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The art of multi-function UK - The trend to build a performance space as an integral part of art gallery complex has proliferated in recent years. Galleries are no longer the silent, church-like bastions of the wealthy or academia, but have become lively, welcoming, multi art-form spaces that offer a raft of creative ideas and artistic genres. With such a comprehensive sphere of activity, their design and specification has to be approached with an open mind and a willingness to engage with and understand the diversity of end users, employees and audiences. Andy Hayles, managing director of Charcoalblue Theatre Consultants understands this well, he says: “It’s important to note that no two buildings are ever the same, even when the brief may, at first sight, seem similar. We have worked on a number of performance spaces within galleries, including The Bluecoat in Liverpool, The Hepworth in Wakefield and Nottingham Contemporary and each venue’s design concept has been governed by a plethora of external and internal influences, including location, historic context, size, artistic policy and of course end user and occupier needs. We pride ourselves on our ability to work alongside our clients and end users to understand and translate those influences and needs into distinct, unique and future-proofed spaces.” Gavin Owen, responsible for Charcoalblue’s contribution to the Bluecoat Arts Centre in Liverpool comments: “These venues have been designed not simply to accommodate performance but to host a full gamut of multi-media and art installation works. To ensure the space fulfils the complex brief we’ve had to get to grips not only with the diversity of functions these spaces must accommodate but also the considerable range of skill level available when it comes to using and understanding the installed entertainment technology. All this in the context of creating a space that can still deliver the creative wow factor!” The Bluecoat Arts Centre, designed by BIQ architects, hosts a thriving and vibrant community of artists, practitioners and creative organisations. Traditional barriers between art and the community are being broken down and the venue is used by all sectors and all ages. Creative activities at Bluecoat range from silversmith and set design, marketing and millinery to visual arts and vocal coaching.
As a growing number of art galleries embrace a multi-functional business model for their spaces, Sarah Rushton-Read looks at three such installations and asks if multi-function has to mean
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multi-compromise . . .
For Owen it’s important that the performance infrastructure is state-ofthe-art, yet simple to understand and operate. He says: “Bluecoat’s multi configurable performance space is intended as a venue for music, dance, drama and multimedia events, it also has to comfortably host corporate events. Comprising a single large studio, it’s equipped with an audience bleacher which seats 200. A semi-sprung floor makes the space ideal for dance and the fixed lighting grid mounting has been future-proof designed to allow it to be upgraded to a winched or motorised system at a later date.” Charcoalblue also provided the design for the performance-related technical systems and advised other members of the design team on issues relating to performance within the building. Owen says: “The space has a number of rigging positions: Oxford Sound and Light installed two fixed pipe grids. In addition, vertical sections of Unistrut have been fixed to the wall on three sides of the space to provide additional rigging positions for scenery or lighting.”
From top: Nottingham Contemporary; The Hepworth Gallery Project, Wakefield; The Bluecoat Arts Centre, Liverpool.
