Planning & Design Meetings 9/21/2010 - Presentation
400 Montgomery St. Suite 500 San Francisco, CA 94104 tel 415-956-4100 fax 415-840-0494
The Shalleck Collaborative Inc.
Planning and Design of Theatres and Production Systems
Palo Alto High School Performing Arts Center
Production Systems Narrative – 50% Schematic Design
September 21st, 2010
The following narrative describes our recommended approach for the technical systems related to the education
facilities for the Performing Arts Center at Palo Alto High School. With the emergence of broadly accessible media
creation, and its inherent nature of merging the arts, it becomes more necessary than ever to provide students
with the resources to experiment with the tangible and live arts foundations. The dramatist, musician and their
audiences are aided and supported by the facilities in which they work. The performers are always accompanied
by allied design and technical functions that are fields unto their own. The ultimate goal is to focus on the
architectural design, technical operation and what it takes for audiences to have rich and captivating experiences,
what it takes to inspire and support artists and theatre makers, what it takes to maintain financial viability for the
project and the working facility, and what it takes to design and build a successful arts education and performance
venue.
These recommendations are based on conversations with the architect and user group as well as assumptions
made from experience on similar projects of this type, and incorporating new directions in theatre technology.
Overview
The ~600 seat theatre will host educational functions as well as hosting both local events and professional touring
groups. Because of the wide variety of performance types that the theatre will serve (drama, amplified and un-
amplified music, Broadway, dance, lecture presentations) the technical systems will be designed to support
selective adaptation of the physical environment to suit each particular use. In a multi-purpose theatre, such as
this, it is critical to make adjustments to the audience chamber by modifying the acoustic environment (see
further details on this factor within the narratives provided by the acoustical consultant), and making physical
changes to the threshold between the stage and the audience (reference below for a description of the orchestra pit
lift and proscenium reduction system).
Stage
A stage is only partially the area seen by the audience. In order to allow for the circulation of actors out of view,
the positioning of potentially hundreds of stage lights and the mounting and manipulating of scenic elements and
stage draperies, a combination of backstage space, overhead access catwalks and rigging systems will be
employed.
A space over the stage (“stage house”) is not only clear volume but a carefully integrated system that safely and
effectively organizes the various elements it contains. Its contents include building and system-supporting steel,
rigging, access ways, mechanical, electrical and fire protection. To provide for the most utility and safety, all of
these elements are carefully coordinated to prevent obstacles to theatre operation and production design.
The assembly of the stage floor will serve the many purposes of the theatre. The floor will be resilient under foot
for dance and for the resonance of sound, yet will be firm enough so that vibration is not transmitted laterally that
would disrupt adjacent scenery. Because the top surface will take significant abuse, it will be provided as an
inexpensive, somewhat sacrificial layer of ¼” double tempered masonite screwed down and painted flat black.
This will allow individual panels to be replaced when needed. Below this layer will be two layers of plywood which
provides the necessary mass of the assembly and the material into which screws can be used for anchoring
scenery. The decking bears on 2x4 sleepers which in turn bear on firm neoprene rubber pads. The pads are
shimmed level and bear on the structural concrete slab.
A mechanical pit lift will be employed at the orchestra pit, increasing access and functionality and allowing for
additional seating as providing efficient lift mechanism to the new under stage storage area.
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The Shalleck Collaborative, Inc.
Planning and Design of Theatres and Production Systems
Fly Tower
Because much of the scenery, stage draperies and lighting are suspended overhead, they will be lifted or “flown”.
To provide for a stage where full height elements can be flown completely out of audience view, a clear volume at
least two and a half times the proscenium opening height and identical in width to the entire stage area is
required. In order to best prepare students for further academic and professional pursuits in theatre, and to
progress their experience from what they might have encountered in high school, a facility with conditions and
systems approaching a professional theatre will be provided.
