ABSTRACT: Two noteworthy agenda items not on the November 4, 2008 City Council Agenda, which should have been placed on the City Council Agenda, are presented, namely the City’s long-term fire protection plan for meeting state and federal laws, regulations and standards, involving staffing levels, training, and methods of operation, et cetera, and the Forest Theatre Schematic Design. BACKGROUND and COMMENTS on the status of the Carmel Fire Department and the Forest Theatre design process are presented.
• Carmel Fire Department
BACKGROUND: Citing NFPA 1710, OSHA’s Standard of 2-in-2-out, the Citygate Associates Fire Consolidation Feasibility Study, and the City’s own internal study (Public Safety Team Report February 2003), Public Safety Director George E. Rawson and Fire Chief Andrew Miller argued for an increase in the Carmel-by-the-Sea firefighter staffing from six firefighters to nine firefighters “in order to achieve constant engine staffing requirements, in accordance with current response standards” at the City Council Meeting on September 2008. After deliberation, the City Council “directed staff to explore the hiring of the three firefighters, without eliminating CRFA or damaging the identity of the Carmel Fire Department.”
COMMENT:
Unfortunately for Carmelites, Public Safety Director George Rawson and Fire Chief Andrew Miller have failed to provide timely leadership on a long-term fire protection plan. For example, one aspect of a long-term fire protection plan is staffing levels. And while the Citygate Associates Fire Consolidation Feasibility Study’s Final Report was completed June 12, 2007, over 15 months elapsed between the completion of the Final Report and the City Council meeting at which the Public Safety Director and Fire Chief presented their recommendation of increasing staffing levels by three additional firefighters, as recommended by Citygate Associates, LLC. Moreover, the City was derelict in prematurely withdrawing from consolidation talks with the Cities of Monterey and Pacific Grove in January 2008 and in failing to place the consolidation issue on City Council Agendas for the purpose of educating and informing Carmelites about the Carmel Fire Department situation, especially given the fact that the City's contracts with Monterey and Pacific Grove Fire Departments will be terminated in mid-December 2008 when the Monterey and Pacific Grove Fire Departments new contract takes effect.
(Sources: MINUTES SPECIAL CITY COUNCIL MEETING CITY OF CARMEL-BY-THE-SEA September 9, 2008 and AGENDA PACKET Regular Meeting Tuesday, September 9, 2008)
NOTE: View Firefighter standards on staffing. NFPA 1710 Video
Duration: 08:42
• Forest Theatre Schematic Design
BACKGROUND: In reaction to public outcry regarding theatre architect Richard McCann’s Forest Theatre Pre-Design, the City held a workshop at the Forest Theatre on June 19, 2008. And while it was understood that the public’s suggestions would be incorporated into the next phase of the design, the intent of the budgeted $65,000 for the Schematic Design and the timeline for public presentation of the Schematic Design were not addressed.
COMMENT:
Again, unfortunately for Carmelites, the City was derelict in not placing the Forest Theater Pre-Design on a City Council Agenda many months prior to the completion of the Pre-Design Study, dated May 7, 2007, for the purpose of educating and informing Carmelites about the intentions of the Forest Theatre Foundation and the content of the Pre-Design (Richard McCann’s Pre-Design presentation was at the Special City Council Meeting, May 20, 2008). Moreover, a competent city administrator would have, under Announcements from the City Administrator, given regular progress reports on the Schematic Design at City Council meetings. Finally, the City has yet to inform Carmelites as to the placing of the Schematic Design on a Public Hearing on an upcoming City Council Agenda.
Showing posts with label Forest Theater Pre-Design. Show all posts
Showing posts with label Forest Theater Pre-Design. Show all posts
Monday, November 03, 2008
Friday, June 20, 2008
Forest Theater Public Consensus: Preserve Ambiance & Community Theater in Rustic Setting of Monterey Pines with Essential, Affordable Improvements
ABSTRACT: The "Agenda" for the Special City Council Meeting/Workshop held yesterday, Thursday, June 19, 2008, at the Forest Theater consisted of “Proposed Changes to the Forest Theater Plan.” "Proposed Changes to the Forest Theater Plan" covered 11 areas, namely FENCE, PARKING, CONCESSION STAND, RESTROOMS, ACCESS FROM SANTA RITA, STAGE, UNDER-SEATING SPACE, CONTROL BOOTH, LIGHTS AND SOUND, LANDSCAPING and SEATING. “Proposed Changes to the Forest Theater Plan” is reproduced with accompanying "Objectives for Meeting" and "Next Steps." After each of the 11 areas, Public Consensus is presented. Finally, COMMENTS are made with regard to the Meeting/Workshop and kudos to the Carmel Residents Association (CRA) and a prescient blogger.
City of Carmel-by-the-Sea
Speical City Council Meeting
Thursday, June 19, 2008
On site at the Forest Theater
On Mountain View at Santa Rita
IV. Orders of Council
A. Workshop to receive input and provide policy direction on the proposed Forest Theater Renovation Project.
Proposed Changes to the Forest Theater Plan
Context: on May 25th, Rich, Paula and Sue toured the Theater with the McCann plans in hand. Following summarizes our thoughts, input we have had to date form the public and our concern for costs:
1. FENCE: Remain with a 6’ perimeter grape-stake fence. Could be double-sided. Add green to soften fence and absorb some sound. Grape-stake is more “Carmel” but will not provide the barrier for sound and light flowing out or coming in that a stucco fence would.
Public Consensus: Retain perimeter grape-stake fence; by hand count, majority favored a double-sided grape-stake fence. Vegetation planted in Forest Theater also favored to soften fence.
2. **PARKING: Stay with parking inside the fence. Reconfigure whole area for maximum parking and move trash enclosure elsewhere to better landscape the area for forest and maximum parking. Remove and replace shrubs, sick and dying trees. Mark stalls for parking spaces as opposed to current haphazard system. Omit on-street parking plan on Mt. View and Guadalupe, but leave existing parking on those two streets. There is the potential for two ADA spaces near CET’s entrance as well as perhaps four on north side of entrance from Santa Rita, if built. If Santa Rita not accessible, will have to rely on access from parking lot to CET and theater.
Public Consensus: Retain parking within the Forest Theater, against perimeter parking on Mt. View Av. and Guadalupe St. Mark parking spaces with natural materials favored.
3. **CONCESSION STAND: Utilize what we have although we need weather tight coverings to protect the two serving windows. Shield lights from audience. Add ticket booth to this building. Do away with the proposed concession/ticket booth.
Public Consensus: Remove existing Box Office and add Box Office to existing Concession Stand.
4. RESTROOMS: Can be moved closer to one another by doing away with the flex space or just construct one building with separate entrances. Why are entrances to both at the south end: shouldn’t they both face NE? Since there is a public restroom inside CET, moving entrances to the north end would be more advantageous for the stage patrons, but remain accessible to CET. Add 911 phone to outside of restrooms.
Correction: Marcia Gambrell Hovick, Children’s Experimental Theatre (CET) Artistic Director, stated there was not a “public restroom inside CET;” there is a restroom, but it is not available to the public.
Public Consensus: Additional restroom facilities needed. Inadequate information about Flex Space between Men’s & Women’s Restrooms to form consensus.
5. ACCESS FROM SANTA RITA: As drawn, this road would provide the ADA access to allow tickets to be picked up easily. Some handicapped parking can be on the north side of this access road inside the fence. Would there need to be an ADA ramp from here to seating area?
Public Consensus: Provide ADA access from Santa Rita St. to the Forest Theater.
6. STAGE: Build as shown, except don’t build (at least initially) the “optional additional space” room shown on the Under-Seating fold-out. What is cost if this room is built now?
Public Consensus: Existing Stage area inadequate; need more than 1 toilet and 1 sink for actors.
7. UNDER-SEATING SPACE: Eliminate the under-seating corridor.
8. CONTROL BOOTH: If possible, eliminate the underground level of the control booth and use instead the area to the east for storage.
Public Consensus: Eliminate underground corridor. Inadequate information about requirement for transformers underground to form consensus.
9. LIGHTS AND SOUND: Plans seem to be fine. Please provide number and height of poles and number and size of speakers.
Public Consensus: Uncertainty about whether there exists a decibel cap value.
10. LANDSCAPING: Native drought resistant plants and trees are needed for the whole enclosure and particularly along the back to dampen sound and light of theater from existing homes. Removal of sick and dying growth noted above #2.
11. ** SEATING: Could this be phased and done after everything else or left with the center aisle and use the same concrete foundations, just new bench seats that have a more comfortable back angle? Where is ADA seating and how many seats have been allocated for them? Please provide costs for both seating plans: as is and new lower area with two aisles.
** Indicates cost savings from original proposal.
Objectives for Meeting:
1. Obtain public and council input.
2. Reach consensus on as many items as possible.
Next Steps:
1. Send revisions to McCann for redraft/comment
2. Request breakdown of costs for revisions
FOREST THEATER & GROUNDS
MASTER PLAN PROGRAM ELEMENTS
FOREST THEATRE, CARMEL
PROPOSED AUDIENCE CENTER
07-23-07
COMMENTS:
• Public dissatisfaction and opposition to the Forest Theater Foundation/McCann Pre-Design for the Forest Theater prompted Mayor Sue McCloud to preempt further growing dissatisfaction and opposition by formulating her “Proposed Changes to the Forest Theater Plan.” Her “Proposed Changes to the Forest Theater Plan” consisted of 11 areas, namely FENCE, PARKING, CONCESSION STAND, RESTROOMS, ACCESS FROM SANTA RITA, STAGE, UNDER-SEATING SPACE, CONTROL BOOTH, LIGHTS AND SOUND, LANDSCAPING and SEATING, which made up the agenda for the Special City Council Meeting/Workshop.
