Boxoffice (Jan-Mar 1939)

Dallas' New Lakewood Sets a Smart Lighting Standard By Francis M. Falge* N THE new Interstate Theatre, the Lakewood, in Dallas, Texas, every consideration has been given to the application of modern materials and light sources of many kinds to produce a result that can only mean one thing — “boxoffice.” E. C. Zrenner, Electrical Engineer of the Interstate Circuit, and “Jake” Elder, Construction Supervisor, conceived the idea of “building with light” to carry out the theme of the theatre. H. F. Pettigrew, the architect, followed the plan through in admirable fashion. Everywhere light is used to attract, to decorate, to please. as well as for comfortable vision. It is interesting to note that Mr. Zrenner tried out in his laboratory all color combinations of lighting to study their effect on carpets, seating, wall colors, decorations, complexions, etc., before making definite recommendations on the type of lighting to be employed. One full section of the porcelain-enamel tower was set up and studied for color combinations. To architects, illuminating engineers, and others interested in the design and efficiency of buildings with high attraction-value, the splendid unity of modem architecture and planned lighting introduces a number of intriguing lighting applications, many of which may become more and more prevalent in future construction. A Penetrating Attraction Outside, the lighted tower exerts its own colorful attraction upon all within seeing range. Its twinkling ball at the top holds five-hundred and four 10-watt S-11 clear incandescent lamps. The beacon just beneath radiates a soft bluish light from four 400-watt Type H-1 mercury lamps and the tower itself is bathed in light by green fluorescent tubing placed behind vertical baffles, the fronts of which are lined with red luminous tubing. The letters, forming the words “Lakewood” on *Nela Park Engineering Dept., General Electric Company, Cleveland, Ohio. Silhouetted agrainst a beautiful cloud formation, the new Lakewood front with its several thousand incandescent lamps, presents a trim, modern api)earance that wins the spontaneous attention of all who see it. The foyer presents a colorful impression the moment one passes the entrance. The mirrored ceiling: produces a unique perspective above, with its border of ligrht from daylight fluorescent tubes concealed in silhouette strips with wide reflecting surfaces. The balcony foyer is set apart from the main foyer by contrasting light which employs fluorescent tubes in rich shades of blue and pink. A total of seventeen 18-inch and seventy-five 36-inch fluorescent tubes is used. each side, are made up of 2,760 clear S-11, 10-watt lamps which repeat a twinkling effect. Six 400-watt Type H-1 mercury lamps in floodlights, four on the upper tier, two on the lower, illuminate the exterior walls. One 400-watt mercury lamp glows from the small beacon at the right. The marquee is decorated by gold and green luminous tubing, featuring dual attraction boards with 10-inch cast aluminum slotted type changeable letters, in stainless steel supporting frames, lighted by three hundred and twelve 25-watt incandescent lamps. Beneath the marquee are 189 exposed 25-watt incandescent lamps arranged in rows, directing the attention to the entrance. They are interspersed with fourteen recessed reflectors using 150watt silvered bowl lamps which provide a blaze of light at the entrance. Texlite, Inc. of Dallas installed the modern lighting of the front. Within the theatre Mr. Zrenner’s studies led to other interesting results. For example, the original design called for an offset between the foyer and mezzanine ceiling. By using blue fluorescent lamps adjoining the daylight cove of the foyer proper, the mezzanine ceiling appears to Advice on Lighting Various contributors to this department, comprising outstanding authority on the subject of Theatre Lighting, will be glad to answer questions or otherwise assist in the correct solution of any lighting problems presented by our readers. Such inquiries, addressed to the editor of The Modern Theatre section, will be referred promptly to sources of information most pertinent to the problem presented. The MODERN THEATRE SECTION