A fly tower is not only volume but a carefully integrated system that safely and effectively organizes the various
elements it contains. Its contents include building and system-supporting steel, rigging, access ways, mechanical,
electrical and fire protection. To provide for the most utility and safety, all of these elements are carefully
coordinated to prevent obstacles to theatre operation and production design.
Production Rigging Systems
Counterweight Rigging System
The single most physically complicated and expansive system is the counterweight rigging system which involves
a series of pipes (“battens”) running across the stage that are suspended with aircraft cable (a “line set”) and
rigged over pulleys (“blocks”) to T-bar guided counterweight “arbors” at one side of the stage. As a pipe batten is
loaded with scenery, an equivalent quantity of counterweight in the form of steel bricks is added to an arbor, thus
balancing it and making the heavy loads easily manipulated by a manual “operating line”.
The system will include ~35 operable linesets on 9” centers, including (5) battens that are dedicated for fixed
electric battens and (3) orchestra shell ceilings, which will be driven by fixed speed power assist motors, providing
for flexibility in where items can be hung, as well as the ability to hang objects from various shows at the same
time. The system is operated on one side of the stage at the floor level and from a “fly gallery” catwalk at
approximately the proscenium height. When the pipes are being loaded at the floor level, the arbors are at the top
of the fly tower, and so loading the counterweight bricks occurs at a “loading gallery” catwalk. Steel configurations
and anticipated live loads are documented in loading criteria sketches developed by the Shalleck Collaborative.
The fly galleries will be provided with pin rails for ropeline rigging.
A proscenium fire safety curtain will be provided in compliance with the building code. This will be a “straight lift”
curtain of fire resistive material that is held in place and retraced with an electric motor hoist controlled at stage
level. Emergency “pull-pin” stations and signage will be provided.
Technical description:
· Each individual line set “truss batten” will be ~65’ long and have a live load capacity of 30#/ln.ft, or
approximately 2000# capacity. Diversity is taken for overall structural loading on the building to not
exceed 50% of the total system capacity, which incorporates an accommodation for future capacity.
· Truss battens will be suspended by six to seven lift lines at 8’-0” to 11’-0” centers. The building steel, T-
bar guides and arbor heights will allow the battens to travel from a low trim of 4’-0” above the stage to a
high trim of 2’-0” below the grid deck.
· The rigging blocks are mounted under the roof steel across the entire stage area. So that the rigging
blocks can be regularly inspected and so miscellaneous objects can be “spot” rigged with rope line, a full
working “gridiron” is provided under the roof/rigging steel. The gridiron is a load rated walking surface
typically made of open grating framed with steel purlins and channels configured to include “wells”
through which the rigging lines pass.
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The Shalleck Collaborative, Inc.
Planning and Design of Theatres and Production Systems
Proscenium Reduction System
When the theatre is used for intimate dramatic productions, often a narrower proscenium opening is desired. To
that end, a system of rigid tracked panels, integral to the proscenium arch, will be provided to close down the
proscenium opening. An architectural finish to match the fixed proscenium will be provided. The operating
proscenium range will be from 36’ to 46’ wide and the “hard” proscenium will be approximately 22’-24’ high.
Variable Acoustics Systems
The theatre will be provided with Motor operated variable acoustics draperies and tracks for the adjustment of the
reverberation for different kinds of uses within the theatre. The locations and extent of these draperies will be
determined based on criteria established by the Acoustics Consultant.
Stage Draperies- FF&E
An inventory of stage draperies will be included. These would typically include a main drape, 4-5 pairs of black
masking legs and borders, a mid and up-stage traveler, a cyc, and a scrim. All draperies would be certified
inherently flame retardant. Draperies would be attached to drapery track or tied off to battens. The main drape,
mid-stage and up-stage travellers would be manually operated with a handline off-stage.