• Approximately 75 individuals attended the Special City Council Meeting/Workshop and about 62 comments were made by members of the public; public consensus was achieved on a majority of items. The duration of the Special City Council Meeting/Workshop was approximately 2 hours 30 minutes.
• One member of the public suggested that prior to expending $65,000 for the Schematic Design, another Pre-Design with elevations should be completed and distributed for public review and another public meeting scheduled and held for public comment purposes.
• The majority of public comments reflected the audience members’ vision of the Forest Theater as a community theater in a rustic setting of towering Monterey Pine trees. Hence, preserving the traditional Forest Theater ambiance means a renovation plan for essential, affordable improvements, such as additional restrooms for actors and patrons, ADA compliance measures, et cetera.
• Contrary to comments made by City Administrator Rich Guillen about Richard F. McCann, President, Principle-In-Charge, particularly with respect to his places of architectural practice, Richard F. McCann’s “independent professional career began in 1976 when he established R.F. McCann & Company Architects in Seattle and later a second office in Hollywood, both operating as full service firms providing all phases of performance facility design. California proved fruitful, the Seattle office was closed, and in 1988 he moved the Hollywood firm to Pasadena where he remains an integral part of all design and technical components on every project.”
• Kudos to the Carmel Residents Association for mobilizing public support for a “far more simple solution than the large-scale, multi-million-dollar proposal by the Forest Theater Foundation.”
• Kudos to the prescient blogger who wrote, “Yes - my prediction is that the Foundation won't actually give a presentation. The whole thing will be run by Sue, who will dictate who talks and for how long. Then "policy direction" will (conveniently) be whatever Sue decides! She just wants to get something done by 2010, whether or not it's good for the community or the theatre groups. Another prediction - she'll do anything to protect her stupid concession stand, even though the theatre groups all (apparently) think it not working. Otherwise, why would they have asked Mr. Macann to redesign it.”
City of Carmel-by-the-Sea
Speical City Council Meeting
Thursday, June 19, 2008
On site at the Forest Theater
On Mountain View at Santa Rita
IV. Orders of Council
A. Workshop to receive input and provide policy direction on the proposed Forest Theater Renovation Project.
Proposed Changes to the Forest Theater Plan
Context: on May 25th, Rich, Paula and Sue toured the Theater with the McCann plans in hand. Following summarizes our thoughts, input we have had to date form the public and our concern for costs:
1. FENCE: Remain with a 6’ perimeter grape-stake fence. Could be double-sided. Add green to soften fence and absorb some sound. Grape-stake is more “Carmel” but will not provide the barrier for sound and light flowing out or coming in that a stucco fence would.
Public Consensus: Retain perimeter grape-stake fence; by hand count, majority favored a double-sided grape-stake fence. Vegetation planted in Forest Theater also favored to soften fence.
2. **PARKING: Stay with parking inside the fence. Reconfigure whole area for maximum parking and move trash enclosure elsewhere to better landscape the area for forest and maximum parking. Remove and replace shrubs, sick and dying trees. Mark stalls for parking spaces as opposed to current haphazard system. Omit on-street parking plan on Mt. View and Guadalupe, but leave existing parking on those two streets. There is the potential for two ADA spaces near CET’s entrance as well as perhaps four on north side of entrance from Santa Rita, if built. If Santa Rita not accessible, will have to rely on access from parking lot to CET and theater.
Public Consensus: Retain parking within the Forest Theater, against perimeter parking on Mt. View Av. and Guadalupe St. Mark parking spaces with natural materials favored.
3. **CONCESSION STAND: Utilize what we have although we need weather tight coverings to protect the two serving windows. Shield lights from audience. Add ticket booth to this building. Do away with the proposed concession/ticket booth.
Public Consensus: Remove existing Box Office and add Box Office to existing Concession Stand.
4. RESTROOMS: Can be moved closer to one another by doing away with the flex space or just construct one building with separate entrances. Why are entrances to both at the south end: shouldn’t they both face NE? Since there is a public restroom inside CET, moving entrances to the north end would be more advantageous for the stage patrons, but remain accessible to CET. Add 911 phone to outside of restrooms.
Correction: Marcia Gambrell Hovick, Children’s Experimental Theatre (CET) Artistic Director, stated there was not a “public restroom inside CET;” there is a restroom, but it is not available to the public.
Public Consensus: Additional restroom facilities needed. Inadequate information about Flex Space between Men’s & Women’s Restrooms to form consensus.
5. ACCESS FROM SANTA RITA: As drawn, this road would provide the ADA access to allow tickets to be picked up easily. Some handicapped parking can be on the north side of this access road inside the fence. Would there need to be an ADA ramp from here to seating area?
Public Consensus: Provide ADA access from Santa Rita St. to the Forest Theater.
6. STAGE: Build as shown, except don’t build (at least initially) the “optional additional space” room shown on the Under-Seating fold-out. What is cost if this room is built now?
Public Consensus: Existing Stage area inadequate; need more than 1 toilet and 1 sink for actors.
7. UNDER-SEATING SPACE: Eliminate the under-seating corridor.
8. CONTROL BOOTH: If possible, eliminate the underground level of the control booth and use instead the area to the east for storage.
Public Consensus: Eliminate underground corridor. Inadequate information about requirement for transformers underground to form consensus.
9. LIGHTS AND SOUND: Plans seem to be fine. Please provide number and height of poles and number and size of speakers.
Public Consensus: Uncertainty about whether there exists a decibel cap value.
10. LANDSCAPING: Native drought resistant plants and trees are needed for the whole enclosure and particularly along the back to dampen sound and light of theater from existing homes. Removal of sick and dying growth noted above #2.
11. ** SEATING: Could this be phased and done after everything else or left with the center aisle and use the same concrete foundations, just new bench seats that have a more comfortable back angle? Where is ADA seating and how many seats have been allocated for them? Please provide costs for both seating plans: as is and new lower area with two aisles.
** Indicates cost savings from original proposal.
Objectives for Meeting:
1. Obtain public and council input.
2. Reach consensus on as many items as possible.
Next Steps:
1. Send revisions to McCann for redraft/comment
2. Request breakdown of costs for revisions
FOREST THEATER & GROUNDS
MASTER PLAN PROGRAM ELEMENTS
FOREST THEATRE, CARMEL
PROPOSED AUDIENCE CENTER
07-23-07
COMMENTS:
• Public dissatisfaction and opposition to the Forest Theater Foundation/McCann Pre-Design for the Forest Theater prompted Mayor Sue McCloud to preempt further growing dissatisfaction and opposition by formulating her “Proposed Changes to the Forest Theater Plan.” Her “Proposed Changes to the Forest Theater Plan” consisted of 11 areas, namely FENCE, PARKING, CONCESSION STAND, RESTROOMS, ACCESS FROM SANTA RITA, STAGE, UNDER-SEATING SPACE, CONTROL BOOTH, LIGHTS AND SOUND, LANDSCAPING and SEATING, which made up the agenda for the Special City Council Meeting/Workshop.
• Approximately 75 individuals attended the Special City Council Meeting/Workshop and about 62 comments were made by members of the public; public consensus was achieved on a majority of items. The duration of the Special City Council Meeting/Workshop was approximately 2 hours 30 minutes.
• One member of the public suggested that prior to expending $65,000 for the Schematic Design, another Pre-Design with elevations should be completed and distributed for public review and another public meeting scheduled and held for public comment purposes.
• The majority of public comments reflected the audience members’ vision of the Forest Theater as a community theater in a rustic setting of towering Monterey Pine trees. Hence, preserving the traditional Forest Theater ambiance means a renovation plan for essential, affordable improvements, such as additional restrooms for actors and patrons, ADA compliance measures, et cetera.
• Contrary to comments made by City Administrator Rich Guillen about Richard F. McCann, President, Principle-In-Charge, particularly with respect to his places of architectural practice, Richard F. McCann’s “independent professional career began in 1976 when he established R.F. McCann & Company Architects in Seattle and later a second office in Hollywood, both operating as full service firms providing all phases of performance facility design. California proved fruitful, the Seattle office was closed, and in 1988 he moved the Hollywood firm to Pasadena where he remains an integral part of all design and technical components on every project.”
• Kudos to the Carmel Residents Association for mobilizing public support for a “far more simple solution than the large-scale, multi-million-dollar proposal by the Forest Theater Foundation.”
• Kudos to the prescient blogger who wrote, “Yes - my prediction is that the Foundation won't actually give a presentation. The whole thing will be run by Sue, who will dictate who talks and for how long. Then "policy direction" will (conveniently) be whatever Sue decides! She just wants to get something done by 2010, whether or not it's good for the community or the theatre groups. Another prediction - she'll do anything to protect her stupid concession stand, even though the theatre groups all (apparently) think it not working. Otherwise, why would they have asked Mr. Macann to redesign it.”
Tuesday, June 17, 2008
Attendance Encouraged: Community Workshop on the Forest Theater Foundation/Richard F. McCann Forest Theater Design
ABSTRACT: WHAT, WHEN & WHERE, MISCELLANEOUS & COMMENTS as pertains to the Community Workshop on the Forest Theater Foundation/Richard F. McCann Forest Theater Design are presented. Photos are shown of trees within the excavation zone (18 feet) for the proposed perimeter parking along Mountain View Av. and Guadalupe St. Selected pertinent REFERENCES from the City’s General Plan/Coastal Land Use Plan Coastal Resource Management Element are reproduced.
