CARMEL-BY-THE-SEA
FOREST THEATER FOUNDATION
PRE-DESIGN STUDY
MAY 7, 2007
R. F. McCANN & COMPANY ARCHITECTS
DESIGNING FOR THE PERFORMING ARTS & ENTERTAINMENT INDUSTRY SINCE 1976
WWW.RFMCO.NET
40 E. MONTECITO AVENUE
SIERRA MADRE / CA / 91024
626/836/1060 * F626/836/1090
SECTION 5: FIRM QUALIFICATIONS
FIRM QUALIFICATIONS
RICHARD F. McCANN, AIA
Lead Architect/Lead Designer
Principle - RFM Architects
Education & Registrations
Post Graduate Theatre Design with B. Marcus Priteca, FAIA/1968-71
Bachelor of Architecture/1967 & Bachelor of Music Composition/1963
University of Washington
Licensed Architect, NCARB, six-States
Washington #1932 California #C-7671
AIA Member, Pasadena Chapter
Experience
In 1968 McCann completed architectural studies and continued post graduate study and work experience with recognized theatre architect B. Marcus Priteca, FAIA, whose five decades of theatre design contributed many historic landmarks throughout the western states. For McCann that association provided project related experience in “heritage” architecture, with facilities and equipment used in performance and accommodating public assembly safety and comfort.
Succeeding the master architect in 1971, Richard McCann’s independent theatre design work began. Early project involvements focused on consulting assignments. In 1976 R. F. McCann & Company began full service architectural practice with a focus on all phases of performance facility design based on early years of musical performance and conducting. Richard’s extensive work with historic theatres and his history with Priteca have conveyed understanding and intimate familiarity with theatre construction and details of previous generations of architects; a combination that proves invaluable for restoration of vintage American theatres. Richard McCann has designed new theatres, restorations and reconstruction of old ones. Holding to the belief that each theatre design assignment offers unique circumstances to feature those qualities descriptive of the modern American “theatre experience.”
Recent Projects
A recent project incorporating both new and renovated theatres is the “H” Street Theatre Project in Sacramento for Music Circus and Sacramento Theatre Company (opening 2003). Other new projects include the Washington Center for Performing Arts in Olympia, the Orcas Island Center on Orcas Island in Puget Sound and Renegade Playhouse in North Hollywood. Adaptive design projects in which old theatres have been updated to include both literal “rehabilitations,” as well as “restorations” and “reconstructions.” McCann’s historic rehabilitations include the Orpheum in San Francisco, Seattle’s landmark 5th Avenue Theatre, and the Plaza Theatre, Palm Springs. Restorations combined with new additions include the 1912 vintage Pantages Circuit Theatre located in Tacoma, Washington, The Pasadena Playhouse, and the Alex Theatre in Glendale. Reconstruction style renovations include the Wilshire in Los Angeles, the Alberta Bair Theatre in Billings, and the El Portal multi-live-theatre complex in North Hollywood.
Beyond architectural design, McCann teams are recognized for programming of design accommodations, and for theatre-management consultation studies – both initial steps to fund raising and assessing financial requirements. Major studies have ranged from defining a redevelopment approach for conversion of a renowned Church to a performance facility for Los Angeles operations of the Joffrey Ballet to National Endowment funded studies of theatres in San Francisco (the Geary, for American Conservatory Theatre) and in Bellingham, Washington (the Mt. Baker). Predesign programming by McCann predated design of Portland’s Arlene Schnitzer Concert Hall.
Awards
R.F. McCann has received awards from the National Trust for Historic Preservation for the 5th Avenue Theatre, from the Washington State Office of Historic Preservation for Project of the Year, for the Pantages Theatre, and from the Los Angeles Conservancy and the City of Glendale for the Alex Theatre. Other awards include AIA chapter awards, recognition by the Theatre Historical Society of America, and awards from other cities where McCann has designed civic performing arts centers.
DEMONSTRATED EXPERIENCE
R.F. McCANN & COMPANY ARCHITECTS
Related Project Experience
El Portal Theatre Adaptations were designed to occupy the severely damaged former auditorium and lobby spaces in this 1924 vaudeville theatre. Three venues were provided: a 350-seat proscenium theatre, a 99-seat arena stage and a 50-seat showcase theatre. Lobby additions include an art-exhibit area and concession café.