Orchestra Pit Lift
The area of the orchestra pit represents a critical area of variable function. A means to vary the floor level of this
area allows it to be used either to transport large elements to the trap room and basement (lowest setting), as a
musicians orchestra pit (-8’ below stage level), as additional audience seating (event with the audience floor level)
and as a stage extension (highest). Any of these three functions may occur several times during a week, and so the
time and labor required for changeover is to be considered. While this system requires greater initial capital cost,
the changeovers can be done with a single operator in a matter of minutes.
By providing a simple means to extend the stage by use of a motorized lift, it will make the facility that much more
useable for dramatic plays and larger orchestras. Extended stage area in this location will also create an improved
acoustic condition for small ensembles by allowing them to play in the same environment as the audience.
A recessed orchestra pit is required to have wheelchair accessibility and two means of egress. An orchestra pit
would be provided with an electro-mechanical lift (these systems are no longer hydraulic). To accommodate the
lift mechanics, a machine pit would be excavated to an elevation 5’ below the lowest stop.
Production Lighting Systems
Production Lighting Control
The understanding of the manipulation of light is key to understanding the manipulation of a mood of a scene. To
provide for a system that will allow student experimentation, a complete control system consists of a control
console, control electronics, dimmers and circuit outlet boxes (“distribution”).
The computer control console is the user interface for programming cues. These consoles allow for channel
patching, programmable cues and advanced control for lighting effects such as color changers and moving lights,
it would interface with the sound system and would include peripherals such as a video monitor, handheld focus
remote, and output via Ethernet and/or DMX protocol.
A data network would provide the means to run effects as well as providing control integration of the house lights.
Lighting control data output and constant power will be provided at all lighting positions for advanced lighting
effects such as color scrollers and moving lights. House light control would be both at the console and with simple
wall stations. Simple presentations or concerts could be run though use of presets controlled at the wall stations
without the use of the console.
The system would include all of the control elements described above and the following approximate quantities of
20A, 2.4kw dimmers for the following purposes:
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The Shalleck Collaborative, Inc.
Planning and Design of Theatres and Production Systems
(366) dimmers for production
(18) dimmers for concert lighting (800 s Rise Tim e)
(24) dimmers for house lighting
(408) dimmers total
Dimmers are housed in (4) installation racks of (96) dimmers each, plus (1) partial rack with (24) dimmers, and
located within an electrical room located remotely from the stage to provide acoustical isolation between the racks
and the performance. In addition a relay control panel will be provided for work light and rehearsal light control
from the control console or wall stations.
Circuit distribution would entail wiring in conduit from the dimmers to 3-pin wiring devices strategically placed at
the lighting positions. The wiring device types will vary depending upon the specific lighting position. Pigtail or
flush receptacle boxes and connector strips will be used for catwalk and box boom positions.
For the major overhead lighting positions on stage, motorized battens will be used. To distribute lighting circuits
on these moving battens, several pipes will be designated as “fixed electrics”. The “fixed electrics” contain
permanently attached theatrical lighting connector strips (receptacles) with cable management assemblies
permanently installed.
The orchestra shell ceiling panels (described below) will include permanent concert lighting fixtures that will be
circuited to dedicated dimmers within the lighting control system. They will be controllable through the control
console and through simple preset panels so a concert can take place without a lighting board operator present.
The shell ceiling control circuiting will include a safety tilt sensor so that the lights will not be operable when the
ceiling is in storage. For further flexibility, the orchestra shell circuits will be run through a “circuit interrupt”
panel at the fly gallery, so these circuits can be used in conjunction with the rest of the production lighting circuits
when not in use for the concert lighting.
Production Lighting Fixtures and Cable
An inventory of theatrical lighting fixtures (typically ellipsoidal, pars and cyc lights) plus stage extension cable and
accessories would be provided. We would recommend using industry standard 2-pin + ground (“theatrical stage
pin”) plugs throughout. Two portable followspots would be provided. Advanced devices such as color changers
or moving lights are not included; however these items may be rented or purchased on an as needed basis to allow
students’ access to the most commonly used fixtures used in the profession.
