Figures

1.1 Drama Theater Forms

1.2 Fichandler Theatre, Arena Stage, Washington, DC

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

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

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

1.6 Studzinski Recital Hall, Bowdoin College, Brunswick, Maine

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

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

1.9 Oslo Opera House, Oslo, Norway

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

1.11 Overture Hall, Overture Center, Madison, Wisconsin

1.12 Dolby Theatre (Formerly Kodak Theatre), Hollywood, California

2.1 Primary Contractual Relationships

2.2 Simple Owner Structure

2.3 Owner with Program Manager

2.4 Core Design Team Working for the Architect

2.5 Core Design Team Working for the Owner

3.1 Comparison of Project Phases

3.2 Opportunity for Savings Versus Design Fees Spent

4.1 Design-Bid-Build

4.2 Design-Bid-Build Versus Fast Track

4.3 Multiple Prime Contracts

4.4 Design-Build

4.5 Agency Construction Manager

4.6 Construction Manager at Risk

4.7 Integrated Project Delivery

5.1 Needs Assessment Example: Overture Center, Madison, Wisconsin

5.2 Area Definitions for Performing Arts Buildings

6.1 Options for 400-Seat Theater Form

6.2 400-Seat Theater Footprint and Volume Study in Broadway Form

6.3 400-Seat Theater Conceptual Diagram

6.4 400-Seat Theater Plan and Section Drawings

6.5 400-Seat Theater Geometry Study

6.6 400-Seat Theater Material and Finish Study

6.7 Completed 400-Seat Theater

6.8 Site Plan Showing Context

6.9 Conceptual Site Plan

6.10 Functional Site Diagram

6.11 Site Plan

6.12 Block Model

6.13 Site Rendering

6.14 Site Rendering

6.15 Site Model

6.16 Site Rendering

6.17 Completed Building

6.18 Planning Diagrams

6.19 Planning Diagrams

6.20 Floor Plans

6.21 Plan and Section Diagrams

6.22 Lobby Rendering—Schematic Design

6.23 Lobby Rendering—Design Development

6.24 Completed Lobby

6.25 Crossover Material and Finish Study

6.26 Crossover Material and Finish Study

6.27 Completed Crossover

9.1 Golden Rectangle

9.2 Stage Plan and Transverse Section

9.3 Acting Area (after Burris-Meyer and Cole)

9.4 Scenery Area (after Burris-Meyer and Cole)

9.5 Circulation and Work Area (after Burris-Meyer and Cole)

9.6 Percentage of Audience with Full View of Backdrop

9.7 Proscenium Widths of Broadway Theaters

9.8 Modern Dance Footprint

9.9 Classical Dance Footprint

9.10 Opera Houses with Dates of Opening and Most Recent Stage Expansion

10.1 Forestage Zone

10.2 Orchestra Pit Geometry and Sightlines

10.3 Orchestra Pit Configurations

11.1 Thrust Stages

11.2 Open Stages

11.3 Arena Stages

11.4 Recital Halls

11.5 Concert Halls

11.6 Orchestra Accommodation in Proscenium Theaters

12.1 Seated Spectator

12.2 Horizontal Sightlines

12.3 Vertical Sightlines

12.4 Constant Rise Sightlines

12.5 Isacoustic (Isodomal) Rise Sightlines

12.6 First and Second Row Vision

12.7 Three Approaches to Chair Layout

12.8 Effect of v and h Values

12.9 Venues Without Balconies

12.10 Crossaisle Sightlines

12.11 Oblique Sightlines

12.12 Playhouses with Balconies

12.13 Concert Halls and Opera Houses

12.14 Multipurpose Theaters

13.1 Fixed Auditorium Chairs and Wheelchair Spaces

13.2 Fixed Auditorium Chairs on (a) Steep Slope and (b) Shallow Slope

13.3 Catchment Area Example (after NFPA)

13.4 Catchment Area Example with Crossaisle

14.1 Typical Seating Density in (a) Early Twentieth Century Auditorium and (b) Early Twenty-First Century Auditorium

14.2 Globe Theatre, London

14.3 Corral de Comedias, Almagro, Spain

14.4 Symphony Hall, Boston

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

14.6 Philharmonic Hall, Szczecin, Poland

14.7 Teatro Argentina, Rome

14.8 Paris Opéra (Palais Garnier), Paris

14.9 Teatro Colon, Buenos Aires, Argentina

14.10 Ford’s Theatre, Washington, DC

14.11 Auditorium Theater, Chicago

14.12 Lyceum Theater, New York

14.13 Detail of a Medieval Scaffold Stage

14.14 Theater of Epidaurus, Greece

14.15 Roman Theater at Aspendos, Pamphylia (Modern Turkey)

14.16 Teatro Farnese, Parma, Italy

14.17 Fichandler Theater, Arena Stage, Washington, DC

14.18 Berliner Philharmonie, Berlin

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

14.20 Bayreuth Festspielhaus, Bayreuth, Germany

14.21 Well’s Theatre, Norfolk, Virginia

14.22 Shubert Theater, New Haven, Connecticut

14.23 Malmö Opera (Formerly Malmö Stadsteater), Malmö, Sweden

14.24 Marion Oliver McCaw Hall, Seattle, Washington

14.25 Five Approaches to Side Wall Architecture

14.26 Overture Hall, Overture Center, Madison, Wisconsin

14.27 Radio City Music Hall, New York

15.1 Control Rooms at Rear of Main Seating Level

15.2 Control Room Sightlines

15.3 Sound Cockpit Lift and Wagon Arrangement

15.4 Followspot Room Sightlines

15.5 Front-of-House Catwalk Study

15.6 Front-of-House Lighting Provisions

16.1 Standard Body Ellipse

16.2 Standard Body Ellipse in 10-Square-Foot Area (Typical Lobby Benchmark)

16.3 Lobby Density Expressed as Net Square Feet per Seat