DG 1110.3.120
DESIGN GUIDE: MUSIC AND DRAMA CENTERS
JANUARY 1981
CHAPTER 5: TWO DUAL FACILITIES
The Eugene Performing Arts Center started
Backstage support is designed to be shared by
with a two-block downtown site consolidation
the various performing groups to be expected
which was leveled for construction of its theater
in a multi-use facility. Several kinds of dressing
center, convention center, hotel, commercial
facilities are available, some best suited to mu-
space and parking.
sicians' needs, some for actors'. Children can be
separated from adults. There is a guest star's
Fund-raising began in the early 60's. A feasibility
suite, five private dressing rooms and five rooms
study was conducted to evaluate population and
for 6-8 people in addition to musicians' warm-
income trends, needs and preferences, user
up and individual practice rooms. Large and
groups, existing facilities and the economics of
small Green Rooms are associated with respec-
their operation. These investigations confirmed
tive theaters, in addition to actors' and stage
and supported the program directions.
crew lounges.
Most local users wanted an intimate concert hall,
A common receiving dock and stage door serves
but both the economics of income-producing
both theaters. However they do not share stage
touring events and the criteria for orchestral
floor elevations. The loading dock is at the level
acoustics favored a 2400-2500 seat house. The
of the larger stage, from which a large freight
goal was to create an intimate room of this ca-
elevator services the higher stage of the small
pacity. Several alternative capacities and basic
theater. Two 45-foot trailers are sheltered at the
forms were evaluated for the 500-seats, multi-
dock.
use drama theater. Versatility was desired, so a
basically Frontal room of the most-valued ca-
In the larger Room the stagehouse is equipped
pacity was chosen. However, its solution would
with 75-100 single purchase sets. Multi-use de-
have a demountable false proscenium and be
mands a demountable orchestra shell and mo-
capable of modified Thrust arrangement by
torized canopy, mechanized film projection screen
decking over the first 100-150 seats.
and projection room in addition to sound, light-
ing and broadcast control booths. The stage will
Lobby and public space joining the two serves
be fully trapped, operated by two moveable hy-
as the front door to the whole project and must
draulic lifts below stage.
reflect the regional character. Shared backstage
and support facilities might serve other uses as
Finally, the audience seating is dished at or-
well.
chestra level, with wrap-around ledge of steeper
rake at the rear. The mezzanine extends toward
The concept of shared facilities was key to pro-
the stage in a series of descending boxes while
moting community support and technical de-
the steepest balcony, in two stages of rise, over-
velopment while avoiding duplication of facili-
hangs the mezzanine. The sum effect is that of
ties. Sharing public spaces with the street has a
a short Room, hollowed out of the main volume
healthy effect on local businesses and on the
above the orchestra. Unequal radii and reversing
image of the Center. It was expected that re-
curves create a special, sinuous and intimate
hearsal rooms might be shared by various kinds
environment. The balconies do not project from
of performing groups and with the community
the walls but through them. Perimeter circulation
as meeting rooms and small performance spaces.
is within the room, just beyond a large-scale log-
The spaces were designed to permit these per-
gia of arches that embraces the total space, mak-
formances in future, but the budget was not.
ing its boundaries seem closer and of the same
fabric as the proscenium arch.
5-34
Previous Page
