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1950-51 Theatre Catalog, 9th Edition, Page 27 (7)

1950-51 Theatre Catalog, 9th Edition
1950-51 Theatre Catalog
1950-51 Theatre Catalog, 9th Edition, Page 27
Page 27

1950-51 Theatre Catalog, 9th Edition, Page 27

are subjected to an immediate impression of spaciousness and visual stimulation through the use of tall mirrors opposite the entrance and a 60' lobby mural of inlaid mosaic tile.

The 2,436-seat Calderone was given an unusual interior treatment by concealing the structural columns along the side walls of the auditorium with surface panels which extend from the inside of one column to the next. They provide logical color spots as well as ideal locations for side lighting. The walls were finished in plaster on metal lath, and acoustical plaster was laid on the alternate panels. A vibrant decorative note was struck by using Hawaiian koa wood, which also provides strong acoustics, in the door-high wainscoting.

A theatres chief center of interest, the proscenium arch, should be given plain treatment, for it is naturally the cynosure of the audience and needs little further embellishment. This principle was carried out at the Calderone with fiberglas curtains to achieve a softening effect.


Although theatre lighting is a matter in which an engineeris knowledge of location and intensity of illumination must be called upon, skillful coordination of color with lighting is required to make the latter genuinely effective. These two elements are absolutely inter-dependent, so any discussion of design and color coordination must perforce include a study of the fundamental importance of lighting in the artistic scheme. Its undeniable influence may perhaps best be illustrated by an examination of two theatres where lighting techniques have been aptly used to enhance color and vice versa.

At the Calderone

Just as we saw above how the Calderone typifies excellent usage of color in the creation of a festive atmosphere entirely suited to a structure whose main purpose is the furnishing of entertainment, so it also provides a striking example of how lighting may be combined with color and form to accent a mood of gaiety, which every theatre is essentially bent on achieving.

An immediate brilliant impression is obtained by massed downlights in the sofiit of the marquee at the entrance. Inside near the entrance closely-spaced downlights are used for the attraction value and stimulating effects of highintensity lighting. As one proceeds into the interior, the down lights are spaced farther and farther apart. Through the inner section of the lobby the intensity of light is gradually cut down to make the change in lighting intensity easier on the eyes of patrons walking from outdoors to the inside. An artistic touch is found in the spotlights recessed in the blue ceiling to simulate stars in the sky. i

The marquee lights are 150-watt R 40s, but they can be raised to 300 watts with the same wiring. The lobby downlights have R-40 lamps which project 1/2" beyond the fixtures, so that the ceiling receives some of the light.

Cheerful, soft lighting is provided in the inner lobby to build up a change of


atmosphere. This space is two stories high with a mezzanine lounge. Illumination comes, from large circular units with shallotsr domes recessed in the ceiling and light sources concealed around their edges. /

The diameter of the domes is 6'4". Those over the two-story area use a dozen 40-watt fluorescent lamps each, while the mezzanine domes use six 40watt lamps. A reversed cove in the wall of the mezzanine lounge uses a single row of 40-watt lamps.

Incandescent downlights are spaced throughout the ceiling of the auditorium

to provide general light: g

supplemented by fluoresc vertical position back of the o edges of the five great wall panels along each side of the auditorium.

The forward portion of the ceiling contains iioodlighting units mounted in streamlined housings that are part of the plaster ceiling itself. These lights project forward and inward toward the center line of the auditorium to light the wall surrounding the screen frame and the gold-colored curtain when it is drawn.

The standee space at the rear of the

A RESTRAINED SHIMMERING EFFECT has been created in the auditorium of the Victoria. N. Y. C.. by wall decorations of satiny aluminum fabric with sculptured figures by Gwen Lux.
1950-51 Theatre Catalog, 9th Edition, Page 27