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1947-48 Theatre Catalog, 6th Edition, Page 153 (141)

1947-48 Theatre Catalog, 6th Edition
1947-48 Theatre Catalog
1947-48 Theatre Catalog, 6th Edition, Page 153
Page 153

1947-48 Theatre Catalog, 6th Edition, Page 153

of 3/11 -inch of this coat to bring the surface'for the finish coat to the proper lines. If more plaster is necessary, the furring has been improperly located and t00 much loading is being put on the bond between the plaster coats, which may result in falling plaster at a future time and injuries, lawsuits, and so forth. The finish coat is next applied, and this can be either a white putty finish or a sand finish, according to the wishes of the designer and the decorator.

If pre-cast plaster decorative mouldings or features are to be used, these must be securely tied through the plaster coat to the furring behind in addition to being "stuck."

The suggestions contained in the last few paragraphs regarding the proper installation of suspended plaster ceilings are only a review of rules which have been developed for good workmanship in any structure, and a reliable plasters ing contractor would not do otherwise. They are recalled here only because an auditorium ceiling can be a great potential hazard if not properly constructed.

Ceiling Decoration

The auditorium ceiling has always seemed to be a challenge to all architects and designers, and an opportunity to give their imagination, or ability to adapt classic designs, free play, using decorative mouldings, lighted covers, domes, and panels. This type of design looks nice on the drawings and in the photographs, but is rarely discernible to the audience and represents an unnecessary expenditure to the owner which will give him very little, if any, return.

A certain amount of such decoration or a ceiling with different levels is sometimes justified but too much is a definite waste of money. In fact the present trend in redecorating the older theatre ceilings which are covered with ornamental plaster, is to paint the decorative motifs out rather than to accentuate them with gold leaf or dutch metal and varied colors.

A smooth plaster ceiling can be relieved by the decorator in paint, with bold but simple decorative motif, perhaps tying together, and more or less camouflaging the air diffusers which will in most cases protrude below the finish ceiling.

Exif Door Sills

The sill of the exit openings should be raised above the level of the sidewalk or the exit court by means of a ramp in the recess referred to above and perhaps a step at the building line to prevent water from flooding rains to flow onto the orchestra fioor.

Since the aisles or other areas immediately adjacent to exit doors will be carpeted, it is necessary to make provision at these points for the carpet and padding.

The recommendation for these sills is an angle set securely in the concrete with the vertical leg projecting 5s of an inch abOVe the orchestra door level. (See Figure 16.) n "(N-4x

Exit Door Alarms

Exit doors are always a source of :me noyance to the theatre management, especially those opening into an isolated


exit court, as they are a temptation to certain individuals who Wish to enjoy the show without the customary procedure of purchasing a ticket.

Due to the panic hardware required for securing these doors, they are more easily opened from the outside than a regularly locked door, and this is soon discovered and taken advantage of by gangs of the younger set in the neighborhood. If the doors are fool-proof from the outside the procedure is for one of the gang to pay the admission and then stealthily unlatch the doors for the rest of the gang to sneak in. It is not the usual thing for the theatre to have a sufiicient number of ushers on duty successfully to counteract this practice. Therefore, it is recommend that an electric alarm system be installed connecting these doors with a signal in the managefs office which will give instant notice when these doors are being tampered with.

Emergency Exits

At least two emergency exits on each side of the theatre will be required in most cases for the orchestra level. These

will be located at the rear of the seating area, and at the front near the stage. If the orchestra has sufficient rows of seating to require a cross aisle, an additional exit will be required at each end of the cross aisle.

Unless a wider opening is stipulated by the governing code the clear opening of these exits should be 5 feet which will require a masonry opening of about 6 feet and 4 inches, depending on the thickness of the doors. The doors and frames for these openings should either be metal or metal covered, and should bear Class C Underwritersl labels. They should be equipped with approved standard panic bolts and one and one-half pair of butts to each leaf.

Door closers are also desirable but not absolutely necessary, unless required . by the underwriters or fire marshal due to a hazardous occupancy of an adjoin-. ing building. Astragals may be used on one leaf to close the center opening, in which case hardware is available that will permit the proper closing of the doors without interference.

To prevent drafts on the patrons seated close to these doors, as well as

FIGURE Hesince the linish wall above the wainscot will, in most cases, be acoustically treated. and will, therefore, be 2 inches away from the rough masonry. it will be necessary to furr out to bring lhe finish wainscot in line with the finish above, or a compensating moulding can be designed to overcome this distance. The wainscot, if desired. can be cheaply made of smooth cement plaster.






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1947-48 Theatre Catalog, 6th Edition, Page 153