T ~ Ie C ~rTC ., -~._._-_h·_:-_~-_:-_:::.~:=T~~'I'~ :r~-----'" -=- = 1IIIIiiiiiiI_.....- F ""-"L-J/III--;L F re "'0 '.·:::"(Jct::r~ Figure 20 Trap Space Is Useful for Reverberance When sign. Figure 19c shows only caste red units. Again, storage rooms must be provided. This design approach may be considered when all the user groups are dead-set against forestages since to build up forestages with this design is prohibitivelyexpensive. a Fire Wallis Not Required How High Is The Pit Railing? The conductor often takes some of his bows acknowledging audience applause from his podium in the pit. If his head is concealed behind the railing, this way of acknowledging applause is a bit futile. Therefore, the two center sections of pit railing are usually made adjustable in height by providing fourinch high blocking units (Figure 21). The bottom view shows no blocking units, the center view shows two, and top view, three. Combined Trap Room and Pit Over-Hang? In some cities the insurance underwriters and the government safety agencies permit theatre construction without a smoke curtain. Figure 20a shows a two-lift pit with large overhang when smoke curtains are installed. Figure 20b shows how the trap room can be used for acoustic reverberance and to seat "overflow" musicians when the theatre need not have a smoke curtain. Railing Details There are many ways in which to detail the sections of the pit railing. One is to use a welded-steel tubular frame. Across Figure 21 Railings * \ \ f \ / a Blocking \ "'" J l\. Units f I \ / b \ \JI I II II ~ II II II IQ c USITT /Fall, 1979 Theatre Design & Technology 19