WHAT:
SPECIAL CITY COUNCIL MEETING
Workshop Format
WHEN: Thursday, June 19, 2008 @ 4:30 P.M.
WHERE: Forest Theater
Mountain View Av. & Santa Rita St.
Carmel-by-the-Sea, CA.
MISCELLANEOUS:
The Forest Theater is the “oldest outdoor community theater west of the Rockies,” established in 1910.
The Forest Theater Outdoor Stage, a Theatre under the Stars, is a unique open-air theatre. Framed by towering Monterey Pine trees and Coast Live Oak trees, audience members view dramatic performances under the stars and moonlight.
History of the Forest Theater
COMMENTS:
• Carmelites are encouraged to attend this Workshop to voice your visions for updating the Forest Theater, your concerns about the Forest Theater Foundation/Richard F. McCann Design, et cetera.
• The Forest Theater Project must be consistent with the City’s General Plan/Coastal Land Use Plan, including issues involving “significant trees.”
PHOTOS:
View of Forest Theater Trees in proposed excavation zone from Guadalupe St. near Guadalupe St. Gate along Mountain View Av. to the Mountain View Av. Gate at corner of Santa Rita St.
“Significant” Monterey Pine Trees along Guadalupe St.
View of Monterey Pine Trees along Mt. View Av. near Guadalupe St. Gate
View of Coast Live Oaks Trees
View of Coast Live Oak Trees
View of “Significant” Monterey Pine Tree
View of Cypress Tree
View of Monterey Pine Tree near Mountain View Av. Entrance
View of Site of Proposed Perimeter Parking along Mountain View Av.
View of Site of Proposed Perimeter Parking along Guadalupe St.
REFERENCES:
General Plan/Coastal Land Use Plan Coastal Resource Management Element
P5-59 Avoid encroachment within the root protection zone of significant trees. Removal of significant live Monterey pine trees to facilitate residential development is prohibited unless necessary to provide viable economic use or protect public health and safety. (LUP)
O5-42 Recognize the natural resources and scenic quality of Carmel as a coastal community and allow uses in the community that are consistent with local needs and the California Coastal Act. (LUP)
P5-182 Continue to ensure that development, whether commercial or residential, does not diminish the village character by excessively blocking important public views, private views or disturbing natural topography, significant trees, or native growth. (LUP)
P5-209 New development shall be sited and designed on the most suitable portion of the site while ensuring protection and preservation of natural and sensitive site resources by providing for the following:
Minimizing disturbance of natural areas, including significant trees, native vegetation, and root structures;
WHAT:
SPECIAL CITY COUNCIL MEETING
Workshop Format
WHEN: Thursday, June 19, 2008 @ 4:30 P.M.
WHERE: Forest Theater
Mountain View Av. & Santa Rita St.
Carmel-by-the-Sea, CA.
MISCELLANEOUS:
The Forest Theater is the “oldest outdoor community theater west of the Rockies,” established in 1910.
The Forest Theater Outdoor Stage, a Theatre under the Stars, is a unique open-air theatre. Framed by towering Monterey Pine trees and Coast Live Oak trees, audience members view dramatic performances under the stars and moonlight.
History of the Forest Theater
COMMENTS:
• Carmelites are encouraged to attend this Workshop to voice your visions for updating the Forest Theater, your concerns about the Forest Theater Foundation/Richard F. McCann Design, et cetera.
• The Forest Theater Project must be consistent with the City’s General Plan/Coastal Land Use Plan, including issues involving “significant trees.”
PHOTOS:
View of Forest Theater Trees in proposed excavation zone from Guadalupe St. near Guadalupe St. Gate along Mountain View Av. to the Mountain View Av. Gate at corner of Santa Rita St.
“Significant” Monterey Pine Trees along Guadalupe St.
View of Monterey Pine Trees along Mt. View Av. near Guadalupe St. Gate
View of Coast Live Oaks Trees
View of Coast Live Oak Trees
View of “Significant” Monterey Pine Tree
View of Cypress Tree
View of Monterey Pine Tree near Mountain View Av. Entrance
View of Site of Proposed Perimeter Parking along Mountain View Av.
View of Site of Proposed Perimeter Parking along Guadalupe St.REFERENCES:
General Plan/Coastal Land Use Plan Coastal Resource Management Element
P5-59 Avoid encroachment within the root protection zone of significant trees. Removal of significant live Monterey pine trees to facilitate residential development is prohibited unless necessary to provide viable economic use or protect public health and safety. (LUP)
O5-42 Recognize the natural resources and scenic quality of Carmel as a coastal community and allow uses in the community that are consistent with local needs and the California Coastal Act. (LUP)
P5-182 Continue to ensure that development, whether commercial or residential, does not diminish the village character by excessively blocking important public views, private views or disturbing natural topography, significant trees, or native growth. (LUP)
P5-209 New development shall be sited and designed on the most suitable portion of the site while ensuring protection and preservation of natural and sensitive site resources by providing for the following:
Minimizing disturbance of natural areas, including significant trees, native vegetation, and root structures;
Sunday, June 15, 2008
Collaboration between Architect, Carmelites, City & Forest Theater Foundation Key to the Success of Forest Theater Design
ABSTRACT: Internet research yielded information about the design process; specifically the sequential steps in the design process and a brief description of each step. In general terms, the design process consists of Scoping, Feasibility, PROGRAMMING, SCHEMATIC DESIGN, DESIGN DEVELOPMENT, CONSTRUCTION DOCUMENTS and CONSTRUCTION OBSERVATION. The generic design process information is presented as a guide to the design process used by Richard F. McCann for the Forest Theater. Informational and opinion COMMMENTS are presented.
SYNOPSIS OF DESIGN PROCESS:
PROGRAMMING: GATHERING INFORMATION
Architecture is collaboration between architects, clients, sites and materials; yet long after the architect departs, the client, site and new structure remain. In order to ensure our buildings are successful expressions of our client's desires, we begin each project by learning as much as possible about you and the elements that will contribute to the project.
We generally begin by interviewing you; listening to you describe your needs, dreams, and patterns of living. You may be asked to convey moods you are looking to capture, materials and textures you like, and may find it helpful to provide us with drawings or photographs of spaces or houses you admire.
At the end of the programming stage, we will prepare a list of intentions and rough sketches of spatial adjacencies specifically derived from you and your site.
SCHEMATIC DESIGN: EXPANDING IDEAS
During schematic design, we formulate a concept -- a theme -- which turns our written description and adjacent diagram into spatial definition. This theme, much like the topic sentence in a paragraph, directs our design work. We now begin to create rough drawings that explore scale, appearance, and adjacencies. The form and extent of the project emerges from these studies.
Schematic design is perhaps the most important time we spend interacting with clients. At this stage, we have frequent meetings in order to keep clients abreast of our work and direction. During these meetings, we present drawings that describe design ideas with respect to your budget. In addition to plans, elevations and sections -- drawings used to communicate among design professionals and contractors -- we prepare perspective drawings and models which we find to be more useful for visual communication with clients. These drawings are intended to convey potential room locations, placement of doors and windows, as well as new furniture arrangements.
We provide several options for organizing space to meet your functional needs, highlighting advantages and disadvantages of each. We also introduce you to new construction methods, materials, and alternative uses of space. Throughout schematic design we expand your design options as well as challenge your and our own assumptions to ensure that the project design is exactly what you want.
DESIGN DEVELOPMENT: EDITING IDEAS
After reviewing the options completed in schematic design, we all work together to choose a future design direction. In most cases, we find that the chosen direction is a compilation of several ideas from the schematic design phase. At this point, we continue to define -- through plans, elevations and sections -- the size of rooms, types of materials, and exact placement of the building. In addition, we begin perspective sketches of details, as well as more refined perspectives of the project as a whole.
During this phase, we study the whole building as a system, including specific construction issues which may affect the final project. Just as the intangibles of architecture are important to you -- your favorite place where the sun streams in during February -- the tangibles are just as crucial. What is the most appropriate heating system? What is the best roofing in this climate?
We ask and answer these questions with you. During this phase, a fairly accurate cost of construction may be obtained from the drawings we prepare.
CONSTRUCTION DOCUMENTS: DOCUMENTS FOR THE CONTRACTOR
In order to convey all of the discussions, decisions and drawings that result from programming, schematic design, and design development as precisely as possible, a set of detailed documents are prepared. This set informs the builder of the appearance and construction detail of the trim, built-ins, doors, and surface elements. These documents outline the expected level of performance and quality, both in written and drawn format.
Construction documents ensure the final product matches the product you ultimately envisioned after working through the design process. They also ensure the bids you receive from contractors reflect the details and quality you expect. In addition to securing design decisions made by you and the architect, construction documents also minimize change orders and stressful snap-judgments made on the job site.
At the end of this stage, we continue to work with you, as your advocate, to select a contractor (when necessary) and/or sub-contractors.
CONSTRUCTION OBSERVATION: THE ARCHITECT AS ADVOCATE
During this stage we operate as our clients' advocate to ensure work is performed to the standards and quality described in the contractual documents we prepared. As part of our role, we answer contractors' questions, communicate details when requested and make regular job site visits. Since the actual construction is often a busy and stressful time for our clients, our presence during construction is usually appreciated.
(Source: LOCUS ARCHITECTURE, http://www.locusarchitecture.com/)
COMMENTS:
• Generally speaking, prior to the SCHEMATIC DESIGN, PROGRAMMING: GATHERING INFORMATION is accomplished. PROGRAMMING: GATHERING INFORMATION means not only the architect listening to his clients concerns, et cetera, but the beginning of collaboration between the architect and his clients towards a successful conclusion.