FEMA and LACRA grants combined to provide all funding for repair and replacement of the earth quake damaged exterior, interior and building equipment systems. In the former auditorium, the original décor and major structure collapsed from the Northridge Earthquake thereby providing occasion for use of “minimalist” character in the replacement design which is mixed with exemplary restored decorative features. The front onto Lankershim Boulevard, the ticket lobby and the original main-level lobby remain listed on local and state historic registers. Only these areas qualified for restoration and repair following federal restoration standards.
Gallery spaces regularly showcase North Hollywood area art exhibits of paintings and sculpture. The interior “Alley-Way” within the space of the original theatre provides exhibit space and lighting around and between 2-story sculptured spatial components.
Budget/Construction Cost (1999): $6,500,000.00
Square Footage:
Proscenium/Arean Theatres 19,000 s.f.
Comm’l Building/Store Front Theatre 8,000 s.f.
Pasadena Playhouse The first-round designs for the Playhouse by RF McCann & Company detailed $2.3 million in costs to be provided through an Economic Development Administration (EDA) funding grant. Additions and alterations included resident theatre accommodations performers and live performance technology. Dressing room facilities and scene shop upgrades were provided to meet theatrical union contracts. Air conditioning and electrical systems were completely replaced throughout all areas of the structure. Audience amenities included restroom additions, ticket and concession areas and public assembly fire and life safety modifications.
Playhouse construction dating from early 1920’s included bearing and infill unreinforced masonry and clay tile. All structural materials were maintained in the renovation with interior applied strengthening against earthquake risk using thick reinforced gunite facing attached strategically to selected interior panels of the exterior walls.
The Playhouse is attached to a 6-story “tower” located in the back of the stagehouse. At stage level, the base of the tower was renovated into a 6000 s.f. scene shop. Upper floors were adapted for use by the American Academy of Dramatic Arts as a school of drama and included classrooms and rehearsal space. Resilient dance floors were installed for dance instruction, dressing counter and mirror facilities were built to teach makeup, and wig and costume construction areas were also provided.
Adjacent to the Playhouse entry courtyard is the original Playhouse Courtyard Wing. The main level of this area which fronts onto El Molino Street was redesigned for a studio theatre as part of the restoration and later redesigned again for restaurant use. A second floor of the Courtyard Wing was renovated into a front format “Balcony” theatre and rehearsal space with 70 seats.
Budget/Construction Cost (1985 through 1997): $5,600,000.00
Square Footage:
Playhouse 6,000 s.f.
Scene Shop 6,000 s.f.
Tower (Am Academy) 36,000 s.f.
Balcony Theatre 2,300 s.f.
Courtyard Restaurant 2,800 s.f.
Alex Theatre The Alex Theatre Project is a restoration of a 1926 vintage, 1,500-seat theatre. Adaptive additions designed for both interior and exterior replaced remodeling that occurred subsequent to 1950. Included were reconfiguration of seating forms at main and balcony levels, stagehouse expansion and replacement of all building and theatrical systems. New production equipment for lighting, rigging and sound were major components of the rehabilitation budget. Both exterior and interior improvements followed preservation standards.
Budget/Construction Cost (1993): $6,800,000.00
Square Footage:
Musical Theatre 26,000 s.f.
Exterior Courtyard 4,000 s.f.
H-Street Project (2003) known as California Musical Theatre’s, Wells Fargo PavilionThe site is an urban transition between downtown and a multi-family residential area. Theatres are within walking distance from hotels and restaurants. Across from the site is a new multi-story city owned parking garage, which hosts ground level upscale restaurants in a new mini-theatre district.
Musical Theatre is a permanent fabric structure enclosing a 2,300 seat partially pre-existing seating form. Performance requirements included a 60-foot high scenery grid, radial ceiling bridges and spotlight nests. Under the stage: 5-lifts, 2-turntables and an orchestra pit. Maintaining a summer musical heritage of over 50 years under a tent was part of retaining subscribed audiences. Accommodations required 10,000 s.f. of expanded dressing, wardrobe and concession space plus 99 audience toilet fixtures.
Repertory Mainstage is a modified proscenium thrust season before 300 patron seats. A Studio season is also presented in a separate 60-seat space.
Mainstage needs included a light-grid and bridges, raked audience seating, electrical and mechanical system replacements, and mainstage and studio lobby expansions.
