DG 1110.3.120
DESIGN GUIDE: MUSIC AND DRAMA CENTERS
JANUARY 1981
CHAPTER 3: ACCESS
be generous to permit crew movement around
consequences of negligence are the most im-
waiting set pieces and a location should be pro-
portant guidelines; in many situations, technical
vided for the stage manager's work-station.
systems cannot be both functional and fool-
Other work area access includes the gridiron loft-
proof. Reference to OSHA Safety Standards will
blocks and weight loading gallery or pinrail. Am-
help identify hazardous conditions and methods
ple clearance is needed around electrical equip-
of abatement.
ment racks and dimmer banks which in some
cases are located at one end of the stagehouse.
Most access to equipment leads through other
activity areas, such as the stagehouse and house
balcony, and shares fire exit-ways. High fire haz-
D. SCENERY ACCESS
ard uses, including followspot and projection
booths, are enclosed in noncombustible con-
1. Life Safety
struction provided with two exits. Exits from
other workstations are governed by the number
The primary goal is to remove people from dan-
of occupant technicians. The same is true for
ger as efficiently as possible; protection of prop-
stairways and ladders, which normally need not
erty and equipment is a secondary concern. But
conform to public egress requirements. They
inasmuch as retarding the spread of smoke and
should, however, be noncombustible, non-slip,
flames adds to the margin of safety for existing
with adequate handrails and cages.
personnel, scrupulous attention need be given
fire protection and detection systems in the
Technician accessways are used all the time, not
stagehouse.
just during performance. An even higher level
of safety consciousness is required to prevent
All material used in the construction of the stage,
missteps and personal injuries when the audi-
stagehouse and scenery must be flameproof or
ence is not a present reminder and work effort
fire-retardant, with a flame-spread rating of 25
is great. Observance of this intent will keep per-
or less. Treatment of draperies and fabrics should
sonnel passages clear of obstructions, provide
be repeated annually. Where hemp rigging is
safety nets and toeboards to catch falling ob-
employed, it is wise to provide wire or chain
jects, and allow for secure equipment mounting
safety lines on stored or unmoving battens and
with safety lines. Thorough grounding of elec-
drops. And in addition to sprinklers and fire-
trical equipment and its location away from
hoses, strategically located fire extinguishers are
traffic will minimize occurrence of shocks and
highly recommended, including carbon dioxide
burns.
and foam cannisters near electrical equipment.
2. Functional Parameters
2. Functional Parameters
Access to performance equipment has greatest
The operating aspects of scenery movement are
influence on Room design where technical op-
major influences in stagehouse design. Even
erations are concerned. The position of lighting
Rooms without stagehouses and productions
using fixed sets must facilitate the entry and as-
and rigging devices must be set by functional
requirements, and access follows. It is best to
sembly of substantial amounts of equipment,
integrate them structurally wherever possible, as
platforms and backdrops. A concert grand piano
in gridiron, front-of-house lighting catwalks, and
will be 5 feet wide and up to 12 feet long,
boom towers. With the possible exception of
weighing 1000 pounds. While scenery drops and
border lights on winched battens, all lighting
flats are relatively light in weight, they are un-
equipment must be accessible for final adjust-
wieldy in size and very fragile. A demountable
ment in place. In the stagehouse, this can be
orchestra shell, depending on its design and pur-
accomplished from portable ladders and man-
pose, may be both heavy and bulky.
lifts, but front-lighting should always be asso-
ciated with catwalks.
While the diverse characteristics of scenic ma-
terial and accessory equipment establish the im-
Manned instruments, such as short-throw fol-
mediate parameters for design, early planning
lowspots and TV cameras should have pre-
decisions have tremendous impact on the way
planned locations including necessary power
these needs are best met. It is essential to match
and communications jacks. Access to these lo-
initial investment and known operating re-
cations, control booths and consoles should not
sources for long term effectiveness. A key factor
conflict with audience access or vision, nor with
is the cost and availability of manpower.
fixed instruments. Onstage, working space must
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