbor, yet not be
devoid of small scale detail.
3 9 Pedestrian view from Plaza - I was trying to show the
effect of ray wavy (and in this case, out of focus) glass
facade. I think that the irregular reflection and the
strong vertical elements make it interesting.
4 0 Afternoon - As the sun begins to set, the building to
cast shadows on itself.
4 1 Silhouette - As the sun sets further, from the dark
side the building looses any surface definition and becomes
a silhouette.
4 2 Sunset - At twilight the lights within the opera house
begin to bring it to life as the setting sun reflects off
the facade.
43 Darkness - The building becomes transparent and its
form is defined by the light from the opera house interior.
44 The Gap - This is a view of the foyer pulled away from
the house, showing details of that connection. Also shown
is the rear of the dumbwaiter structure cutting through the
edge of each foyer level.
45 Detail of Foyer - T^e front view of this duntowalter Is
shown here along with other foyer details.
ANY FORM YOU LIKE
Go i n t o t h e t h e s i s s t u d i o and watch them b u i l d
m o d e l s . Some w i l l have b u i l d i n g s t h a t a r e des igned to f i t
t h e m a t e r i a l s t h e y have a t hand t o b u i l d t h e model .
O t h e r s w i l l have d e s i g n e d t h e m s e l v e s i n t o a c o r n e r and
must s e e k ou t t h a t odd p i e c e of w a t c h a m a c a l l i t t h a t w i l l
make a p e r f e c t l y s c a l e d w h a t s i t . But l e t us suppose t h a t
you a r e i n a d i f f e r e n t f i x . You have des igned something
which you know y o u ' l l neve r f i nd and ye t you f e e l i s t h e
r i g h t t h i n g t o p u r s u e - What can you do? The purpose of
t h i s s e c t i o n i s t o l i b e r a t e t h e r e a d e r and a l l o w him t o
c r e a t e j u s t abou t any form i m a g i n a b l e .
I t i s t r u e t h i s can o f t e n be done in o t h e r ways. But
vacuum fo rming i s e x p e n s i v e and not n e a r l y as f l e x i b l e
w h i l e s c u l p t i n g m a t e r i a l s can r a r e l y be as t h i n , r i g i d or
t r a n s p a r e n t a s a model b u i l d e r might l i k e . Here i s
a n o t h e r way t o make any form you l i k e wi th t h e s i m p l e s t of
t o o l s .
4 D Mold Type 1 - For t h i s , I made a scribe out of wood
and then used i t to inc ise slabs of rolled out clay. The
sc r ibe in t h i s case was made from a computer drawn shape,
glued to a piece of wood and then cut out.
4 7 Mold Type 2 - This one was made by glueing several pieces
of i l l u s t r a t i o n board together at the edges, cutt ing than out
on a band saw, separat ing them, glueing than to a board (in
t h i s case, in a radia t ing pa t t e rn ) , and then f i l l i ng the gaps
with c lay .
4 8 Mold Type 3 - t h i s one i s jus t a block of blue insulating
styrofoam, cut free-form on a hot wire machine.
49 Plaster Mold 1 - Take the original and spray it with
cooking oil (like PAM), then surround it with a fence made of
cardboard plaster from a ceramics maker. It is actually
cheaper than the low grade stuff in hobby stores. Mix it
according to directions and, after checking for leaks in your
cardboard fence, pour it into the mold. Wait a day or two
before you remove it from the mold. However, you can carefully
remove the fence after a new hours to speed drying.
5 0 Plaster Mold 2 - After drying the first pour in the sun for
a few days, repeat the process with the cooking oil and fences,
but use pour number one as the mold. The result is a pair that
fit together quite well.
51 Baking - After drying both molds in the sun for a few days,
they will become lighter and it will be easy to tell that they
are dry. Now, cut out a piece of clear vinyl about the same
size as the mold. Vinyl works far better than acetate or
plexiglass and I have concluded that 10 or 20 mil is the best
thickness. Heat your oven to 375°. Place the vinyl in between
the two molds and slide into the oven. After about five
minutes, take it out to make sure they are correctly aligned.
Then put it back in the oven with a brick on top to press the
two together. After 15 minutes have past, check to see if the
molds have come together. If not, more time or more bricks
will be needed. When it looks like the two molds have met,
turn off the oven and leave it in to cool off gradually. If
you do this often, you can get a sense of how to work
semi-cooled vinyl with your hands.
5 2 The final result is a piece that can be cut, painted, or
sanded to fit. If you want lines on it, it is best to apply
them with a rapidiograph before baking.
CONCLUSIONS
Thesis was a learning experience, much more than a
demonstration of what I knew. I could have made it a much
easier task in many ways, but all things considered, I'm
glad that I did what I thought was best. Of course, I
made many mistakes, but that is how one learns.
One thing I would have done differently is that I
wish I had made a comprehensive site model at the very
beginning. It would have been an invaluable tool in
design using study models. Another would be that my
indecisiveness really hurt me time-wise. I wish that I
had stuck to my schedule better.
Time management was an immense problem for me.
Having been employed as a draftsman for years, it was no
problem to estimate time required for drawing, but model
building is totally different, each project being unique-
How can one accurately estimate how long it will take to
paint spaghetti. Drying times were totally unknown and
could vary from seconds to hours in what seemed to be
similar circumstances. This is one of my highest
priorities to get a handle on in the future.
L