Architectural Lighting.
Control of architectural lighting in the audience chamber stage and adjacent technical and circulation areas, such
as catwalks and vestibules, will be controlled by the production lighting control system. Architectural lighting in
the audience chamber (designed by others) will be in two separate systems. There will be a dimmable system of
low level (~12fc) incandescent house lighting for performance use, and a system of non-dimmable, brighter (~30-
40fc), more efficient fluorescent task lighting for day to day use, rehearsals, maintenance and cleaning or for non
performance events where brighter light may be required, such as test taking or assemblies.
Production Power
One 400A, 3-phase, 120/208VAC and two 100A, 3-phase 120/208VAC “company switch” power outlets will
provide a generic power source to miscellaneous temporary systems. The 400A company switch will be at stage
level and will be a purpose built device including a breaker, indicator lights, an industry standard “Camlok”
connection panel with double neutrals and a protected connection chamber with lugs for “tails”. A “cam-lock”
connector will mate with that of a portable distribution panel that will provide power outlets of the various kinds
typically used in theatre. The 100A switches will be at the catwalk and gridiron level and will have “pin and
sleeve” connectors.
In addition to the company switches, various 20A and 30A single and 3-pahse power sources will be located
throughout the technical areas for use with winches, followspots, moving lights and other large power drawing
equipment
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The Shalleck Collaborative, Inc.
Planning and Design of Theatres and Production Systems
Wiring Infrastructure
A well designed wiring infrastructure is key to the success of the AV and Lighting Control Networks. To that end,
a series of cable paths for portable or temporary cable will be provided to interconnect intermediate spaces within
each larger space, as well as paths for connecting larger spaces together. This will be accomplished with cable
trays, fire-rated cable pass-thru's, and large conduits as appropriate.
Orchestra Shell – FF&E
The acoustic performance and configuration parameters of the orchestra shell will be determined based on criteria
established by the Acoustics Consultant.
So that the volume of the stage and fly tower does not present an acoustical sink when the stage is used for un-
amplified music, an “orchestra shell” is provided to correctly shape the acoustical envelope. Two or three
orchestra shell ceilings hang from the rigging system and are paired with portable wall “towers”, effectively cutting
off the upper and side volume of the fly tower and coupling the performance area with the volume of the audience
chamber.
The ceiling units of the orchestra shell will be attached to motorized rigging battens that raise out of view after the
ceilings are manually rotated to a vertical storage position. The towers provide 10’-12’ of width each when
deployed and are configured with side wings that act as stage entry doors and reduce the towers’ width for storage.
Each tower wall includes a counterweighted base that rolls and nests with the others to limit the storage space
required. The towers will be stored off the stage proper in a dedicated area.
The design concept is based on the Wenger Corporation “Diva” shell. This is a high quality shell that allows for
some customization.
Fixed Theatre Seating
Fixed theatre seating will be provided in the theatre. Seats would have upholstered and padded seats and backs,
and the seats will “self-rise” when unoccupied providing required passing width. Tablet arms are not being
provided. Seats would comply with all prevailing fire safety requirements.
The seating area in this space is required to have six to seven spaces for wheelchairs, each with a companion seat.
Loose or “readily removable” chairs can be placed in the wheelchair positions and used if the wheelchairs are not
present. In addition, 1% of the seating must be equipped with lift-up or swing-out armrests to provide “transfer”
seating, and another 1% of the seating must have 24” of clear leg space in front of them for “semi-ambulant”
seating. If the student/audience base includes a higher-than-average constituency of mobility-impaired members,
it should be brought to the attention of the design team so further accommodations beyond code can be
incorporated.
Approximately 600 seats will be provided, including ADA-compliant wheelchair seats.