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A mezzanine within the space has a single internally-wired lighting bar and the perimeter of the space is equipped with a continuous curtain
Nottingham Contemporary Lighting: ETC ION 1000 with 2 x 10 fader wing ETC Smartfade 12/48 Zero 88 Betapack III portable dimmer rack ETC Source Four junior 15-30° Zooms
Getting a ‘feel’ for a new performance space’s atmosphere, technical specification and infrastructure, in the context of a building as a whole, can be a challenge; often the client doesn’t want the room to scream ‘multi-purpose’, but neither do they want it to look like a studio theatre. Patch-bays, plug boxes and technical infrastructure have to blend seamlessly with the architecture of the room. This was very much the case at Nottingham Contemporary: designed by architects Caruso St John, it is one of the largest venues for temporary exhibitions of modern art in the UK. Jack Tilbury, project director for Charcoalblue and project co-ordinator at Nottingham, says: “Clients want the space to perform as easily as an art gallery as it does a dance studio or performance space. They want the transition between different uses to be simple, effective and quick to achieve. Get-in and weight-loading decisions of both ceiling and floor are crucial, as is ensuring the communications and data wiring are future-proofed.” The artistic team at Nottingham wanted the venue to have the feeling of a ‘found space’ rather than a theatre, Tilbury says: “The space caters for everything from large-scale sound sculpture, photography and interactive installations to cinema, video, club nights, conference and live performance. In response we designed a discreet flown lighting, sound and AV rig comprising a series of truss squares that fit neatly between the concrete crossbeams of the ceiling. This means the lights don’t hang below the lowest part of the beams, making them almost invisible.” Lighting and sound control is similarly discreet. The mezzanine / balcony ‘control position’ can double up as a raised gallery space. All patch bays and sockets are secreted in dips under the sprung floor as opposed to cluttering the smooth lines of the walls. There’s also plenty of portable lighting, AV and audio equipment, which can easily and discreetly be deployed anywhere in the building. Similarly at The Hepworth Gallery Project, the high architectural finish could not be compromised. Senior Charcoalblue consultant and project co-ordinator Adam Crosthwaite explains: “The Hepworth is a landmark gallery, which will house the Barbara Hepworth maquettes, as well as a number of other permanent and temporary exhibitions. We worked closely with David Chipperfield Architects to deliver a multi-function performance room that can be used to host lectures and seminars associated with gallery exhibitions, as well as by outside organisations for community events, seminars, meetings, music events, film and festivals.”
Selecon Acclaim 650 c/w barndoors Selecon Rama HP fresnels 1200 James Thomas PAR Cans 1kW Audio: Martin Audio WT2 2-way compact trapezoidal loudspeaker
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Knight
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illumination
awards
Martin Audio WS 2A bass-reflex subwoofer loudspeaker Yamaha PC9501N dual-channel amp QSC RMX 4050HD dual-channel amp Soundcraft GB8, 32-ch analogue desk dbx DriveRack 260 loudspeaker system control dbx 1074 quad gate 1U dynamic processor
London, Hotel IBIS Earls Court 12th September 2010
dbx 1046 quad 1U channel limiter/compressor
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dbx 1231 dual 31-band graphic eq Mics: Shure Beta SM58
STLD
Sennheiser E614 - condenser Audix D6 - kick drum microphone Sennheiser E904 - instrument mics Shure SM57 - instrument mic
2IÀFLDO VSRQVRU
Stage Monitors: Turbosound TXD-12M Monitor loudspeaker Yamaha PM5000s amp
3URXGO\ VXSSRUWHG E\
dbx 1231 graphic equalization Portable PA: Soundcraft EFX12 Denon DN-635 CD player Sennheiser ew365 G2 radio mic receiver RCF ART 322-A 400W bi-amplified loudspeaker
6SRQVRUV
RCF ART 705-AS 800W sub Conference System: Shure Beta SM58 dynamic supercardiod microphone Sennheiser ew300 G2 transmitters
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SOUND & LIGHT
Shure MX412/C lectern microphone Denon DN-635 CD player Sony SRP-X100 rack-mounted audio mixer DJ Equipment: Pioneer DJM8000 DJ mixer Pioneer CDJ1000 DJ CD deck Technics SL1210 Mk5 DJ record decks RCF ART 312-A 350W bi-amplified loudspeaker
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Shure SM58 mic Pioneer SE DJ5000 headphones
Lighting&Sound - August-September 2010
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Bryan Biggs, artistic director at The Bluecoat, says: “What we now have is a gem of a space, due to the architect’s vision and, significantly, the quality of Charcoalblue’s input. Andy Hayles and his team brought a pragmatic yet imaginative approach, their hands-on technical know-how, advice and enthusiasm for the project proving invaluable.”
RD
International
track. Owen continues: “The challenge was to equip the space for dance and drama performances, whilst being sympathetic to the very high architectural finish required by the architects. In flat floor mode the space will be used as an art gallery, but it also has the ability to quickly transform into a seated room in a variety of configurations.”
