Motion Picture Herald (Jan-Mar 1956)

Downlighting for Theatres particular weave classification, has a certain degree of durability, it belongs to a specific price level. Generally speaking, price is a dependable measure of quality. Design and Color Scheme The choice of carpet may convenientU supply the basis of a theatre’s interior color scheme. The carpet usually provides the largest single area of color and pattern, consequently other decorations should be in key with it. Obviously, one would not choose a carpet with a Victorian floral motif for a theatre with an ultra-modern, steel-and-glass decor. Neither should a very bold, angular design be used as the basis for the decor of an intimate theatre. If the proportions of a theatre lobby or foyer are irregular, the pattern in the carpet can do much to lead the eye, and minimize the weakness of the floor plan. Considerations of Scale In carpeting, scale is determined fundamentally by the size of the “repeat” — that is the distance between the beginning of one system of configuration and the beginning of the next one. Generally speaking, broad areas should be given a large repeat, restricted areas a small repeat. Unless the theatre itself is small, its floor plan is likely to be divided into relatively large and small plan divisions. Obviously it is not practicable to vary the carpeting according to each definite division. Indeed, in many cases, particularly those of theatres of especially compact plan, this would be undesirable from even a decorative point of view, since it is better to reduce as much as possible the effect of structural barriers, and carpeting can do much to create a sense of unity and “flow’ from lobby to auditorium. In some theatres, however, some variation in the carpeting is more or less advised. .Most often it is lounge space which calls for a floor treatment different from that of the main traffic areas. In lounges, the variation may also be dictated by the difference in the general style of the lounge from that of the foyer, auditorium, etc., but it may be advised by the difference in scale alone. Here the scale factor may be easily dealt with by employing a design of entirely different character from the others. Other areas sometimes calling for a pattern of a different scale, such as corridors on upper and lower levels and possibly the stairs leading to them, may be amenable to similar treatments. When they are not, as when the plan and interior design do not offer a “natural break” in the continuity of the floor covering, the scale problem may be met by laying the same pattern in a different scale. (Some patterns are stocked in more than one scale, either in the same width or with the smaller scale perhaps in 27-inch and the larger 36-inch width.) BEGINNING WITH the front of the theatre under the marquee, and continuing through the lobby, on stairways, corridors, balcony passages, and the like, lighting fixtures commonly employed are the ” Hi-Hat" Baffled Downlight {Figure 1) and the "Regressed Lens’’ Unit {Figure 2). The former has a spectacular-like quality and is useful for creating highlights and brightness patterns. Interior baffle rings keep the source from sight, prevent glare. 'File “Regressed Lens” downlight provides proper shielding while yielding a smooth blending pattern when combined on proper spacing centers with other units. Lobby Illumination Each of these units may conveniently be employed at several locations throughout the theatre. With the “Hi-Hat,” footcandle levels of 50 to 100 and better can be built up under the marquee for the desired brightness at the entrance. In the lobby the “Hi-Hat” may also be used, but with the foot-candle levels dropped to the lO-to-30 range. This will provide one step in the lighting transition from out-of-doors to auditorium. Groupings of “Hi-Hat” for showcases, sign posters, statuary highlighting, and refreshment stand will mingle well with softer and more gentle illumination from “Regressed Lens” units. Lighting Displays For emphasis on displaj's or decoration and ornamental features, a “Pin-Hole” downlight (true “pin-hole” types will require an opening of less than one inch in diameter) are useful {Figure 3). For murals, large textured wall surfaces, etc., no fixture can provide a more even diffuse spread of light than a “WallWasher” type {Figure 4). The shovellike reflector of this fixture literally scoops the light out of the lamp, spreading it uniformly over a wall or a mural, from floor to ceiling, if required. Interesting brightness contrasts, although Downlights for various purposes— { left to right): Figure I: "hi-hat" baffled unit for low-ceiling areas in "punch" lighting: Figure 2; "regressed lens" to provide diffuse light pattern in low-ceiling areas; Figure 3: "pin-hole" downlight to spot pictures and statuary. Wall and Beam Downlights— (left to right): Figure 4: "wall washer" for lighting surfaces from ceiling to floor. Figure 5: "fixed beam" and Figure 6: "adjustable-beam" downlights, both for auditoriums. 22 Motion Picture Herald, March 24, 1956