[Usittne] Help on new spaces

[Robert W. Wolff]

This is a reply from someone with just under 40 years of design and
consultation on theatre projects on 3 continents.  I have inserted some
comments in CAPS SO THEY CAN BE IDENTIFIED IN THE TEXT.  I am not shouting.
Bob Wolff
802 728 7071


----- Original Message ----- 
From: "Dirks, Arthur" <ADIRKS at bridgew.edu>
To: <USITTNE at mit.edu>
Sent: Monday, March 01, 2004 1:27 PM
Subject: [Usittne] Help on new spaces


> Greetings. We've been teased with an architectural planner for a new
> arts building on campus. I need to get some optimal requirements to him
> and need a little help deciding what we want.

I RESPECTFULLY SUGGEST THAT THE STATE COLLEGE IMMEDIATELY RETAIN AN
EXPERIENCED THEATRE AND ACOUSTICS CONSULTANT TO ASSIST YOUR FACULTY IN
RESPONDING TO THE SITUATION IN WHICH YOU FIND YOURSELVES.  CREATING "SPECS"
FOR THE THEATRE SPACES IS NOT THE FIRST TASK TO BE DONE.

THIS CONSULTANT/DESIGNER SHOULD FIRST WORK WITH THE FACULTY AND COLLEGE
ADMINISTRATION TO DEVELOP A COMPLETE PRE-ARCHITECTURAL PROGRAM FOR THE
FACILITY AND THEN WORK WITH COLLEGE PEOPLE AND THE ARCHITECT/ENGINEERS
SELECTED TO FURTHER DEVELOP THE PROJECT THROUGH AND BEYOND OPENING.

A PRE-ARCHITECTURAL PROGRAM IS COMPRISED OF A;

---LIST OF ACTIVITIES & FUNCTIONS TO BE ACCOMMODATED,
---STATEMENT ON STAGE CRAFT PHILOSOPHY,
---STATEMENT ON THEATRE QUALITY,
---STATEMENT ON ARCHITECTURAL QUALITY,
---LIST OF PRIMARY FEATURES OF THE THEATRES,
---ANNOTATED LIST OF SPACES,
---LIST OF THEATRE AND ACOUSTICS EQUIPMENT.

LOOKING AT PICTURES OF THEATRES AND VISITING THEATRES IS NO SUBSTITUTE FOR
AN EFFECTIVE RELATIONSHIP OF THEATRE/ACOUSTICS CONSULTANT, FACULTY AND
ARCHITECT/ENGINEERS.



We need two performing
> spaces:
>
> -a 300-400 seat traditional hall, ideally convertible between proscenium
> and somewhat thrust (more than just extended apron).
> -a black box that will seat 200 in half the space.
>
> I have the following questions:
>
> -Where is there a prosc/thrust hall of comparable size that works well?

A LIST OF SPACES SHOULD BE DEVELOPED BETWEEN THE CONSULTANT AND THE FACULTY
AFTER A BIT OF WORK HAS BEEN DONE DURING WHICH THE PARTIES CAN UNDERSTAND
SOMETHING OF THE MISSION OF THE PARTICULAR FACULTY, THE THEATRE PROGRAM,
ETC.

> -Where is there a really good working black box of comparable size?

SELECTION OF THE RIGHT SPACE FOR ARCHITECT AND OTHERS TO VISIT SHOULD HAPPEN
AFTER THE FACULTY AND CONSULTANT HAVE PREPARED SOME TEXT ABOUT THE
PHILOSOPHY AND OPERATION OF THE THEATRE THEY WANT TO BUILD.  ONLY THEN COULD
THE RIGHT EXISTING "THEATRE MODEL" BE SELECTED.

AND, IT IS POSSIBLE THAT THE THEATRE THE FACULTY WISHES TO DEVELOP HAS NO
PRECIDENT IN NEW ENGLAND OR EVEN ON THE GLOBE.  THAT SHOULD NOT MEAN THAT
THIS FACULTY WOULD NOT BE ABLE TO DEVELOP A WONDERFUL THEATRE SPACE WITH A
GOOD CONSULTANT.
>
> Location could be anywhere in US, but preferably in the NY-New England
> region.
>
> -What good advice does anyone have for us as we start rough-specking our
> spaces?