Administrative office, year-round box office and telemarketing, and stage loading facilities required new accommodations.
Image and character of the Musical Theatre derive from color, profile and geometry using a suspended Teflon-fiberglass roof. The fabric membrane is suspended between pairs of 180-foot steel trusses that span the circular seating. Over center stage the trusses intersect giving a profile to the fabric and supporting a suspended scenic grid, lighting catwalks, and multiple speakers and HVAC ducts.
Repertory theatre identity is provided by a combination of redesigned and new structures flanked by the main gated entry court. An adjacent multistory garage contrasts against the varied façade elements of the theatre offices, ground level telemarketing and box office wing. Entry to the theatre site is marked by vertical membraned kiosks that recall the larger fabric structure.
Budget/Construction Cost: $12,089,097.00
Square Footage:
Musical Theatre 28,679 s.f.
Repertory Theatre 27,047 s.f.
The following list is a comparison of estimates, bid or negotiated figures, and final cost variations for projects listed above:
Project Name---Arch/CM Estimate---Bid---Final
Alex Theatre
Glendale, CA.------$6.5M---------$6.8M +4.6%
Pasadena Playhouse
Pasadena, CA.------$1.8----------$2.0M +10%
El Portal Center
N. Hollywood, CA.--$7.1M---------$6.5M -9.0%
H-Street Project
Sacramento, CA.---$11.9M-------$12.0M +1.0%
AWARDS & HONORS
• Award winning projects by RFM Architects include a National Preservation Award and an AIA Design Award for the 5th Avenue Theatre in Seattle.
• State and Local preservation awards for the Tacoma Pantages and Alex Theatre projects in Tacoma, Washington and Glendale, California.
• The H-Street project in Sacramento was awarded “Construction Project of the Year” from McGraw-Hill Publications.
ADDENDUM:
Alberta Bair Theatre, Billings, MT.
5th Avenue Theatre, Seattle, WA.
5 comments:
Thank you for all of this information. We can’t count on the city to put it on the city’s website, that’s for sure. The city obviously doesn’t want too many Carmelites to know too much, it might interfere with Sue’s plans.
Mr. McCann has some grandiose theatre projects to his credit. The question is does his vision for the Forest Theater fit the “rustic ambiance” of the Forest Theater, the jewel we all know and love. I think if his plan comes to fruition the essence of the Forest Theater will be lost to McCann’s grand scheme of pavilions and meadows and perimeter parking.
Although Richard McCann's architectural resume of projects is impressive, I did not see any outdoor amphitheatre projects. With the pre-design so detailed and presented as an entire concept, I am not convinced the council's micromanagement of the plan is wise. Either go with the traditional Congleton plan or the multi-million dollar McCann plan is my aim.
Aside from that though, the McCann plan reads nothing like the Congleton plan, and isn't the city supposed to implement a project consistent with the Forest Theater Master Plan aka the Congleton plan?
Isn't the Congleton plan part of the certified Local Coastal Program. If the McCann plan is approved, in part or in whole, would it be acceptable to the California Coastal Commission and/or would it require an amendment and therefore a time delay for review?
Once the city adopted the Local Coastal Plan and it was approved by the Coastal Commission, I don't believe this kind of change at Forest Theater would have to go through the Coastal Commission approval process. Our LCP would govern. Does anyone out there have any further definitive information on this?
On Thursday, June 5, 2008, The Carmel-by-the-Sea WATCHDOG! emailed California Coastal Commission Coastal Planner Mike Watson, as follows:
The City of Carmel-by-the-Sea has determined the Forest Theater is not an historic resource; the City Council may approve plans for renovation and a change in the parkland. For example, excavation along Mountain View Av. 18’ into the Forest Theatre grounds for 35 parking stalls and the construction of a multi-pavilion complex of 3-4 new buildings.
Question:
• If the City Council approves such changes to the Forest Theatre, approximately a $5 million project, would the project to appealable to the Coastal Commission?
Later, Mike Watson responded, as follows:
“the Forest Theatre park is not within the Commission's appeal jurisdiction and thus the proposed renovation that you describe would not be appealable to us. However, the certified LCP designates this property for open space recreation uses and only those uses that balance recreational / cultural interests with natural resource protection may be allowed. Due to the abundance of natural resources on the site, I suspect that it might be difficult to accommodate the renovations as described consistent with the LCP.”
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