Theater Planning
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Theater Planning : Facilities for Performing Arts and Live Entertainment

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Description

This book introduces theater planning to students and practitioners of each field, and provides a detailed guide to the process and the technical requirements particular to theater buildings. Part I is a guide to the concepts and practices of architecture and construction, as applied to performing arts buildings. Part II is a guide to the design of performing arts buildings, with detailed descriptions of the unique requirements of these buildings. Each concept is illustrated with line drawings and examples from the author's extensive professional practice.
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Product details

  • Paperback | 332 pages
  • 191 x 235 x 20.32mm | 726g
  • ROUTLEDGE
  • London, United Kingdom
  • English
  • 79 Line drawings, black and white; 49 Halftones, black and white; 18 Tables, black and white; 128 Illustrations, black and white
  • 1138888982
  • 9781138888982
  • 1,636,124

Table of contents

Table of Contents





Part I Context and process


1 Theater buildings


2 Project roles


3 Project phases


4 Project delivery methods


5 Pre-design process


6 Design process


7 Building regulations


8 Project budgets





Part II Planning


9 Proscenium stages


10 Forestage zone


11 Other stage forms


12 Audience sightlines


13 Audience seating


14 Auditorium design


15 Technical elements


16 Public spaces


17 Back-of-house spaces








List of Figures





Chapter 1


Figure 1.1 Drama theater forms


Figure 1.2 Fichandler Theatre, Arena Stage, Washington, DC


Figure 1.3 Ruth Caplin Theatre, University of Virginia, Charlottesville, Virginia


Figure 1.4 Studio, Tempe Center for the Arts, Tempe, Arizona


Figure 1.5 Kay Theatre, Clarice Smith Performing Arts Center, College Park, Maryland


Figure 1.6 Studzinski Recital Hall, Bowdoin College, Brunswick, Maine


Figure 1.7 Laura Turner Concert Hall, Schermerhorn Symphony Center, Nashville, Tennessee


Figure 1.8 Helzberg Concert Hall, Kauffman Center for the Performing Arts, Kansas City, Missouri


Figure 1.9 Oslo Opera House, Oslo, Norway


Figure 1.10 Dance Theatre, Clarice Smith Performing Arts Center, College Park, Maryland


Figure 1.11 Overture Hall, Overture Center, Madison, Wisconsin


Figure 1.12 Dolby Theatre (formerly Kodak Theatre), Hollywood, California





Chapter 2


Figure 2.1 Primary contractual relationships


Figure 2.2 Simple owner structure


Figure 2.3 Owner with program manager


Figure 2.4 Core design team working for the architect


Figure 2.5 Core design team working for owner





Chapter 3


Figure 3.1 Comparison of project phases


Figure 3.2 Opportunity for savings versus design fees spent





Chapter 4


Figure 4.1 Design-bid-build


Figure 4.2 Design-bid-build versus fast track


Figure 4.3 Multiple prime contracts


Figure 4.4 Design-build


Figure 4.5 Agency construction manager


Figure 4.6 Construction manager at risk


Figure 4.7 Integrated project delivery





Chapter 5


Figure 5.1 Needs assessment example: Overture Center, Madison, Wisconsin


Figure 5.2 Area definitions for performing arts buildings





Chapter 6


Figure 6.1 Options for 400-seat theater form


Figure 6.2 400-seat theater footprint and volume study in Broadway form


Figure 6.3 400-seat theater conceptual diagram


Figure 6.4 400-seat theater plan and section drawings


Figure 6.5 400-seat theater geometry study


Figure 6.6 400-seat theater material and finish study


Figure 6.7 Completed 400-seat theater


Figure 6.8 Site plan showing context


Figure 6.9 Conceptual site plan


Figure 6.10 Functional site diagram


Figure 6.11 Site plan


Figure 6.12 Block model


Figure 6.13 Site rendering


Figure 6.14 Site rendering


Figure 6.15 Site model


Figure 6.16 Site rendering


Figure 6.17 Completed building


Figure 6.18 Planning diagrams


Figure 6.19 Planning diagrams


Figure 6.20 Floor plans


Figure 6.21 Plan and section diagrams


Figure 6.22 Lobby rendering-schematic design


Figure 6.23 Lobby rendering-design development


Figure 6.24 Completed lobby


Figure 6.25 Crossover material and finish studies


Figure 6.26 Completed crossover





Chapter 9


Figure 9.1 Golden rectangle


Figure 9.2 Stage plan and transverse section


Figure 9.3 Acting area (after Burris-Meyer and Cole)


Figure 9.4 Scenery area (after Burris-Meyer and Cole)


Figure 9.5 Circulation and work area (after Burris-Meyer and Cole)


