HUNTER THEATRE of PERFORMING ARTS
Maryville University Capstone 2020
TABLE OF CONTENTS
01
.........
LOCATION
02
.........
RESEARCH
03
.........
PROGRAMMING
04
.........
CONCEPT
05
.........
PLANS
06
.........
DETAIL DRAWINGS
07
.........
FF&E
08
.........
PERSPECTIVES
01
LOCATION
Location:
342 Hanover St Boston, MA 02113
• Neighborhood: North End • “Little Italy” • The oldest neighborhood in Boston • Freedom Trail and Paul Revere’s House are major tourist attractions • Population of 10,000 out of Boston’s 685,000 • Community-oriented with many feasts and festivals throughout the year • Architecture: Post-Medieval, Italianate, Georgian • Boston is America’s third most walkable city, North End is Boston’s second most walkable neighborhood
02
RESEARCH
The first discovery I made when I began research was that there are multiple types of theatres. The two primary types are the production theatre and the presenting theatre. A production theatre has a theatre company that exclusively occupies the building, producing a handful of shows every year. All of the set building, costume design, rehearsals, and every other task needed to create a play or musical is done on site. A presenting theatre hires a touring theatre company to perform an agreed upon number of shows, and then move on to the next city on their tour. I’ll use a the production model for this project. There are also multiple types of stages. Three common types are the thrust stage, the arena stage, and the proscenium stage, as illustrated below. My project will use a proscenium stage.
thrust stage
arena stage
The following image shows some of the many elements of the stage. • Proscenium arch - architectural element that frames the stage • Apron - usually extends about five feet in front of the proscenium • Orchestra pit • Curtains > house curtain > safety curtain > proscenium curtains > masking curtains > drops/cycloramas > fire curtains
proscenium stage
Stage-related spaces: • Quick change, just off the stage > two make-up positions > hanging rails • Properties room > storage room for use during performances > sink w/hot and cold water • Space for lighting and sound equipment • Prompt table > stage manager sits here during performances > red & green cue lights > phone to front of house areas > PA to the foyer, auditorium, and back of house areas > silent fire alarm > controls for the safety curtain and smoke doors
Spaces for actors, singers, & dancers: • Dressing rooms • Green room with kitchen (12 sqft/person) • Wardrobe (close to dressing rooms) • Pre-performance practice room (singers) (50 sqft) • Pre-performance dance studio • Restrooms
Spaces for musicians: • Changing rooms (at least two) • Instrument storage • Common room (250 sqft) • Conductor’s office
Support Facilities: • Vestibule • Box office • Coat room • Creche • First-aid room • Foyer/lobby • Performance area in lobby • Auditorium lobbies • Bar
• Carpentry • Prop Department • Storage • Loading bay (zero clearance floor) • Maintenance closets • Security control room • Rehearsal rooms > size of the stage plus 7’ on three sides and 10’ on one long side > 12’-15’ ceiling height
• Bar storage • Kitchen • Gift kiosk/shop • Offices • Workshops
Operational Roles: • Chief Executive • Marketing Manager • Development Manager • Finance and Administration Staff • Education and Outreach Staff • House Manager • Duty Manager • Box Office Staff • Ushers and Bar Staff • Producer • Artistic Director • Director • Musical Director
• Designers • Stage Manager • Deputy Stage Manager • Assistant Stage Manager • Company Manager • Production Manager • Technical Manager • Operators • Flymen and Mechanists • Orchestra • Dancers, Actors, Singers • Choreographer
Orchestra Pit: • Provide sufficient space per musician in the orchestra pit > 12 sqft per player > 18 sqft for piano > 33 sqft for typani & percussion > 14 sqft for the conductor • The conductor’s eye level must not be lower than stage level when seated on a high stool • Use area under stage overhang to provide cubic volume to control loudness in the orchestra pit (>8 foot overhang) • Reversible panels can be used to vary absorption in the orchestra pit. > One side should be sound absorbing (such as one-half inch thick glassfiberboard) > The other side should be sound reflecting (such as hardboard or thick plywood) > Use absorptive side to control the level of sound near loud instruments without diminishing sound from other instruments. • The upstage wall of the orchestra pit should be sloped to reflect sound back toward the stage. • The removable pit rail should be solid to reflect sound back toward the stage.
Auditorium Sightlines: • The minimum clearance to raise a spectator’s view line over the head of a person directly in front of him is 5” • Improved sightlines can be achieved by designing a floor where the rise per row is increasing. This method, referred to as “iscidomal slope” can make more efficient use of the total available rise from front to rear of a space. • Typical height of eye level: 44” • Audience member sightline 40 degree maximum, can turn head maximum of 30 degrees • Horizontal sightlines: As a rule of thumb, these seats should maintain a three-quarters view of the stage at the back wall of the stage house.
