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1947-48 Theatre Catalog, 6th Edition, Page 21 (9)

1947-48 Theatre Catalog, 6th Edition
1947-48 Theatre Catalog
1947-48 Theatre Catalog, 6th Edition, Page 21
Page 21

1947-48 Theatre Catalog, 6th Edition, Page 21

rium ceiling is painted in a soft sea green. The contour curtain is Chartreuse satin with a sunburst pattern.


The doors to the auditorium have a blue marble frame. They are covered with leather tufted with silver buttons with the lower half protected with lucite cover. Patrons will find the main floor appearing more or less level, with no uncomfortable downward slopes in walking in the aisles. An extraordinarily short stair climb leads to the upper seating levels.

In the aisles of upper level seating, there is only one step between the successive platforms of seating, in place of the step-and-a-half between seating platforms that has to be negotiated in the conventional theatre of earlier construc tion. This extra little step was elimi-'

nated in the Tacna design by the mild and comfortable upper level slopes.

The auditorium plan provides an excellent viewing and hearing position for every one of its 1,945 auditorium seats. N0 seat is placed too far from or too near the picture and not too much above the level of the screen or too much to one side.

The Tacna has three levels of seating, the main fioor, the loge floor, and the balcony fioor. Each of the three iioor levels is situated to afford the most comfortable viewing position. The motion picture screen appears to be at a level with the eyes of persons in any location. Seated in the balcony, the patron will not have a feeling of looking down at the screen as in earlier types of theatre design. Staggering of seats completely eliminates the blocking of vision Which occurs when people are seated in front of each other. Ben Schlanger, theatre design specialist and one of the architects of the Tacna Theatre, was mainly responsible for the research behind this feature.

The comfortable and roomy seats, manufactured by The American Seating Co., are of the body-form type and are covered in coral mohair.

The auditorium proper has a dado wall at all the levels of white oak arranged in vertical battens. The walls above the dado are in neutral transite with small perforations to accomplish proper sound treatment. The rear standing wall is covered in dark brown leather and two structural columns are covered with a yellow gold colored metallic fabric. The structure of the orchestra floor and balconies is reinforced concrete, designed as a rigid frame to resist earthquakes. The roof consists of steel trusses with corrugated aluminum sheets.

One of the features of the balcony construction is the shallow depth of supporting girders, with over-hanging cantilevers, due to the unusual fiatness of the balcony designs.

One of the Tacnals most unusual features is that it has no hanging or wall fixtures. The down-light type of fixtures, some 600 in number, are spotted in an over-all pattern in the main auditorium ceiling, mezzanine and second balcony sofiits, and foyer, lounge and lobby ceilings. Neon cove lighting is used above the wainscoting in the auditorium and at mezzanine soffit. Lighting, effects in the auditorium and orchestra spaces are

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VIEW OF THE AUDITORIUM, looking toward the proscenium, is shown in the top picture. Here are indicated some of the details of the acoustical treatment and the lighting scheme. In the middle picture is given a View of the main floor lounge at the rear stairs. Here also the lighting is by a combination of coldvcathode lamps and downlights, the latter arranged in strictly a random pattern.

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THE GRAND STAIRCASE is seen in the bottom picture, sketched from a vantage point looking toward the main entrance. The staircase is of concrete with a metal rail and balustrade, with transluscent glass panels. Downlights in the ceiling are arranged in a random pattern. Columns in the area are mosaic-covered. Ceilings in all public spaces adiacent to the auditorium are of acoustic plaster.

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1947-48 Theatre Catalog, 6th Edition, Page 21