Figure 9.6 Percentage of audience with full view of backdrop


Figure 9.7 Proscenium widths of Broadway theaters


Figure 9.8 Modern dance footprint


Figure 9.9 Classical dance footprint


Figure 9.10 Opera house stages





Chapter 10


Figure 10.1 Forestage zone


Figure 10.2 Orchestra pit geometry and sightlines


Figure 10.3 Orchestra pit configurations





Chapter 11


Figure 11.1 Thrust stages


Figure 11.2 Open stages


Figure 11.3 Arena stages


Figure 11.4 Recital halls


Figure 11.5 Concert halls


Figure 11.6 Orchestra accommodation in proscenium theaters





Chapter 12


Figure 12.1 Seated spectator


Figure 12.2 Horizontal sightlines


Figure 12.3 Vertical sightlines


Figure 12.4 Constant rise sightlines


Figure 12.5 Isacoustic (isodomal) rise sightlines


Figure 12.6 First and second row vision


Figure 12.7 Three approaches to chair layout


Figure 12.8 Effect of v and h values


Figure 12.9 Venues without balconies


Figure 12.10 Crossaisle sightlines


Figure 12.11 Oblique sightlines


Figure 12.12 Playhouses with balconies


Figure 12.13 Concert halls and opera houses


Figure 12.14 Multipurpose theaters





Chapter 13


Figure 13.1 Fixed auditorium chairs and wheelchairs spaces


Figure 13.2 Fixed auditorium chairs on (a) shallow slope and (b) steep slope


Figure 13.3 Catchment area example (after NFPA)


Figure 13.4 Catchment area example with crossaisle





Chapter 14


Figure 14.1 Typical seating density in (a) early twentieth century auditorium and (b) early twenty-first century auditorium


Figure 14.2 Globe Theatre, London


Figure 14.3 Corral de Comedias, Almagro, Spain


Figure 14.4 Symphony Hall, Boston


Figure 14.5 Laura Turner Concert Hall, Schermerhorn Symphony Center, Nashville, Tennessee


Figure 14.6 Philharmonic Hall, Szczecin, Poland


Figure 14.7 Teatro Argentina, Rome


Figure 14.8 Paris Opera (Palais Garnier), Paris


Figure 14.9 Teatro Colon, Buenos Aires, Argentina


Figure 14.10 Ford's Theater, Washington, DC


Figure 14.11 Auditorium Theatre, Chicago


Figure 14.12 Lyceum Theatre, New York


Figure 14.13 Detail of a Medieval scaffold stage


Figure 14.14 Theater of Epidaurus, Greece


Figure 14.15 Roman theater at Aspendos, Pamphylia, (modern Turkey)


Figure 14.16 Teatro Farnese, Parma, Italy


Figure 14.17 Fichandler Theatre, Arena Stage, Washington, DC


Figure 14.18 Berliner Philharmonie, Berlin


Figure 14.19 Helzberg Concert Hall, Kauffman Center for the Performing Arts, Kansas City, Missouri


Figure 14.20 Bayreuth Festspielhaus, Bayreuth, Germany


Figure 14.21 Well's Theatre, Norfolk, Virginia


Figure 14.22 Shubert Theatre, New Haven, Connecticut


Figure 14.23 Malmoe Opera (formerly Malmoe Stadsteater), Malmoe, Sweden


Figure 14.24 Marion Oliver McCaw Hall, Seattle, Washington


Figure 14.25 Five approaches to side wall architecture


Figure 14.26 Overture Hall, Overture Center, Madison, Wisconsin


Figure 14.27 Radio City Music Hall, New York





Chapter 15


Figure 15.1 Controls rooms at rear of main seating level


Figure 15.2 Control room sightlines


Figure 15.3 Sound cockpit lift and wagon arrangement


Figure 15.4 Followspot room sightlines


Figure 15.5 Front-of-house catwalk study


Figure 15.6 Front-of-house lighting provisions





Chapter 16


Figure 16.1 Standard body ellipse


Figure 16.2 Standard body ellipse in 10-square-foot area (typical lobby benchmark)


Figure 16.3 Lobby density expressed as net square feet per seat





List of Tables





Chapter 1


Table 1.1 Typical theater forms and seat counts by performance type





Chapter 2


Table 2.1 Owner and user example: Overture Center, Madison, Wisconsin


Table 2.2 Design team example: Overture Center, Madison, Wisconsin





Chapter 3


Table 3.1 CSI MasterFormat Divisions


Table 3.2 Contract Document Drawing Volumes: Overture Center, Madison Wisconsin





Chapter 5


Table 5.1 Example space list





Chapter 7


Table 7.1 Accessibility legislation affecting the design of performance facilities





Chapter 8


Table 8.1 Typical project cost components


Table 8.2 Simplified project budget





Chapter 9


Table 9.1 Stage dimension ratios


Table 9.2 Broadway theaters


Table 9.3 Regional theaters


Table 9.4 Dance theaters


Table 9.5 Opera houses


Table 9.6 Multipurpose halls


Table 9.7 School halls





Chapter 13


Table 13.1 Required number of wheelchair spaces


Table 13.2 Minimum aisle widths per IBC 2015 in inches
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About Gene Leitermann

Gene Leitermann is co-founder of Nextstage Design, a theater design consulting firm with a national practice. He has been the lead theater designer on more than 100 buildings. A faculty member at Yale School of Drama since 1998, Gene has also lectured internationally. He has provided public testimony, code change proposals, and written commentary to the National Fire Protection Association, International Code Council, and United States Access Board. Gene is a member of the American Society of Theatre Consultants (ASTC).
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