• Generally speaking, SCHEMATIC DESIGN is “perhaps the most important time” spent interacting with clients. “At this stage, we have frequent meetings in order to keep clients abreast of our work and direction.”
• In the “Understanding Design” section of R.F. McCann & Company Architects website, it states, “Design work doesn’t begin until we are confident we understand the parameters of the task and develop a clear understanding of client priorities.”
• In the “Firm Profile” section of R.F. McCann & Company Architects website, it states “R. F. McCann & Company Architects is successful for two reasons - superior design and superior client relations. Design as we practice it is evolutionary, benefiting from continuous participation with the client, consultation with interest groups, and preemptive involvement with jurisdictional agencies.”
• Thus far in the process, the perception created by the Forest Theater Foundation and Theatre Architect Richard F. McCann, based on their public interactions with Carmelites, is that the “client” for the Forest Theater is the Forest Theater Foundation when in actuality Richard F. McCann’s “clients” are Carmelites, the City which owns the property in trust for Carmelites and the Forest Theater Foundation. In other words, the design process has not been characterized as of yet as a collaboration between Richard F. McCann, Carmelites, the City and the Forest Theater Foundation. Furthermore, for any Forest Theatre project to be successful there must be a collaborative process whereupon all parties understand the process, know their concerns are being addressed in the design and feel the final outcome is derived from consensual agreement on all the design issues.
SYNOPSIS OF DESIGN PROCESS:
PROGRAMMING: GATHERING INFORMATION
Architecture is collaboration between architects, clients, sites and materials; yet long after the architect departs, the client, site and new structure remain. In order to ensure our buildings are successful expressions of our client's desires, we begin each project by learning as much as possible about you and the elements that will contribute to the project.
We generally begin by interviewing you; listening to you describe your needs, dreams, and patterns of living. You may be asked to convey moods you are looking to capture, materials and textures you like, and may find it helpful to provide us with drawings or photographs of spaces or houses you admire.
At the end of the programming stage, we will prepare a list of intentions and rough sketches of spatial adjacencies specifically derived from you and your site.
SCHEMATIC DESIGN: EXPANDING IDEAS
During schematic design, we formulate a concept -- a theme -- which turns our written description and adjacent diagram into spatial definition. This theme, much like the topic sentence in a paragraph, directs our design work. We now begin to create rough drawings that explore scale, appearance, and adjacencies. The form and extent of the project emerges from these studies.
Schematic design is perhaps the most important time we spend interacting with clients. At this stage, we have frequent meetings in order to keep clients abreast of our work and direction. During these meetings, we present drawings that describe design ideas with respect to your budget. In addition to plans, elevations and sections -- drawings used to communicate among design professionals and contractors -- we prepare perspective drawings and models which we find to be more useful for visual communication with clients. These drawings are intended to convey potential room locations, placement of doors and windows, as well as new furniture arrangements.
We provide several options for organizing space to meet your functional needs, highlighting advantages and disadvantages of each. We also introduce you to new construction methods, materials, and alternative uses of space. Throughout schematic design we expand your design options as well as challenge your and our own assumptions to ensure that the project design is exactly what you want.
DESIGN DEVELOPMENT: EDITING IDEAS
After reviewing the options completed in schematic design, we all work together to choose a future design direction. In most cases, we find that the chosen direction is a compilation of several ideas from the schematic design phase. At this point, we continue to define -- through plans, elevations and sections -- the size of rooms, types of materials, and exact placement of the building. In addition, we begin perspective sketches of details, as well as more refined perspectives of the project as a whole.
During this phase, we study the whole building as a system, including specific construction issues which may affect the final project. Just as the intangibles of architecture are important to you -- your favorite place where the sun streams in during February -- the tangibles are just as crucial. What is the most appropriate heating system? What is the best roofing in this climate?
We ask and answer these questions with you. During this phase, a fairly accurate cost of construction may be obtained from the drawings we prepare.
CONSTRUCTION DOCUMENTS: DOCUMENTS FOR THE CONTRACTOR
In order to convey all of the discussions, decisions and drawings that result from programming, schematic design, and design development as precisely as possible, a set of detailed documents are prepared. This set informs the builder of the appearance and construction detail of the trim, built-ins, doors, and surface elements. These documents outline the expected level of performance and quality, both in written and drawn format.
Construction documents ensure the final product matches the product you ultimately envisioned after working through the design process. They also ensure the bids you receive from contractors reflect the details and quality you expect. In addition to securing design decisions made by you and the architect, construction documents also minimize change orders and stressful snap-judgments made on the job site.
At the end of this stage, we continue to work with you, as your advocate, to select a contractor (when necessary) and/or sub-contractors.
CONSTRUCTION OBSERVATION: THE ARCHITECT AS ADVOCATE
During this stage we operate as our clients' advocate to ensure work is performed to the standards and quality described in the contractual documents we prepared. As part of our role, we answer contractors' questions, communicate details when requested and make regular job site visits. Since the actual construction is often a busy and stressful time for our clients, our presence during construction is usually appreciated.
(Source: LOCUS ARCHITECTURE, http://www.locusarchitecture.com/)
COMMENTS:
• Generally speaking, prior to the SCHEMATIC DESIGN, PROGRAMMING: GATHERING INFORMATION is accomplished. PROGRAMMING: GATHERING INFORMATION means not only the architect listening to his clients concerns, et cetera, but the beginning of collaboration between the architect and his clients towards a successful conclusion.
• Generally speaking, SCHEMATIC DESIGN is “perhaps the most important time” spent interacting with clients. “At this stage, we have frequent meetings in order to keep clients abreast of our work and direction.”
• In the “Understanding Design” section of R.F. McCann & Company Architects website, it states, “Design work doesn’t begin until we are confident we understand the parameters of the task and develop a clear understanding of client priorities.”
• In the “Firm Profile” section of R.F. McCann & Company Architects website, it states “R. F. McCann & Company Architects is successful for two reasons - superior design and superior client relations. Design as we practice it is evolutionary, benefiting from continuous participation with the client, consultation with interest groups, and preemptive involvement with jurisdictional agencies.”
• Thus far in the process, the perception created by the Forest Theater Foundation and Theatre Architect Richard F. McCann, based on their public interactions with Carmelites, is that the “client” for the Forest Theater is the Forest Theater Foundation when in actuality Richard F. McCann’s “clients” are Carmelites, the City which owns the property in trust for Carmelites and the Forest Theater Foundation. In other words, the design process has not been characterized as of yet as a collaboration between Richard F. McCann, Carmelites, the City and the Forest Theater Foundation. Furthermore, for any Forest Theatre project to be successful there must be a collaborative process whereupon all parties understand the process, know their concerns are being addressed in the design and feel the final outcome is derived from consensual agreement on all the design issues.
Thursday, June 12, 2008
City Council Member Karen Sharp: “one of the things that we’re most concerned about is the health and safety of our actors, our community”
ABSTRACT: At the Special City Council Meeting on May 20, 2008, during City Council deliberations on the Forest Theater Pre-Design by theatre architect Richard F. McCann, City Council Member Karen Sharp voiced concerns about “health and safety.” A COMMENT is made regarding Karen Sharp and her articulated concerns about “health and safety.” And a REFERENCE hyperlink is provided.
Carmel-by-the-Sea
SPECIAL CITY COUNCIL MEETING
Special Meeting
Tuesday, May 20, 2008
VI. Orders of Council
A. Receive conceptual design presentation from the Forest Theater Foundation and provide policy direction
After statements from Community Services Director Christie Miller and Forest Theater Foundation President Walt deFaria, the Forest Theater Pre-Design presentation by Richard F. McCann and public comment, City Council Members deliberated on the Forest Theater Pre-Design. During deliberations, City Council Member Karen Sharp stated, as follows:
“...I think we all are in agreement, one of the things that we’re most concerned about is the health and safety of our actors, our community and so forth and I think the stage, the Children/s Experimental Theatre is imperative, it is imperative that those two areas are really looked at very carefully and for the health and safety also the bathrooms and the ADA compliance...”
COMMENT:
• Given City Council Member Karen Sharp’s concern about “health and safety” issues, it is noteworthy that Karen Sharp, a daughter of a firefighter, has not assumed a leadership role and vocally advocated for the Carmel Professional Firefighters by supporting our Firefighters in their desire to consolidate the Carmel Fire Department with Monterey and Pacific Grove Fire Departments.
REFERENCE:
Archived Video
Special City Council Meeting
May 20, 2008
(Beginning 1:36:22 – 1:37:48 Ending)
Carmel-by-the-Sea
SPECIAL CITY COUNCIL MEETING
Special Meeting
Tuesday, May 20, 2008
VI. Orders of Council
A. Receive conceptual design presentation from the Forest Theater Foundation and provide policy direction
After statements from Community Services Director Christie Miller and Forest Theater Foundation President Walt deFaria, the Forest Theater Pre-Design presentation by Richard F. McCann and public comment, City Council Members deliberated on the Forest Theater Pre-Design. During deliberations, City Council Member Karen Sharp stated, as follows:
“...I think we all are in agreement, one of the things that we’re most concerned about is the health and safety of our actors, our community and so forth and I think the stage, the Children/s Experimental Theatre is imperative, it is imperative that those two areas are really looked at very carefully and for the health and safety also the bathrooms and the ADA compliance...”