Auditorium Seating & Walkways: • A wide fan arrangement should have a maximum of 130 degrees from a central focal point on stage. • 10% ramp maximum, 8.5% for wheelchair use • Aisles should be between 36-48” wide • The aisle width must be measured perpendicular to side walls or the direction of travel and not necessarily parallel to the angle of curve of a row of seats. • With an aisle on each side, a row should have no more than 22 chairs • Use a datum line or char radus line to align the chairs in an arc • The chair back should extend slightly (3”) over the edge of the riser to act as a protective railing. • Maximum distance seats can be from the stage: > Drama & Dance: 66’ > Opera & Musicals: 100’ • Handrails: > 31” minimum handrail height in front of seating, 10” thick shelf below, can include toe kick for extra leg room > 43” minimum handrail height at the aisle > A loop rail should be used in aisles with a rake above 25 degrees DESCRIPTION MINIMUM Overall Chair Depth 24 Clearway 12 Back-to-Back Seat Spacing 34 Seat Width for Seats with Arms 20 Seat Height 17 Seat-Back Height 32 Armrest Width 2 Armrest Height 24
MAXIMUM 30 20 30 18 34
Stage Dimensions: • Ideally, the depth of the stage, front to rear, should be equal to the proscenium opening. • Proscenium opening in inches, depending on scale
Lighting: There are six different requirements for auditorium lighting. • Performance lighting > On stage > Ceiling > Side walls > Rear wall > Balcony front • House lighting before and after performances and during intermissions > Ambient lighting to move around and read programs > Decorative lighting to emphasis architectural features • House lighting during performances > Exit signs and escape routes • House lighting at other times > For cleaning, maintenance, rehearsals, and auditions • Front of house lighting • Backstage lighting > Running lights during performances > Work lights in between performances
Acoustics: • Non-parallel surfaces are ideal for an auditorium > When a sound hits a surface, some is absorbed and some is reflected. The angle of reflection depends on the angle at which the sound hit the surface, similar to what happens during a game of pool. > If the walls are flat and parallel, the sound bounces back on itself, creating a muffled effect called a flutter echo. • Some surfaces need to be reflectant • Wood absorbs high frequencies more than lows, except thin wood panelling.
03
PROGRAMMING
Problem Statement: Boston is missing a professional, intimate theatre that produces dramatic and musical plays. Nestling a theatre into the heart of the North End neighborhood whose nightlife consists mostly of hanging out at pubs, would provide a new experience for those looking for something different to fill their evening.
Criteria Matrix
Code Research Occupancy Classification: • Assembly A-1 Construction Type: • 1-B Stairways: • Shall have a clear width of 44” minimum between handrails. • Shall have a headroom clearance of at least 80” above the finished floor. • Risers shall be between 4” and 7”. • Rectangular treads shall be 11”, Winder treads shall be no less than 11”. Maximum Common Path of Egress Travel Distance: • 75’-0” with sprinkler system Daycare Egress: • Where more than 10 children that are 2.5 years old or younger, shall have no less than 2 exits or exit access doorways. Minimum Number of Exits or Access to Exits per Story: OCCUPANT LOAD MINIMUM NUMBER PER STORY OF EXITS OR ACCESS TO EXITS FROM STORY 1 - 500
2
501 - 1,000
3
More than 1,000
4
Doors: • Minimum width is 32” (face of door at 90° • Hardware shall be installed 34” above the finished floor Corridors: • An occupant load of less than 50, the minimum width shall be 36” • An occupant load of 50 or more, the minimum width shall be 44” Occupant Load: • See table on following page.
Occupant Load
04
CONCEPT
Concept Statement: Patrons of The Hunter will be transported into another world through the plays performed and the design of the building interior. Moving through the various spaces should elicit feelings of curiosity, tension, and joy, just as a hero on a quest would. The journey of an adventurer through a moody and romantic lens will be the basis on which design decisions are made. It will be a new kind of evening activity for the residents and visitors of Boston’s North End to enjoy. The stages of an adventure story and how they connect to the theatre, inspired by the book “Black” by Ted Dekker: 1. A messenger brings a problem. > Foyer, the Old Earth: the beginning, the introduction - brick - steel - modern - eye-catching lights 2. A challenge is presented. > Box Office, the Black Forest: the first task, to buy tickets - ebony-stained wood - red lights - irregular geometric shapes 3. The hero leaves the familiar world and into another, dangerous world. > Coat Check, the Black Forest: get ready and go - same as Box Office 4. Helpers materialize. > Bar, the Thrall: where you make friends - emerald floor - circular plan 5. Setbacks occur. > Vestibule, the Green Lake: the dark before the show - organic lines - deep emerald color - very dim lighting 6. The hero gains ground again. > Restrooms, the Green Forest: where relief is found - saturated jewel colors - organic lines 7. The foe is vanquished and justice is served. > Auditorium, the Upper Lake: where the story is unfolded - white walls - velvet fabrics
05
FLOOR PLANS & DETAILS
Basement Floor Plan
First Level Floor Plan
Bar Detail Drawings
Second Level Floor Plan
Third Level Floor Plan
06
BUILDING SECTIONS
Section Perspective
Large Dressing Room Elevation
East Section
North Section
07
RCPs & LIGHTING
Basement Reflected Ceiling Plan
First Level Reflected Ceiling Plan
Light Fixtures
C
D
B A
Karla LED Table Lamp 17”W x 9”D x 169”H Cascade LED Mini Pendant 2”Dia x 19”H, 28”H, 37”H
Eerie Linear Suspension 59”W x 15.25”D
K
Cathedral Brass Chandelier 23.75”Dia x 30”H
L
J I
Invisiled 24V Pro 2 High-Output LED Tape Light System
Beeswax Pillar Candle Helix LED Wall Sconce 8.5”W x 6-3/8”D
F
E
Perch Wall Sconce 13”W x 20.1”H
G H
ISO Head Spotlight 3.6”Dia
4” Square Regressed Trim 5”W x 5”D
Slim Cove Dim - 12” Length
CPD LED Light Panel Custom Size
N
O
M
Festoon Light String Custom Length Quenouilles Round Chandelier 48”Dia
Gem Starburst Chandelier 48.3”Dia
07
FF&E
Green Onyx - Bar Floor
Vanilla Noir Quartz Countertops
Black Walnut Veneer
Backlit Lumonyx Bar Top Green Marble
Sherwin Williams Paints Bajkal Crystal Marble
Black Terrazzo Lobby Floor
Backlit Black Onyx
Bar
Box Office, Coat Check
Lobby
Orchestra Lounge
Courtyard
08
PERSPECTVES
Lobby
Bar
Auditorium
Courtyard