Motion Picture Herald (Mar-Apr 1944)

78 BETTER THEATRES April I , 1944 Making Seating Plans Meet the Real Needs Of Safety and Comfort By BEN SCHLANGER THE BASIC DESIGN of the motion picture theatre auditorium is in many ways affected by the provisions that have to be made for safe egress in case of emergency, as are the choice of materials and methods of construction. In some instances there are local laws to be followed, in others none. It is most unfortunate that there is not a building code that can be used, in the major considerations, throughout the United States. There are a multitude of variations and discrepancies to be found in comparing the great number of codes in existence. Most of these codes show a lack of scientific study; they are often too severe in many instances of detail, while in other cases an important and needed provision is entirely omitted. After a disaster, the authorities have a tendency to create extreme laws without calm, informed deliberation. A fire with very serious results occurred in a Boston night club where the safety provisions were far below those in the average theatre; this incident is likely to be referred to for some time as an argument for new and more stringent laws affecting all places of public assembly. The first reactions in these instances bring demands for absolutely fireproof construction and great amounts of exit doors and stairs, without it occurring to anyone connected with local government that safety can be attained through design and do it economically. Fireproof construction varies considerably and is classified in accordance with its ability to resist fire in terms of hourly ratings. Any construction which is capable OfUOftk of resisting fire for half an hour or more is so designed for reasons which go beyond the need for safe egress. These reasons are for the most part concerned with protection against loss of property and the reduction of insurance rates. It should be emphasized, though, that the mere existence of fireproof (slow-burning) construction does not by any means solve the "theatre structure safe egress problem." Although it is not recommended, it is possible to create excellent conditions for the purpose of quick and safe egress from a theatre structure of non-fireproof (all wood) construction. And such a building would be better suited to saving lives than one having a better fireproof rating but still without adequate provisions for quick, safe egress. It should be possible completely to empty a theatre in an emergency in three minutes or less. SAFETY RULES TO FOLLOW There are three safe rules to follow to insure a safe condition in which the lives of the patrons will be protected : 1. The projection room, the boiler room and any other space housing inflammable or volatile material should be enclosed in a construction having a one hour or greater fire resistance rating, and be provided with adequate exhaust ventilation to the outer air. No air in these spaces should be allowed under circumstances to find its wav into the public areas of the theatre, through wall openings or through the recirculating ventilating system. 2. All inflammable fabric and other flimsy decoration, hangings, etc., should be eliminated from areas occupied by a large number of people, and in general kept to a minimum. Soft decorative effects can be achieved with lighting and with the use of naturally fire-resisting materials. It should be noted, however, that wall paper and wood veneer finishes can be cemented to a solid plaster or other fire-resisting wall construction without creating a hazard because the direct contact of the veneer to the backing eliminates the chance for flamesupporting oxygen to get behind the veneer. 3. A seating arrangement, traffic plan, and exit openings should be developed that empty the auditorium in the required time. It is interesting to note at this point that "the fastened to the floor seating" in a motion picture theatre auditorium is, in itself, a safety factor in comparison to places of public assembly where loose chairs are used and no definitely fixed aisles are main FIGURE I: When Dimension A equals 32 inches, then Dimension B equals l7'/2 inches (seat cushion drawn up or back); Dimension C equals K'/j inches (position of seat when empty); Dimension D equals 6'/2 inches. FIGURE 2: When Dimension A equals 32 inches, then D equals 6'/2 inches. These drawings show how the design of auditorium chairs helps determine back-toback spacing. And in turn how back-to-back spacing helps determine the number of chairs permitted from aisle to aisle. Figure I shows dimensions for the self-lifting seat cushion type of chair; devices such as the push-back seat also contribute to row clearances (see Figure 2, Dimension D). Most building codes have allowed for 14 chairs from aisle to aisle, on a basis of 32 inches for Dimension A, Figure I. It may be possible for authorities to be convinced that more than 14 chairs from aisle to aisle may be considered safe practice, provided that chair design assures clearance C (Figure I) instead of clearance D, or provided more than 32 inches is given to dimension A, or provided aisle widths are increased. Suggested seating plans incorporating these principles will be presented in later articles. tained. Our first attention to safety should begin with just this characteristic of public assembly — the arrangement of the fixed seats forming aisles and crossovers leading to emergency exit openings. Chairs fixed to the floor form a natural check to keep people in designed paths of travel, thereby helping to prevent massing and trampling threatened by panic. This favorable condition is obtainable, however, only if the seat spacing, aisle widths and traffic design be properly worked out. It is difficult to give advice on how to deal with the possibility of panic conditions