DG 1110.3.120
DESIGN GUIDE: MUSIC AND DRAMA CENTERS
JANUARY 1981
C H A P T E R 3: ROOM CHARACTERISTICS
such as chamber quartets that comprise a very
and maximum role-playing development) or to
small portion of today's listening audience.
unusual environmental factors (open air facili-
ties, highly mobile installations, inaccessible lo-
c. 1400 Seats:
cations). An isolated post need not worry about
By American standards 1400-seats represents
attracting attendance, critical acclaim, or regular
a large recital-ensemble room, or a medium
commercial road shows, but it could have an
capacity concert hall. Most recent symphony
extra requirement for intimacy. A highly tran-
halls, partly for economic reasons, seat
sient population would best use performance
2300-2500 (a practical upper limit for Frontal
facilities designed for spontaneity and minimal
design with natural acoustics).
production time.
While the Design Guide's emphasis of primary-
There are two categories into which appropriate
purpose Frontal form facilities of three capacities
non-Frontal Rooms may fall: large scale and
is intended to add clarity in subsequent discus-
small scale. Operating elements must be man-
sion, these "most likely" choices are also founded
ageable in number and complexity to yield the
on functional and practical considerations spe-
maximum range of variation. Whereas a small
cial to the military context. In general, the eco-
Room can contain a kit of many parts, a larger
nomic forces and institutional motivations at
Room should have a few major devices by which
work in civilian communities inevitably result in
it effects change when needed: the orientation,
slightly different trends, toward large capacity
extension or dressing of the stage; placement of
multi-use stagehouse rooms and more modest
an orchestra enclosure or choral risers; preset
open stage or non-Frontal theaters. However,
lighting configurations; portable acoustic ab-
basic design principles are similar.
sorption or reflectors; preset electronic sound
reinforcement pattern.
Unlike many privately sponsored performing
arts facilities which develop over many years,
Large-Scale Room:
permanent Army MDC's are expected to be one
The factor of scale makes inclusion of a large
time capital expenditures, completely opera-
non-Frontal Room in the institutional context of
tional on opening day. It will be advantageous
the Army necessarily a very deliberate choice.
to choose a theater design that provides today
Scale has its impact in cost, quality of acoustics
most of the physical plant and technical com-
and visual environment, potential technical snags
ponents foreseeable as future needs. The chance
and conflicts, and the importance of seat-filling
to add a stagehouse, orchestra pit or balcony, or
performance. Failure is magnified more than
to otherwise appreciably alter a permanent fa-
success.
cility, is remote. In part, the Design Guide em-
phasizes the Frontal Room equipped with a fly-
Small-Scale Room:
loft because it utilizes (and illustrates) the most
The small-scale versions will probably be `al-
frequently desired hardware lacking at existing
ternative" Rooms-that is, Rooms in addition to
(temporary) Army installations. In addition, there
a more typical facility-for the purpose of ex-
are many practical arguments favoring the pro-
perimenting. Hence, these Rooms will be mul-
scenium theater/concert hall for military
tiform spaces with readily transformed move-
communities.
able seating and/or staging elements.
These considerations notwithstanding, open
There are doubtless similar exceptions to the
stage, Frontal, non-Frontal (Thrust or Surround)
seating capacities recommended by this Guide.
and adaptable configurations may be appropri-
Existing Army theater facilities do not conform
ate choices in some cases. Section 3-8A outlines
to these size categories, mainly due to con-
important differences in the use of an open
straints imposed by conversion of found space
stage, but its main feature is the substitution of
in repetitive (temporary) building stock. Smaller
movement, lighting and relatively portable stage
houses of around 100 seats have been developed
pieces for the more traditional scenic investiture.
as dinner theaters adjunct to a regular Drama
program. Generally, dinner theaters require more
A serious non-Frontal facility might be under-
square footage per seat, plus considerable food
taken in response to a well-defined need in the
service area. They are most successful when an
community (for instance, if it already has a good
intimate relationship between audience and per-
conventional theater) or to a special set of pro-
former is established by the arrangement of the
gram goals (such as minimal scenic repertoire
Room.
3-9
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