COMMENT:
• Given City Council Member Karen Sharp’s concern about “health and safety” issues, it is noteworthy that Karen Sharp, a daughter of a firefighter, has not assumed a leadership role and vocally advocated for the Carmel Professional Firefighters by supporting our Firefighters in their desire to consolidate the Carmel Fire Department with Monterey and Pacific Grove Fire Departments.
REFERENCE:
Archived Video
Special City Council Meeting
May 20, 2008
(Beginning 1:36:22 – 1:37:48 Ending)
Tuesday, June 03, 2008
OVERALL IMPRESSIONS OF FOREST THEATER PRE-DESIGN STUDY & PROCESS
• In terms of the process of renovating the Forest Theatre, the current process involving the McCann Forest Theater Pre-Design Study is substantively different than the process engaged in years ago with the Community & Cultural Commission and the Congleton Forest Theater Facility Master Plan; that is, the latter was characterized by multiple public hearings and public input over a lengthy period at the Community & Cultural Commission level, whereas the former has had minimal public input to date. Moreover, the City’s 12 month delay in placing the McCann FOREST THEATER PREDESIGN STUDY (dated May 7, 2007) on a City Council agenda and making the STUDY available to the public, combined with the Forest Theater Foundation’s and the City’s insistence that renovation be completed by 2010, the centennial of the Forest Theatre, has had the effect of polarizing the community into two groups. One group is represented by the Forest Theater Foundation and their proponents who are by and large in favor of the McCann Forest Theater Pre-Design and the process. And the other group who is represented by the four speakers at the Special City Council meeting on May 20, 2008, namely, Carolyn Hardy, Monte Miller, Skip Lloyd and Constance Fisher who articulated their preferences for the preservation of the rustic ambiance of the Forest Theatre and a desire for more of a collaboration between the Forest Theatre Foundation, theatre architect Richard McCann, the City and the public at large.
Lastly, the City’s intent to budget $65,000 for the Schematic Design of the Forest Theatre renovation by Richard McCann and the City Council’s request for an itemization of items and their respective costs indicates that the City Council, at a later date, will ultimately determine the elements of the Forest Theatre renovation based on the dollars the City Council is willing to expend for the renovation, no doubt considerably less than Richard McCann’s estimate of $3,990,000, not including infrastructure costs and architect’s and engineer’s fees.
• Interestingly, Carmelite Carolyn Hardy voiced concerns that the McCann Forest Theater Pre-Design may constitute an expansion of use and might therefore require an Environmental Impact Report. Specifically, concerns about an increase in traffic and parking congestion, an increase in noise, removal of trees, extensive excavation, site grading and fill and widening of Mountain View Avenue, enhanced amplification of voice, instrument and movies, expansion of the hardscape and mass of the buildings, new vehicular access from Santa Rita St. and Guadalupe St and increased water usage for restrooms expansion.
Notes:
Theatre architect Richard McCann’s presentation at Special City Council Meeting, May 20, 2008 (Beginning 07:58 – 53:10 Ending)
Public Speakers (Beginning 56:50 – 01:30:10 Ending)
Lastly, the City’s intent to budget $65,000 for the Schematic Design of the Forest Theatre renovation by Richard McCann and the City Council’s request for an itemization of items and their respective costs indicates that the City Council, at a later date, will ultimately determine the elements of the Forest Theatre renovation based on the dollars the City Council is willing to expend for the renovation, no doubt considerably less than Richard McCann’s estimate of $3,990,000, not including infrastructure costs and architect’s and engineer’s fees.
• Interestingly, Carmelite Carolyn Hardy voiced concerns that the McCann Forest Theater Pre-Design may constitute an expansion of use and might therefore require an Environmental Impact Report. Specifically, concerns about an increase in traffic and parking congestion, an increase in noise, removal of trees, extensive excavation, site grading and fill and widening of Mountain View Avenue, enhanced amplification of voice, instrument and movies, expansion of the hardscape and mass of the buildings, new vehicular access from Santa Rita St. and Guadalupe St and increased water usage for restrooms expansion.
Notes:
Theatre architect Richard McCann’s presentation at Special City Council Meeting, May 20, 2008 (Beginning 07:58 – 53:10 Ending)
Public Speakers (Beginning 56:50 – 01:30:10 Ending)
Monday, June 02, 2008
FOREST THEATER PREDESIGN STUDY: SECTION 5: FIRM QUALIFICATIONS
FOREST THEATRE
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 Pavilion
The 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.
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.
Sunday, June 01, 2008
FOREST THEATER PREDESIGN STUDY: SECTION 4: PHASING/COSTS/VISION
FOREST THEATRE
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 4: PHASING/COSTS/VISION
PROJECT PHASING & COSTS
$1.02 Million: AUDIENCE VISITOR CENTER
(MINIMUM 6-8 MONTHS CONSTRUCTION)
Related onsite/offsite infrastructure over and above construction: SEWER & WATER
$2.23 Million: MAINSTAGE & SEATING
(MINIMUM 8-10 MONTHS CONSTRUCTION)
Related onsite/offsite infrastructure over and above construction: POWER
$740,000: PARK/MEADOW LAND/PARKING
(MINIMUN 6-8 MONTHS CONSTRUCTION)
Related onsite/offsite infrastructure over and above construction: RECLAMATION
o Phases as suggested above coincides with current fund availability and future fund raising efforts.
o Phases can occur concurrently or staggered.
o Architect’s and engineer’s fees are over and above construction costs.
o Construction costs as shown are the architect’s opinion of costs and are calculated based on 2007 dollars.
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 4: PHASING/COSTS/VISIONPROJECT PHASING & COSTS
$1.02 Million: AUDIENCE VISITOR CENTER
(MINIMUM 6-8 MONTHS CONSTRUCTION)
Related onsite/offsite infrastructure over and above construction: SEWER & WATER
$2.23 Million: MAINSTAGE & SEATING
(MINIMUM 8-10 MONTHS CONSTRUCTION)
Related onsite/offsite infrastructure over and above construction: POWER
$740,000: PARK/MEADOW LAND/PARKING
(MINIMUN 6-8 MONTHS CONSTRUCTION)
Related onsite/offsite infrastructure over and above construction: RECLAMATION
o Phases as suggested above coincides with current fund availability and future fund raising efforts.
o Phases can occur concurrently or staggered.
o Architect’s and engineer’s fees are over and above construction costs.
o Construction costs as shown are the architect’s opinion of costs and are calculated based on 2007 dollars.
Saturday, May 31, 2008
FOREST THEATER PREDESIGN STUDY: SECTION 3: THEATER/MAINSTAGE/SEATING/SCHOOL
FOREST THEATRE
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 3: THEATER/MAINSTAGE/SEATING/SCHOOL
THEATER AUDIENCE & PRODUCTION ADAPTATIONS
Two prime considerations affect show quality and enjoyment at the Forest Theater, 1) audience comfort and 2) stage production capability.
o Audience Provisions
Audience accommodations that rank high even in the rustic setting of the out-of-doors are seating comfort (for 550 patrons, allowed at 21” spacings) and the ability to see and hear actors on the stage. Bench style seating must remain as part of the Forest Theater experience. Contours can be designed into bench seats and backs to ensure patron comfort. Row spacing of 3’-6” or greater is needed to safely enter and exit the bench rows in the absence of traditional self-rising seat cushions.
Further addressing seating, the decomposed granite surface currently used under the seats brings safety and maintenance concerns. Ultimately the solution will be to choose between one of the hard textured surfacing effects to “build” textured rocks or thin coat granular material impregnated into bitumen products laid over compacted earth. The hard surfaces can look like sand but in reality is a layer of course sand in fiberglass applied over concrete. The latter approach comes from street paving technology and uses light colored granular surfacing to give a “natural” effect.
To provide for safety, stepped aisles are proposed in place of continuous slope vertical aisles (refer to slope comparison on seating section). Stepped aisles require handhold rails down the center aisle. Additional rows are shown between the immediate crossover and the stage increasing the orchestra from the current 10-rows to 12-rows. The additional rows of seats are proposed toward the stage, increasing intimacy by allowing more patrons to sit close to the stage. Fire pits at the ante-proscenium corners of the seating form are to be maintained.
Rear-approach wheel chair seating (6-positions) is provided off the widened cross aisle to meet ratio of wheel chairs to overall capacity. It should be noted also while considering wheel chair seating that new pathways lead to the cross aisle and to the first orchestra row by winding through the trees at a gradient equal to or less than 1 in 12.
Due to the importance of sightlines for both seeing and hearing at the Forest Theater, the current incremental rise between the rows of bench seating should be maintained. Currently, the distance each row rises above the row immediately in front provides sightline clearances (over the heads of patrons in the row ahead) that exceed most theater venues of similar capacity and seating form. To connect the successive platforms based on the repeating platform widths, the slope ratio exceeds State of California as well as other code standards used in the USA. For accessibility (ADA regulations) as well as patron safety and owner liability, stepped aisles are being recommended on vertical aisles through the Forest Theater seating form.
Consideration of sightlines has further lead to recommending elimination of the single center aisle in favor of two vertical aisles (with steps) spaced symmetrically each side of the center at a distance that allows approximately 14 patrons to be seated on continuous benches between each new vertical aisle.
o Stage Production Provisions
Stage production is the counterpart to audience comfort and generally begins with the stage proper and then involves backstage accommodations for performers plus the delivery systems quality creative lighting effects and reinforcement and enhancement of music and speech.
Expanded “stage-level” and “below-stage” accommodations are indicated on drawings which follow this text. Note that by infilling around existing infrastructure and trees, over 20 dressing stations for chorus and principals are possible plus 2-private (star) dressing suites. Toilet and shower provisions have not been a tradition at the Forest Theater, but contract riders have become increasingly more demanding and facilities that generally follow Actors Equity regulations are recommended.
