Motion Picture Herald (Jan-Feb 1939)

by BEN SCHLANCER Theatre Architect and Consultant Theatre PLAN & FORM it was almost impossible ten years ago to insist on a fundamental approach to motion picture theatre planning. Two basic factors, one being that the motion picture theatre could be designed specifically for screen entertainment only, and the other being that of controlling the capacity of a single theatre within a desirable minimum, were at that time difficult to establish. Motion picture theatres constructed exclusively for the purpose of presenting screen entertainment are now built without the least hesitancy. Ten years ago they were considered by some to be an unsound investment. Motion picture theatres recently constructed having seating capacities of approximately 1,000 are now considered comparatively large. Ten years ago they would have been considered fairly small. Those of us who gave considerable thought to motion picture theatre design, knew for some time that the fundamental design approach was lacking. The motion picture itself had to mature to its present state ; the physical limitations of the projection of the 35-mm. film, and viewing the picture projected thereof, had to be realized before scientific planning could be justified. Often, scientific planning is wrongly interpreted as planning which takes into consideration only the desire to create ideal conditions. Intelligent application of scientific planning demands primarily efficient results which at the same time offer conditions as close to the ideal as practicable. The new importance of the fundamental design approach for the motion picture theatre is evidenced by the action which the Society of Motion Picture Engineers is now taking to elevate its committee on theatre structures from a sub-committee status to that of a full-fledged committee. Besides the actual structural, air-conditioning and ordinary shelter problems of the motion picture theatre, the seeing and hearing aspects are the outstanding considerations in determining form. Unfortunately, the seeing and hearing problems were dealt with individually in the past, resulting in less ideal and less efficient conditions. Latest developments show that there can be highly beneficial results in considering the seeing and hearing problems jointly. For example, it is gratifying to know that the most recent developments in floor slope design for decreasing obstruction of the view of the screen, results in a reduced cubage volume, which in turn is an aid to improving hearing conditions, besides effecting savings. To meet the new consciousness in practical theatre operation, of advancing technical standards in theatre planning, these columns have been established as regular features. Both Mr. Schlanger and Mr. Potwin are consultants on inquiries from readers seeking counsel on the planning of theatres. Placing All Seats On a Single Floor Kyi ANY of the questions recently re' " ' ceived inquire as to the relative merits of placing all seats on a single floor, or providing an upper level of seating to accommodate a portion of the seats. In the case of one inquiry, the use of an upper level of seating was the only feasible method whereby additional seats could be installed. In another case, the installation of an upper seating level was questioned as a means of improving the general form of the theatre auditorium. While physical limitations may be a reason for utilizing an upper level of seating in some instances, they should not be the guiding factor in determining whether or not such an arrangement should be resorted to in all cases. The shape of the plot, the seating capacity required, the problem of screen size versus projection conditions and acoustical considerations, are a few of the many important factors which must be considered before the correct decision can be reached. The following is a typical question from a reader relative to this particular phase of design: "I am enclosing herewith a rough plan of my 307-seat house. I would like to enlarge my house to about 450 seats, and would appreciate suggestions. I know the house is narrow. It is possible to build back to the alley, but presume with only a 25foot building the auditorium will look too long and narrow. I can put in a balcony by removing an apartment above the roof. In your estimation, how many seats can be placed in a 25-foot building with and without balcony? It might be less costly to build on another lot, although I own this building and hesitate to do that." The answer was as follows: In considering the width and length of your present structure, it would not be advisable to attempt to increase further the capacity on the basis of a single floor. The additional seats would make a single floor plan too long in shape for desirable vision and projection, would also create exceedingly unfavorable proportions from the accoustical standpoint, and make for an undesirable appearance. A mezzanine could accommodate 72 seats. Under these conditions the apartment above the auditorium would have to be removed to permit proper construction of the mezzanine. — B. S. & C. C. P. ACOUSTICS in Form & 0k ^ Decoration by C. C. POTWIN Consultant in Acoustics during the twelve-year period since sound first took its place as one of the primary functions of motion picture engineering many new developments have been realized both in sound recording and reproduction. Quality and naturalness practically equivalent to that of the original sound has been one of the outstanding achievements. When we stop to consider the amount of time, energy, and expense involved in the research work which led to these developments, it seems almost incredible that so little attention has been given to the unit of the sound transmission system through which the fullest appreciation of these developments must be realized, namely, the motion picture theatre auditorium. The quality, naturalness, and intelligibility of sound as it finally reaches the patron's ear is dependent to a very large extent upon the acoustical condition of the auditorium. If the auditorium is reverberant or subject to echo the overlapping or distinct repetition of sounds will mar and in many cases actually destroy intelligibility of reproduced speech. If, on the other hand, excessive amounts of acoustical materials are placed in the auditorium in an effort to overcome such defects, the auditorium will lack the necessary "life" or support so vital to the naturalness and proper quality of sound presentation. Progress in the science of acoustics has not lagged during the period of development of sound systems. On the contrary, new and more economical methods of acoustical design have materialized as a result of constant research and practical experience. Not only have these methods led to better hearing conditions but they have also been a contributing factor to modern architecture. New materials for the absorption of sound have also been developed — materials which are in many respects more adaptable to theatre treatment than were those available a decade ago. On the whole we might say that progress in the science of acoustics has actually kept pace with the developments in the mechanics of sound production. With the exception of a very few cases the latest methods of acoustical planning and treatment are not being reflected in present day theatre design. Through the medium of this column it is proposed to present material periodically which will be helpful to the reader in solving his acoustical problems most economically, as well as effectively. January 7, 1939 31