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1950-51 Theatre Catalog, 9th Edition, Page 309 (287)

1950-51 Theatre Catalog, 9th Edition
1950-51 Theatre Catalog
1950-51 Theatre Catalog, 9th Edition, Page 309
Page 309

1950-51 Theatre Catalog, 9th Edition, Page 309

lining is satisfactory. The heavier the underlining, the more it contributes to the life of the floor covering. A hair underlining requires no care and involves no maintenance other than vacuuming, when the carpeting is taken up for any reason. All-hair underlinings are fireretardant; they will char, but will not support flame. Underlinings are tacked on wood flooring and cemented to concrete or marble.

Sponge Rubber Type

Sponge rubber underlinings are available in 3/16, 1,4, %, and 1/2-inch thicknesses. For theatre use, the one-quarter inch is generally suggested for lobbies, foyers, and lounges, with the one-half inch thickness used on stairways and other areas which are subject to the heaviest traffic. The thicker the underlining, the longer the carpet will retain its looks and lasting power. Sponge rubber underlining, although more expensive, is notably long-lasting, and there is virtually no replacement problem with it. In turn, these underlinings increase the life of the carpet from 70 to 100 percent, according to tests performed on the National Bureau of Standards Carpet Wear Tester. Both moth and verminproof, these underlinings can be easily vacuumed or damp-wiped when the carpeting is taken up. Sponge rubber is both a sound and shock absorber, a factor of importance not only to the maintenance of carpet, but to the comfort of theatre patrons as well.

Each of the thicknesses comes in widths of 36 and 53 inches and is shipped in 60 rolls. As far as installation goes, the widths are placed edge to edge and taped with waterproof industrial tape. The tape is carried around the ends of the widths and extended for an inch or two underneath. On inclines and stairways, the underlining will be prevented from "creeping" by spotting it to the floor with linoleum paste. Extra widths may be added by merely taping, or the width may be cut down by the use of scissors.


Since theatres have the smallest percentage of straight lines and level floors of any type of building, carpeting a theatre is the real test of a carpet layer's skill. Theatre trafiic is about the heaviest to which any surface on which soft floor covering is laid is subjected, so not only must the carpet be selected with this in mind, but it must also be laid so that it will best withstand the hard wear it will receive. The finest quality carpet in the world can easily be spoiled by a poor installation job.

Preliminary Steps

When the carpeting has been selected, the installation man should be called in to go over the entire theatre before preparing an estimate. He must be told exactly which areas are to be carpeted, whether aisles arc to be carpeted from chair standard to chair standard, Whether broad marble steps are to be entirely carpeted or space left at the extreme sides, etc. Such specific information not only helps the installation man in mak 1950-51 THEATRE CATALOG

ing his estimate, but may save needless reordering and greater expense as well.

Before taking any measurements of the actual areas to be carpeted, the installation man should make an outline sketch of the actua. Hoor areas, noting all defects and repairs which should be made to effect a firstsclass installation. He should take into account the construction of door saddles to determine whether the ends of the carpet breadths should be bound and turned under, allowing the carpet to be fastened tight up against the saddle, or whether they should be bound and a metal nosing strip installed to prevent the carpet raising above the saddle level. In planning the installation of carpet next to doors, it is extremely important to calculate both the depth of the carpet and the underlining to make sure that the door will clear both of them.

When the job layout is ready for preparation, a one-half inch-to-the-foot scale drawing should be made to show all offsets, curvatures, and slants of the floor areas to help solve all cutting, sewing, and matching problems. It also should allow for any errors or changes made before the carpet is bundled and shipped to the theatre. For balconies, aisles and cross-overs, not only a scale drawing, but the use of a beam-compass is essential. Exact yardage must be figured, for the slant of side walls and tapering of aisles make a great deal of difference in figuring and laying the breadths.

Planning the Breadth:

The breadths should always run in line with the most traffic and with the least amount of cross-seams in planning for carpeting. In the entrance vestibule, lobby or foyer, the breadths should always run from door saddle to door saddle. If it is necessary to waste a onehalf breadth, it may be used along narrow side walls or side aisles. As far as standee areas are concerned, breadths should always run from the rear wall to the standee rail to avoid cross-seams at the head of the aisles or at the standee rail, and bad tripping accidents on the part of patrons in these heavy traffic areas. Still another reason for not laying carpet from side wall to side wall lies in the fact that when carpet does have to be replaced at aisle heads, only one or two short breadths will have to be installed. This same theory also applies to the aisle cross-overs and the front row of seats.

Stair Carpet Layout

When planning the layout of the stair carpets, there should, if possible, be a continuous full breadth of carpet over treads and risers and then over the landing or hallways, so there will be no open seams to constitute a hazard. If this arrangement is not possible, the seam should come about half way up the riser so that there will be less wear and tear, and little chance of patrons catching their feet in the seam.

THE ACTUAL INSTALLATION of this Mohawk pattern in a theatre standee area nears completion with the capping of the bottom step. Special underlinings of the treads and stair edges have taken place.
1950-51 Theatre Catalog, 9th Edition, Page 309