Along with dressing stations, limited crew facilities are being addressed as well. The most important single issue in planning back-stage space at the Forest Theater is the challenge of physical expansion in subtle ways that create least impact. Accordingly, it is significant that existing structure (below mainstage right) uses grade level space that is not occupied. Note that the recapture of space that currently reads as volume and mass resting on the site can, with structural upgrading, become beneficial to the small studio theater under the mainstage.
Adaptations are to include new roof enclosures over side-stage spaces at stage right and left. The roof forms are intended to recall the slope, rise and material used on new roofs over the buildings that comprise the audience center. At each side of the stage the new roof structures are intended to visually consolidate the complex of spaces of different sizes, shapes and degrees of openness into the stage. The new side-stage roofs are to further lend structural stiffness and support for each of four masts located on each side to the stage, rising a total 24-feet in height over the stage floor. Between the masts cables are intended to be suspended as needed by each show for support of scenery and lighting instruments. During periods in which the stage is not in use cables and upper portions of the masts are able to be removed and stored.
From the audience view, new sliding panels approximately 20-feet in height are to be added on stage right and left. Ability to slide the panels allows adjustment of the front portal opening thereby framing the viewing widths into the stage playing area to fit the size of each stage set. The panels are to align across the up-stage (rear) edge of the existing fire wood storage areas where wood is stock piled for use in the existing fire pits.
A modified thrust stage addition is also indicated. As part of the thrust stage concept, an orchestra pit space is intended based on additional excavation and depth in the currently unused open space fronting onto the existing stage playing area. Covering the pit is intended to acoustically contain and balance ensemble sounds for microphone pickup and electronic broadcast of vocal accompaniment via the new sound system.
o Stage Lighting
A lighting approach for the Forest Theater has been conceptualized. The approach is to provide minimal resident dimming, but to include 800amps, 3-phrase power configured into 2-company connection terminals for connecting dimmer paks or traveling company dimmers. To reduce labor and costs in setting up each show, the concept encourages using rental equipment for lighting on stage and hard wiring dimmers per circuit to lighting over the seating. A single rack of 48, 2-channel modules is completely adequate for front of house lighting positions. In addition, frontal lighting positions can also become “house-lighting” positions as needed. Dimming and transformers, plus panels and conduit matching this lighting concept require a new electrical room of approximately 500 square feet.
Lighting and electrical equipment are recommended in space shown south of the booth position on the site plan.
o Sound
Sound emanating from the shows at the Forest Theater has been a source of complaint by nearby residents. Several methods may be advocated to control sound from penetrating the boundaries of the theatre. Potential controls include the use of sound barriers and the use of special sound system components.
Barriers in the form of fence construction can be used to obstruct sound energy. The selection of materials coupled with height, mass and geometry are significant factors related barrier design effectiveness. Height will mainly respond to the geography of the neighborhood around the Theatre. Since residential sites exist above, below and at levels equal to the height of sound speakers that suspend about 15-feet above the mid-rows of the audience, the highest sound barriers should theoretically rise as much as 2-stories above the last row of theatre seats. Protection of sites equal to or below speaker suspension height must at least equal the height of the suspended speakers to effectively obstruct sound energy.
Sound barriers viewed in architectural context and comparable height compared to the height of various buildings on the Forest Theatre site, as well as the height of residential structures within the neighborhoods around the Theatre, may be overwhelming in scale and proportion. Compromising sound barrier height for architectural purposes substantially reduces the benefit of walls for sites above and equal in height to the speakers over the audience.
As mentioned above, sound system technology is another resource for limiting uncontrolled sound propagation beyond the boundaries of the Theatre. Principally, sound technology includes the use of multiple highly directional speakers suspended over the audience at heights lower than the norm for a single channel system. The use of multiple distributed speakers allows sound energy to be reduced at each speaker far below that used with traditional systems based on the proximity of speakers to seating.
A further benefit of multiple distributed speaker system design is concentrated and directed sound that is focused into the audience where it becomes absorbed instead of reflected or openly broadcast over areas outside the theatre. A final item to be recognized however, is that multiple speakers running reduced output in directional orientation causes sound quality to shift to the high side. This effect maintains intelligibility, and creates brilliance in the sound at the expense of low and mid-frequency sounds which include the base and harmonic instruments on the musical scale.
Numerous configurations of distributed directional speaker systems have been developed for outside applications and venues. The industry packages operational features that enable sophisticated speaker and processing equipment selections according to design criteria such as the need for balancing frequency loss as described above.
Mitigations recommended and briefly summarized here will achieve a level of control over unwanted sound propagation and a level of maximized sound coverage providing neighborhood residents and Forest Theatre audiences with a structured compromise with significant improvements over longstanding sound issues and problems.
PROPOSED MASSING OF MAINSTAGE ADDITIONS
UNDER-SEATING PRODUCTION SUPPORT SPACE
STAGE-LEVEL ADAPTIVE REUSE
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 3: THEATER/MAINSTAGE/SEATING/SCHOOLTHEATER AUDIENCE & PRODUCTION ADAPTATIONS
Two prime considerations affect show quality and enjoyment at the Forest Theater, 1) audience comfort and 2) stage production capability.
o Audience Provisions
Audience accommodations that rank high even in the rustic setting of the out-of-doors are seating comfort (for 550 patrons, allowed at 21” spacings) and the ability to see and hear actors on the stage. Bench style seating must remain as part of the Forest Theater experience. Contours can be designed into bench seats and backs to ensure patron comfort. Row spacing of 3’-6” or greater is needed to safely enter and exit the bench rows in the absence of traditional self-rising seat cushions.
Further addressing seating, the decomposed granite surface currently used under the seats brings safety and maintenance concerns. Ultimately the solution will be to choose between one of the hard textured surfacing effects to “build” textured rocks or thin coat granular material impregnated into bitumen products laid over compacted earth. The hard surfaces can look like sand but in reality is a layer of course sand in fiberglass applied over concrete. The latter approach comes from street paving technology and uses light colored granular surfacing to give a “natural” effect.
To provide for safety, stepped aisles are proposed in place of continuous slope vertical aisles (refer to slope comparison on seating section). Stepped aisles require handhold rails down the center aisle. Additional rows are shown between the immediate crossover and the stage increasing the orchestra from the current 10-rows to 12-rows. The additional rows of seats are proposed toward the stage, increasing intimacy by allowing more patrons to sit close to the stage. Fire pits at the ante-proscenium corners of the seating form are to be maintained.
Rear-approach wheel chair seating (6-positions) is provided off the widened cross aisle to meet ratio of wheel chairs to overall capacity. It should be noted also while considering wheel chair seating that new pathways lead to the cross aisle and to the first orchestra row by winding through the trees at a gradient equal to or less than 1 in 12.
Due to the importance of sightlines for both seeing and hearing at the Forest Theater, the current incremental rise between the rows of bench seating should be maintained. Currently, the distance each row rises above the row immediately in front provides sightline clearances (over the heads of patrons in the row ahead) that exceed most theater venues of similar capacity and seating form. To connect the successive platforms based on the repeating platform widths, the slope ratio exceeds State of California as well as other code standards used in the USA. For accessibility (ADA regulations) as well as patron safety and owner liability, stepped aisles are being recommended on vertical aisles through the Forest Theater seating form.
Consideration of sightlines has further lead to recommending elimination of the single center aisle in favor of two vertical aisles (with steps) spaced symmetrically each side of the center at a distance that allows approximately 14 patrons to be seated on continuous benches between each new vertical aisle.
o Stage Production Provisions
Stage production is the counterpart to audience comfort and generally begins with the stage proper and then involves backstage accommodations for performers plus the delivery systems quality creative lighting effects and reinforcement and enhancement of music and speech.
Expanded “stage-level” and “below-stage” accommodations are indicated on drawings which follow this text. Note that by infilling around existing infrastructure and trees, over 20 dressing stations for chorus and principals are possible plus 2-private (star) dressing suites. Toilet and shower provisions have not been a tradition at the Forest Theater, but contract riders have become increasingly more demanding and facilities that generally follow Actors Equity regulations are recommended.
Along with dressing stations, limited crew facilities are being addressed as well. The most important single issue in planning back-stage space at the Forest Theater is the challenge of physical expansion in subtle ways that create least impact. Accordingly, it is significant that existing structure (below mainstage right) uses grade level space that is not occupied. Note that the recapture of space that currently reads as volume and mass resting on the site can, with structural upgrading, become beneficial to the small studio theater under the mainstage.
Adaptations are to include new roof enclosures over side-stage spaces at stage right and left. The roof forms are intended to recall the slope, rise and material used on new roofs over the buildings that comprise the audience center. At each side of the stage the new roof structures are intended to visually consolidate the complex of spaces of different sizes, shapes and degrees of openness into the stage. The new side-stage roofs are to further lend structural stiffness and support for each of four masts located on each side to the stage, rising a total 24-feet in height over the stage floor. Between the masts cables are intended to be suspended as needed by each show for support of scenery and lighting instruments. During periods in which the stage is not in use cables and upper portions of the masts are able to be removed and stored.
From the audience view, new sliding panels approximately 20-feet in height are to be added on stage right and left. Ability to slide the panels allows adjustment of the front portal opening thereby framing the viewing widths into the stage playing area to fit the size of each stage set. The panels are to align across the up-stage (rear) edge of the existing fire wood storage areas where wood is stock piled for use in the existing fire pits.