DO NOT SPEC YOUR SPACES WITHOUT A CONSULTANT WHO KNOWS WHICH QUESTIONS TO
ASK AND HOW TO ADVISE YOU IN NOT ONLY THE SPECS OF THE SPACES BUT IN THE
VERY PROCESS IN WHICH YOU ARE ENGAGED.  FACT IS, IT IS MISTAKES IN THE
PROCESS (WHICH THE FACULTY MAY NOW BE TOTALLY UNFAMILIAR) THAT TRIP UP
PEOPLE WHEN THEY DEVELOP THEATRE SPACES.   WHEN THE RIGHT PEOPLE ARE BROUGHT
TOGETHER TO WORK ON THE PROJECT AND THE PROCESS IS PROPERLY DEFINED FOR THE
USER/OWNER, THINGS LIKE "SPACE SPECS" ARE THE SIMPLE PART OF THE EFFORT.

Things to avoid absolutely?   1) BEGINNING THE PROJECT WITHOUT THEATRE AND
ACOUSTICS CONSULTANT, 2) BEGINNING THE PROJECT WITH THE WRONG AMOUNT OF
FUNDING FOR THE PROJECT ENVISIONED, AND 3) BEING AN UNINVOLVED CLIENT.  I
WROTE AN ARTICLE ON THIS TOPIC, WHICH I WILL SEND TO YOU UPON REQUEST.

[Certainly I am working to get a consultant, but at this phase it's not an
option.]  AS YOU CAN TELL ALREADY, I THINK YOU CANNOT AFFORD NOT TO HAVE A
CONSULTANT AT THIS ALL-IMPORTANT PHASE.  THIS PHRASE, "...BUT AT THIS PHASE
IT'S NOT AN OPTION."  IS THE MOST DANGEROUS THING YOU HAVE SAID IN YOUR
E-MAIL.  I CAN ASSURE YOU THAT THERE IS A WAY TO GET A GOOD CONSULTANT AND
GET THEM STARTED.  IT IS A MATTER OF MAKING SURE THAT THE PERSON AT THE
COLLEGE WHO MIGHT CURRENTLY TURN DOWN THE FEES FOR SUCH A CONSULTANT KNOWS
HOW DANGEROUS THIS IS FOR THE PROJECT.

THE FIRST 3 DECISIONS MADE BY A TEAM LIKE YOURS ARE THE MOST IMPORTANT.  TO
MAKE THOSE DECISIONS WITHOUT YOUR GUIDE TO THE PROCESS IS GOING TO
SIGNIFICANTLY REDUCE YOUR FACULTY'S CHANCE OF GETTING THEATRES WITH WHICH
YOU WILL BE HAPPY AFTER THEY ARE BUILT.  I HAVE HELPED MANY PROJECT TEAMS
MAKE THE RIGHT DECISIONS EARLY IN THEIR PROJECTS, WHICH THEN ALLOWED THEM TO
MAKE THE RIGHT DECISIONS RIGHT THROUGH TO OPENING DAY.

YOU WILL PAY PENNIES FOR A CONSULTANT NOW.  AFTER THE FACULTY GOES DOWN THE
TRAIL WITHOUT A CONSULTANT, THE PROJECT WILL COST MORE AND THE REMAINDER OF
THE PROJECT TEAM WILL HAVE TO SPEND MUCH MORE TIME DEVELOPING THE PROJECT IF
A CONSULTANT STARTS WORK AFTER THE PROJECT IS  BEGUN.


>
> -What books or other resources would people point me to (besides
> Izenour's 1977 book)?

THE TEAM WILL BE READY TO LOOK AT BOOKS AFTER THE CONSULTANT IS ON BOARD AND
SEVERAL KEY DECISIONS HAVE BEEN MADE.  THEN THE TEAM, INCLUDING THE
CONSULTANT WILL LOOK AT THE BOOKS AND TALK ABOUT THEM TOGETHER, BUILDING A
COMMON LANGUAGE THAT WILL BE USED THROUGHOUT THE PROJECT.

IF THERE IS SOME WAY I CAN HELP YOU FURTHER, PLEASE LET ME KNOW.

CHEERS,
BOB WOLFF
802 728 7071

> Thanks for any help.
>
> Arthur Dirks
> Chairperson, Designer/Faculty TD
> Bridgewater State College Theater
> mailto:adirks at bridgew.edu
>
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