AV Systems
Audio System
A well-designed audio reinforcement system is key to the enjoyment of theatrical events, and will allow students
the opportunity to learn fundamental audio principals on a professional-grade system. A sound reinforcement
system consists of loudspeakers, amplifiers, signal processing, a mixing console, and source equipment, such as
microphones, CD players, computers, etc. For flexibility, a left/right loudspeaker system with possible addition of
a center cluster will be designed for the main system, with a multi-channel surround loudspeaker system covering
the house. The surround system may be used for theatrical or cinematic presentations. A subwoofer will also be
installed for low-frequency content, as well as delay and fill loudspeakers for locations where the main system
cannot adequately reach.
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The Shalleck Collaborative, Inc.
Planning and Design of Theatres and Production Systems
The mixing console will have 48+ inputs, and will be capable of handling large events, such as musicals or
concerts. A computer-based multi-channel sound effects playback system will be provided to allow students to
learn how to create multi-channel sound effects on a simple and widely-used platform.
For simple events not requiring an operator, an automixing system will be provided. This will allow a user to plug
in a microphone and have a working system without assistance from an AV technician.
Two channels of wireless microphones will be provided, and will include both handheld and lavalier-style
transmitters. A separate eight-channel portable wireless mic system will be provided for use during musical
theatre presentations.
A separate cinema loudspeaker system will not be provided. Cinematic presentations will utilize the
reinforcement & effects Left/Center/Right/Sub and Surround loudspeaker system described above.
Additionally, a network of audio lines and integrated patchbay will be provided.
Recording
A system for making simple DVD and/or CD recordings of live presentations for archival purposes will be
provided. Mic positions will be located throughout the facility.
Intercom
A four-channel wired production intercom system will be provided for technical communications between the
control room, AV rack rooms, other production spaces, and the backstage areas. Additionally, a single-channel
wireless intercom system with four beltpack transceivers will be provided.
Program Audio
Audio program from the theatre will be distributed to backstage support spaces, such as dressing rooms, offices
and (future) shop areas, as well as areas that may be used for overflow dressing rooms, such as the drama
classroom and (future) band and (future) choral room.
Production Video
A production video system consists of a 1080p HD video projector, video switcher and source equipment, such as
Blu-Ray, DVD & VHS players, computer and camera. The video switcher will be located in the control booth, and
will accept any video signal. The standard-use video projection will be front projection with a single DLP (Digital
Light Projection) projector.
Film projection is not included in permanent equipment or room accommodations. The Control Booth is
therefore not currently envisioned as a “projection room” as defined by code.
Computer video inputs will be provided on stage to allow for PowerPoint-style presentations from portable
laptops.
A modulated TV system, similar to cable-TV will be provided, allowing for distribution of on-stage video to
backstage and support spaces, such as dressing rooms, offices and shop areas.
Additionally, a network of video lines and integrated patchbay will be provided.
Projection Screen
The projection screen will be a truss frame style, and will be suspended above the stage area on a rigging batten.
The screen will be sized appropriately to allow audience members or students at the back of the theatre to read
text and spreadsheet content.
Control System
A touchscreen control system will be provided to allow for control over the AV system. The touchscreen will be
simple in it’s programming, and allow access to the most typically-used presets only. Touchscreens will be located
in the booth and on-stage at the AV rack.
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The Shalleck Collaborative, Inc.
Planning and Design of Theatres and Production Systems
Assistive Listening System
As required by the building code and the ADA (Americans with Disabilities Act), compliant assistive listening
systems will be provided for 4% of audience seating capacity. Receivers would be checked out in the lobby, and
signage provided. Use of this system will require little or no input from the patron.
Portable Equipment
A complement of portable equipment, including cables, microphones, stands, portable loudspeakers, and other
related items will be provided.
Production Power (AV)
One 100A, 3-phase, 120/208VAC “company switch” power outlet will provide a generic power source to
temporary AV systems. A “pin and sleeve” connector will mate with that of a portable distribution panel that will
provide breakered power outlets of the various kinds typically used in theatre.
END OF REPORT