A modified thrust stage addition is also indicated. As part of the thrust stage concept, an orchestra pit space is intended based on additional excavation and depth in the currently unused open space fronting onto the existing stage playing area. Covering the pit is intended to acoustically contain and balance ensemble sounds for microphone pickup and electronic broadcast of vocal accompaniment via the new sound system.
o Stage Lighting
A lighting approach for the Forest Theater has been conceptualized. The approach is to provide minimal resident dimming, but to include 800amps, 3-phrase power configured into 2-company connection terminals for connecting dimmer paks or traveling company dimmers. To reduce labor and costs in setting up each show, the concept encourages using rental equipment for lighting on stage and hard wiring dimmers per circuit to lighting over the seating. A single rack of 48, 2-channel modules is completely adequate for front of house lighting positions. In addition, frontal lighting positions can also become “house-lighting” positions as needed. Dimming and transformers, plus panels and conduit matching this lighting concept require a new electrical room of approximately 500 square feet.
Lighting and electrical equipment are recommended in space shown south of the booth position on the site plan.
o Sound
Sound emanating from the shows at the Forest Theater has been a source of complaint by nearby residents. Several methods may be advocated to control sound from penetrating the boundaries of the theatre. Potential controls include the use of sound barriers and the use of special sound system components.
Barriers in the form of fence construction can be used to obstruct sound energy. The selection of materials coupled with height, mass and geometry are significant factors related barrier design effectiveness. Height will mainly respond to the geography of the neighborhood around the Theatre. Since residential sites exist above, below and at levels equal to the height of sound speakers that suspend about 15-feet above the mid-rows of the audience, the highest sound barriers should theoretically rise as much as 2-stories above the last row of theatre seats. Protection of sites equal to or below speaker suspension height must at least equal the height of the suspended speakers to effectively obstruct sound energy.
Sound barriers viewed in architectural context and comparable height compared to the height of various buildings on the Forest Theatre site, as well as the height of residential structures within the neighborhoods around the Theatre, may be overwhelming in scale and proportion. Compromising sound barrier height for architectural purposes substantially reduces the benefit of walls for sites above and equal in height to the speakers over the audience.
As mentioned above, sound system technology is another resource for limiting uncontrolled sound propagation beyond the boundaries of the Theatre. Principally, sound technology includes the use of multiple highly directional speakers suspended over the audience at heights lower than the norm for a single channel system. The use of multiple distributed speakers allows sound energy to be reduced at each speaker far below that used with traditional systems based on the proximity of speakers to seating.
A further benefit of multiple distributed speaker system design is concentrated and directed sound that is focused into the audience where it becomes absorbed instead of reflected or openly broadcast over areas outside the theatre. A final item to be recognized however, is that multiple speakers running reduced output in directional orientation causes sound quality to shift to the high side. This effect maintains intelligibility, and creates brilliance in the sound at the expense of low and mid-frequency sounds which include the base and harmonic instruments on the musical scale.
Numerous configurations of distributed directional speaker systems have been developed for outside applications and venues. The industry packages operational features that enable sophisticated speaker and processing equipment selections according to design criteria such as the need for balancing frequency loss as described above.
Mitigations recommended and briefly summarized here will achieve a level of control over unwanted sound propagation and a level of maximized sound coverage providing neighborhood residents and Forest Theatre audiences with a structured compromise with significant improvements over longstanding sound issues and problems.
PROPOSED MASSING OF MAINSTAGE ADDITIONS
UNDER-SEATING PRODUCTION SUPPORT SPACE
STAGE-LEVEL ADAPTIVE REUSE
Friday, May 30, 2008
FOREST THEATER PREDESIGN STUDY: SECTION 2: AUDIENCE/VISITOR CENTER
FOREST THEATRE
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 2: AUDIENCE/VISITOR CENTER
AUDIENCE & VISITOR CENTER
This study proposes the Audience and Visitor Center to accommodate theater patrons during attendance at events as well as to host visitors to the Park on non-performance occasions.
Audience support accommodations are proposed using three or four small scale, detached structures, pedestrian in size and proportion and featuring multiple and varied small scale roof forms. As space moves between and around the complex of small structures, impact on the site adjacent buildings and neighborhood is significantly reduced and landscape opportunities arise to soften contrast between the natural and built environment.
The multi-structure approach to providing audience services allows grade adjustments through use of individual path approaches to each area of the Audience Center within ADA slope limits. Each small pavilion in the group setting will be sited at average elevations that follow the existing site contours by stepping down as the sites progress westward down the existing slope.
The multi-pavilion design also allows use of a planning strategy involving the nuance of curvature created by a gradual shifting of the alignments of the facades of the pavilions. Walls of the facades create visual continuity beyond the audience area thereby drawing patrons up the grade toward the south and east onto paths that access theatre seating.
A possibility beyond providing only services within the pavilion complex is to create additional multi-pavilion schemes, i.e. pavilions to serve as flex space for public use. Three pavilions aligned together forming the south edge of the audience center in the multi-pavilion configuration would permit a middle pavilion for public uses such as gatherings or exhibits. Elimination of the middle pavilion is possible as an alternate form of the multi-pavilion complex in favor of increasing open space landscape.
Pathway access past the toilet pavilions would be separated with low and mid-height landscaping to buffer wait-lines leading to the toilets from the main pedestrian area and ticket and concession sales areas. Also, separate cueing space is provided leading to the ticket sales window and concession counter on opposite sides of the sales pavilion.
VIEW OF AUDIENCE CENTER-MULTI-PAVILION COMPLEX
PROPOSED AUDIENCE CENTER
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 2: AUDIENCE/VISITOR CENTERAUDIENCE & VISITOR CENTER
This study proposes the Audience and Visitor Center to accommodate theater patrons during attendance at events as well as to host visitors to the Park on non-performance occasions.
Audience support accommodations are proposed using three or four small scale, detached structures, pedestrian in size and proportion and featuring multiple and varied small scale roof forms. As space moves between and around the complex of small structures, impact on the site adjacent buildings and neighborhood is significantly reduced and landscape opportunities arise to soften contrast between the natural and built environment.
The multi-structure approach to providing audience services allows grade adjustments through use of individual path approaches to each area of the Audience Center within ADA slope limits. Each small pavilion in the group setting will be sited at average elevations that follow the existing site contours by stepping down as the sites progress westward down the existing slope.
The multi-pavilion design also allows use of a planning strategy involving the nuance of curvature created by a gradual shifting of the alignments of the facades of the pavilions. Walls of the facades create visual continuity beyond the audience area thereby drawing patrons up the grade toward the south and east onto paths that access theatre seating.
A possibility beyond providing only services within the pavilion complex is to create additional multi-pavilion schemes, i.e. pavilions to serve as flex space for public use. Three pavilions aligned together forming the south edge of the audience center in the multi-pavilion configuration would permit a middle pavilion for public uses such as gatherings or exhibits. Elimination of the middle pavilion is possible as an alternate form of the multi-pavilion complex in favor of increasing open space landscape.
Pathway access past the toilet pavilions would be separated with low and mid-height landscaping to buffer wait-lines leading to the toilets from the main pedestrian area and ticket and concession sales areas. Also, separate cueing space is provided leading to the ticket sales window and concession counter on opposite sides of the sales pavilion.
VIEW OF AUDIENCE CENTER-MULTI-PAVILION COMPLEX
PROPOSED AUDIENCE CENTER
Thursday, May 29, 2008
FOREST THEATER PREDESIGN STUDY: SECTION 1: MEADOW LAND CONCEPT & PERIMETER PARKING
FOREST THEATRE
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 1: MEADOW LAND CONCEPT & PERIMETER PARKING
FOREST THEATER AS OPEN SPACE PARK
Continuing and preserving the identity of Forest Theater as a park is a key component of Pre-Design. Sloping terrain toward the west creates a vista when the theater and park are approached from Mountain View Avenue or the lower end of Guadalupe Street.
It is proposed to create a landscape interest on the site with revitalization of the ground form, emphasizing notable trees that stand apart from smaller scale vegetation. The open space of the park is proposed to remain accessible to all. And therefore design is proposed that favors inviting the city into the landscape by routing pedestrian circulation both through the park as well as around it. As new pathways are planned and provided, original landform should be left intact.
Of significance is that composing infrastructure elements that define space within the site date from the 1930’s Works Progress Administration program (WPA), a federal program which put unemployed depression era workers back to work. East-West orientation of the mainstage structure and audience seating is the main character-defining feature for audience patrons. Views from all seats within the bench style seating form encounter the ocean beyond the stage (with minimal or no scenery on stage).
Walking up the proposed pedestrian paths approaching the theater, it has been considered important to intentionally reduce the scale of proposed walls and roofs in comparison with the stage structure, existing trees and perceived incline to destination points such as the proposed Visitor and Audience Center and the Workshop Theater under the mainstage.
Recommended criteria for design of open space within natural areas surrounding both existing and new structures on the site include:
a. Treating all structures as man-made works of art,
b. Detailing materials and construction based on the Arts and Craft Movement,
c. Creating balance between spatial use of turf, trees and water,
d. Maintain the use of vistas as the primary aesthetic organizing element,
e. Allow for planned sequential experiences along pedestrian circulation paths,
f. Separate traffic from the natural setting,
g. Provide inviting visitor accommodations and access for individuals with disabilities,
h. Plan new artistically composed low level and small scale plantings.