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Bluecoat Arts Centre, Liverpool Production Lighting: 72 ways of ETC Sensor Dimming wired to distributed outlets within the space ETC Express 250 memory console. Work-lights are managed from an ETC Unison ER4 Rack
mixer can be deployed for a more theatrical use of the space. Unusually for a performance space, almost an entire wall is glazed, offering views across the adjacent river. Windows have been fitted with motorized fabric blinds (also controllable from the lectern) and manual sliding panels, which enable the room to be shaded or blacked out as required.
Hepworth Gallery, Wakefield Lighting: ETC Sensor dimmer rack, 72 ways ETC Express 24/48 - 2-preset console ETC Source Four Jr zoom profile Selecon Acclaim PC 650 Audio: d&b audiotechnik Q10 2 loudspeakers
Loose stage lighting includes: Selecon Acclaim
d&b audiotechnik Q-SUB loudspeakers
Selecon Rama
d&b audiotechnik EPAC amplifiers
James Thomas PAR Cans
Midas Venice 160
ETC Source Fours
Denon DVD 2910 universal player
Audio: Martin Audio Blackline
Yamaha SPX 2000 digital effects processor Sennheiser 500 series receivers
Yamaha amps and EQ delay Allen & Heath 32-channel GL2400
AKG CK97-CVR Adam Crosthwaite.
Allen & Heath WZ 14:4:2 mixing
Sennheiser 550 handheld radio mics Video: Sony RDR-GXD500 SMR rack-mounted 5.1 audio decoding DVD video recorder
Tascam MD350 minidisc recorder Yamaha Q2031B stereo graphic equalizer
Kramer VM54 video distribution amplifier
Yamaha SPX 2000 digital effects processor
Christie LX500 video projector (5200 ANSI lumens), plus motorised zoom lens
XTA DP224 loudspeaker management system
HVVF300/25 Home view 300/225 remote control Video projection screen
In addition a number of video cameras, recording and playback equipment was specified along with an LCD video projector and display monitor.
Charcoalblue specified removable loose seating for approximately 100, stage lighting, audio-visual infrastructures and loose equipment plus a retractable projection screen with high-brightness projector. To maintain the character of the room a number of fixed lighting bars have been recessed into coffers in the soffit.
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There is no fixed control position: instead a presenter’s lectern (manufactured by project installers, Northern Light) accommodates a wireless AMX touch-screen panel. This gives control over room/house and work lighting, stage lighting, audio-visual systems and other installed equipment. Alternatively, a rolling equipment rack housing an ETC Express lighting console and a Midas Venice audio
56 Lighting&Sound - August-September 2010
Jack Tilbury.
Crosthwaite explains: “The systems have been specifically designed to facilitate easy and flexible control over the technical systems whilst being as discreet as possible to ensure the character of the room is preserved. All floor-level facilities panels are hidden behind sliding doors and lighting outlets are incorporated at high level into the recessed coffers in the ceiling. Boom lighting positions for dance are also concealed behind the sliding wall panels. Importantly, beca5 use a professional technician may not always be available, all the control systems are designed to be user-friendly and intuitive.” ETC Sensor dimmers are located in a separate dimmer room, and loose equipment is stored in a room adjacent to the multi-function space. A 63A three-phase power supply is located behind the sliding panels, allowing extra dimmers to be brought in if necessary.
Ampetronic ILD 252 Induction loop processor Custom made Presenter’s lectern (Northern Light) with integral Denon DVD 2910
Multi-function does not have to mean multi-compromise. Just because a space is required to cater to a variety of different uses, it does not mean it has to make concessions when it comes to room character, style or personality. Hayles concludes: “Over the past three years these exciting and dynamic multipurpose spaces have become an integral part of many lively and diverse local communities. ‘Art’ in all its forms is now celebrated in these galleries it’s been a privilege for Charcoalblue to work with such inspired and driven design teams and clients to achieve some very special bespoke spaces for performance.” > www.charcoalblue.com