Briefly reviewing the rendered west half of proposed site development note that parking (35 stalls) in accordance with concepts noted above is provided along the south and west (lower edge) of the site at street level. Pedestrian paths are located about 2-feet above street level and lead toward the studio theater and Visitor and Audience Center. Along the perimeter pathway two main types of natural settings are proposed:
o Meadowland
o Woodland
Contrasting plant colors and textures are envisioned in each area.
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 1: MEADOW LAND CONCEPT & PERIMETER PARKINGFOREST THEATER AS OPEN SPACE PARK
Continuing and preserving the identity of Forest Theater as a park is a key component of Pre-Design. Sloping terrain toward the west creates a vista when the theater and park are approached from Mountain View Avenue or the lower end of Guadalupe Street.
It is proposed to create a landscape interest on the site with revitalization of the ground form, emphasizing notable trees that stand apart from smaller scale vegetation. The open space of the park is proposed to remain accessible to all. And therefore design is proposed that favors inviting the city into the landscape by routing pedestrian circulation both through the park as well as around it. As new pathways are planned and provided, original landform should be left intact.
Of significance is that composing infrastructure elements that define space within the site date from the 1930’s Works Progress Administration program (WPA), a federal program which put unemployed depression era workers back to work. East-West orientation of the mainstage structure and audience seating is the main character-defining feature for audience patrons. Views from all seats within the bench style seating form encounter the ocean beyond the stage (with minimal or no scenery on stage).
Walking up the proposed pedestrian paths approaching the theater, it has been considered important to intentionally reduce the scale of proposed walls and roofs in comparison with the stage structure, existing trees and perceived incline to destination points such as the proposed Visitor and Audience Center and the Workshop Theater under the mainstage.
Recommended criteria for design of open space within natural areas surrounding both existing and new structures on the site include:
a. Treating all structures as man-made works of art,
b. Detailing materials and construction based on the Arts and Craft Movement,
c. Creating balance between spatial use of turf, trees and water,
d. Maintain the use of vistas as the primary aesthetic organizing element,
e. Allow for planned sequential experiences along pedestrian circulation paths,
f. Separate traffic from the natural setting,
g. Provide inviting visitor accommodations and access for individuals with disabilities,
h. Plan new artistically composed low level and small scale plantings.
Briefly reviewing the rendered west half of proposed site development note that parking (35 stalls) in accordance with concepts noted above is provided along the south and west (lower edge) of the site at street level. Pedestrian paths are located about 2-feet above street level and lead toward the studio theater and Visitor and Audience Center. Along the perimeter pathway two main types of natural settings are proposed:
o Meadowland
o Woodland
Contrasting plant colors and textures are envisioned in each area.
Wednesday, May 28, 2008
FOREST THEATER PREDESIGN STUDY by Theatre Architect R. F. McCANN: OUR VISION & STUDY OVERVIEW
ABSTRACT: Over the next six days, The Carmel-by-the-Sea WATCHDOG! will post the contents of the FOREST THEATER PREDESIGN STUDY by Theatre Architect R. F. McCANN for the FOREST THEATER FOUNDATION, dated May 7, 2007. Today, OUR VISION for an Improved Community Theater and STUDY OVERVIEW is presented. SECTION 1: MEADOW LAND CONCEPT & PERIMETER PARKING to be posted on Thursday, SECTION 2: AUDIENCE/VISITOR CENTER to be posted on Friday, SECTION 3: THEATER/MAINSTAGE SEATING/SCHOOL to be posted on Saturday, SECTION 4: PHASING/COSTS/VISION to be posted on Sunday and SECTION 5: FIRM QUALIFICATIONS to be posted on Monday.
FOREST THEATRE
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
TABLE OF CONTENTS
SECTION 1: MEADOW LAND CONCEPT & PERIMETER PARKING
SECTION 2: AUDIENCE/VISITOR CENTER
SECTION 3: THEATER/MAINSTAGE/SEATING/SCHOOL
SECTION 4: PHASING/COSTS/VISION
SECTION 5: FIRM QUALIFICATIONS
OUR VISION for an Improved Community Theater
A collaborated effort...
Forest Theater Foundation
R.F. McCann & Company Architects
DEVELOPMENT OF ACCOMODATIONS on site
- Audience Centered-Multi-Pavilion Complex
SOUND PROPAGATION beyond surrounding edges of the Forest Theater Park
PATRON COMFORT
Including Seating, Sightlines & Paths-of-Travel
ACTOR ACCOMODATIONS on the Mainstage
ACCOMODATIONS UNDER the MAINSTAGE for the Childrens’ Experimental Theater (CET)
ORCHESTRA PIT & PRODUCTION EQUIPMENT
Accommodations
STUDY OVERVIEW
The pages following this overview are an “accumulation” of criteria to be used as the basis for rehabilitation design of the Forest Theater in Carmel-by-the-Sea, California.
Pre-design for the Forest Theater considers information and operating requirements along with planning and visual imagery. Meetings and discussions with the Forest Theater Foundation have been an opportunity to focus on the role of the Forest Theater as a modern venue for entertainment and performance. Equally importance to performance has been consideration of the future of the Forest Theater as open space and as a natural habitat within the City.
The Pre-Design effort takes into account that audiences and performers have achieved and matured during the past century, far out-distancing the original audiences and users of the theater at the time of its beginning. And so, demands of performing arts redefine the size and scope of necessary adaptive rehabilitation.
R.F. McCann & Company Architects wishes to steward the process of defining a combination of facilities and identities for the Forest Theater - not dictating, but rather from listening and filtering information. The resulting model serves as a basis for adaptive rehabilitation and necessary additions and alterations.
A set of elements has been identified for continuing on to the next phase. Schematic design that is based on Pre-Design, but with specific emphasis on visual impacts of materials, scale and size of new components when added into the existing setting. Further attention is needed to botanical and biological health of plantings, trees and all features of the natural setting.
Four components make up the Sections of the Pre-Design that follow.
The Forest Theater Site as a Natural Habitat,
Parking Accommodations for Visitors and Attendees of Events,
Rest-Room Accommodations and Event Related Ticket and Concession Sales,
Theater Production Capabilities and Features.
Costs per square foot from completed projects by RFM have been adjusted for location and escalation based on cost indices of Engineering News Record to provide preliminary cost information for implementing Pre-Design concepts. A summary of costs is shown in Section-5.
When reviewing space, systems and equipment recommendations it should be kept in mind that verification of proposed building square footage requirements, soil and footing conditions of the site, and desired design composition all significantly impact cost.
FOREST THEATER & GROUNDS
MASTER PLAN PROGRAM ELEMENTS
FOREST THEATER SITE PLAN
IMMEDIATE AISLE SEATING FORM
FOREST THEATRECARMEL-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
TABLE OF CONTENTS
SECTION 1: MEADOW LAND CONCEPT & PERIMETER PARKING
SECTION 2: AUDIENCE/VISITOR CENTER
SECTION 3: THEATER/MAINSTAGE/SEATING/SCHOOL
SECTION 4: PHASING/COSTS/VISION
SECTION 5: FIRM QUALIFICATIONS
OUR VISION for an Improved Community Theater
A collaborated effort...
Forest Theater Foundation
R.F. McCann & Company Architects
DEVELOPMENT OF ACCOMODATIONS on site
- Audience Centered-Multi-Pavilion Complex
SOUND PROPAGATION beyond surrounding edges of the Forest Theater Park
PATRON COMFORT
Including Seating, Sightlines & Paths-of-Travel
ACTOR ACCOMODATIONS on the Mainstage
ACCOMODATIONS UNDER the MAINSTAGE for the Childrens’ Experimental Theater (CET)
ORCHESTRA PIT & PRODUCTION EQUIPMENT
Accommodations
STUDY OVERVIEWThe pages following this overview are an “accumulation” of criteria to be used as the basis for rehabilitation design of the Forest Theater in Carmel-by-the-Sea, California.
Pre-design for the Forest Theater considers information and operating requirements along with planning and visual imagery. Meetings and discussions with the Forest Theater Foundation have been an opportunity to focus on the role of the Forest Theater as a modern venue for entertainment and performance. Equally importance to performance has been consideration of the future of the Forest Theater as open space and as a natural habitat within the City.
The Pre-Design effort takes into account that audiences and performers have achieved and matured during the past century, far out-distancing the original audiences and users of the theater at the time of its beginning. And so, demands of performing arts redefine the size and scope of necessary adaptive rehabilitation.
R.F. McCann & Company Architects wishes to steward the process of defining a combination of facilities and identities for the Forest Theater - not dictating, but rather from listening and filtering information. The resulting model serves as a basis for adaptive rehabilitation and necessary additions and alterations.
A set of elements has been identified for continuing on to the next phase. Schematic design that is based on Pre-Design, but with specific emphasis on visual impacts of materials, scale and size of new components when added into the existing setting. Further attention is needed to botanical and biological health of plantings, trees and all features of the natural setting.
Four components make up the Sections of the Pre-Design that follow.
The Forest Theater Site as a Natural Habitat,
Parking Accommodations for Visitors and Attendees of Events,
Rest-Room Accommodations and Event Related Ticket and Concession Sales,
Theater Production Capabilities and Features.
Costs per square foot from completed projects by RFM have been adjusted for location and escalation based on cost indices of Engineering News Record to provide preliminary cost information for implementing Pre-Design concepts. A summary of costs is shown in Section-5.
When reviewing space, systems and equipment recommendations it should be kept in mind that verification of proposed building square footage requirements, soil and footing conditions of the site, and desired design composition all significantly impact cost.
FOREST THEATER & GROUNDSMASTER PLAN PROGRAM ELEMENTS
FOREST THEATER SITE PLAN
IMMEDIATE AISLE SEATING FORM
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