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HomeMy WebLinkAboutR13- Economic Development ECONOMIC DEVELOPMENT AGENCY OF TBE CITY OF SAN BERNARDINO REQUEST FOR COMMISSION ACTION FROM: BARBARA J.LINDSETH SUBJECT: CALIFORNIA TREATER- Acting Director FACILITY ASSESSMENT DATE: January 18, 1995 ------------------------------------------------------------------------------------------------------------------------------------------- Synopsis of Previous Commission/Council/Committee Action(s): On January 12, 1995, the Redevelopment Committee discussed the McCann evaluation of the California Theater and recommended that the Community Development Commission consider approval of theater reconstruction to resolve various life/safety, visual appearance and underlying infrastructure needs. ------------------------------------------------------------------------------------------------------------------------------------------- Recommended Motion(s): (Community Development Commission) MOTION: That the Community Development Commission consider and take possible action to approve, in concept, the renovation of various components of the California Theater, directing staff to negotiate a professional contract with R.F.McCann and Company for the necessary design work. Administrator BARBARA J.LINDSETR Acting Director ------------------------------------------------------------------------------------------------------------------------------------------- Contact Person(s): Barbara J.Lindseth/John B.Hoeg'er Phone: 5081 Project Area(s): Central City North(CCN) Ward(s): One(1) Supporting Data Attached: Staff Report;Executive Summary FUNDING REQUIREMENTS: Amount: $To Be Determined Source: To Be Determined Budget Authority: None ------------------------------------------------------------------------------------------------------------------------------------------- Commission Notes: ------------------------------------------------------------------------------------------------------------------ BJL:JBH:Iag:01-23-03.cdc COMMISSION MEETING AGENDA MEETING DATE: 01/23/1995 Agenda Item Number: ,.1,:V ECONOMIC DEVELOPMENT AGENCY STAFF REPORT ------------------------------------------------------------------------------------------------------------------ California Theater- Facility Assessment In 1994, the Economic Development Agency became the owner of the California Theater. With the ownership of the building came the responsibility of bringing the Theater into conformance with the many codes and ordinances that impact public buildings, and improving the many amenities which have made the California Theater a rich cultural resource. Following discussion with the Commission, staff hired R.F. McCann& Company, Theater Architects, to assess the building's needs. Mr. Richard McCann has completed his initial report, which addresses structural issues, building and handicapped codes, fire safety, performer accessibility and space utilization, and audience accommodations. An executive summary of the report is attached and additional information will be presented at a workshop to be held inside the California Theater on January 23, 1995. A backstage(and understage)tour of the facilities will begin at 12:00 noon followed by a luncheon workshop at about 12:30. Mr. McCann discussed his recommendations with the Redevelopment Committee on January 12, 1995. Based upon those discussions, Mr. McCann is formulating a specific recommendation to be presented to the Commission at the workshop. In the report, Mr. McCann has identified certain life/safety issues which should be remedied as soon as possible. In addition, the Committee recommended that a tailored budget be suggested by Mr. McCann to accomplish an initial level of visual refurbishment in the theater together with appropriate substrate or hardware items which would prevent destruction of the refurbishment during later repairs. Based upon the Redevelopment Committee discussions, the recommended repairs are expected to cost $735,000 in contractor costs for life/safety concerns plus about $100,000 to $200,000 in visual and associated costs plus about 40%for soft costs and contingencies. Specific recommendations will be discussed at the luncheon workshop. ------------------------------------------------------------------------------------------------------------------ BJL:JBH:lag:01-23-03.cdc COMMISSION MEETING AGENDA MEETING DATE: 01/23/1995 Agenda Item Number: ECONOMIC DEVELOPMENT AGENCY STAFF REPORT California Theater-Facility Assessment January 17, 1995 Page Number-2- ------------------------------------------------------------------------------------------------------------------ Based on the foregoing, staff requests that the Commission consider and take possible action to conceptually approve the theater renovations. Based upon Commission direction, staff can negotiate a specific scope of work with McCann for the design of the theater improvements and bring back a professional agreement for consideration by the Commission. BARBARA J. LMSETH,Acting Director Economic Development Agency ------------------------------------------------------------------------------------------------------------------ BJL:JBH:1ag:01-23-03.cdc COMMISSION MEETING AGENDA MEETING DATE: 01/23/1995 Agenda Item Number: �_.1 EXECUTIVE SUMMARY: CALIFORNIA THEATRE STUDY DRAFT: 1-12-95 An analysis of current conditions at the California Theatre, located on Fourth Street in the Central Business District of San Bernardino,was conducted by R.F. McCann&Company,Theatre Architects under contract to the San Bernardino Economic Development Administration.The goal of the analysis was to determine the California Theatre's current suitability and conformance to standards for(1) public assembly occupancy and safety, (2)feasible financial operation for commercial and non-profit tenants and (3) accommodation of event programming beneficial and attractive to audiences of the Inland Empire. The study evaluates many factors significant to each of the goals. Recommendations addressed when all considered together, can elevate the California Theatre to a"state-of-the-art" performing arts center. Whether or not all of the recommendations will ultimately be achieved depends upon the desire of the City of San Bernardino and the Non-Profit Theatre Operator. Toward this end,the study provides potentially interested parties with much of the valuable information needed for planning and decisionmaking. CODES AND STANDARDS CONFORMANCE FOR PUBLIC ASSEMBLY Suitability for public occupancy involves potential hazards from deferred maintenance, problems related to construction methods, materials or existing building systems and equipment. The study found dangerous conditions in the stagehouse that threaten performers and stage crew from deficiencies in fire, structural and electrical safety. Fire and structural non-conformance with current codes were also found in the second level structure fronting .... avenue. Occupant safety issues related to fire sprinkler and alarm systems,fire doors, door hardware,theatre seat spacing, exit widths, emergency pathway illumination and the electrical service and wiring were among other significant concerns noted. Disabled patron, staff and performer access provisions do not conform with the current code. IMPROVED OPERATING FEASIBILITY Operational feasibility involves the number of annual events and the rental rates that can be charged. These are important to generating annual income sufficient to meet fixed costs of operation and overhead. Findings in the study referred to as"Long-Term" recommendations include many items to allow modern efficiencies in operating. Examples include crew size for running shows and loading and unloading of travelling attractions as well as ticket sales services and lobby sales opportunities. In addition, obsolete electrical service and equipment, limited dressing facilities and orchestra pit size limits are among the reasons that the California Theatre has been priced out of the current market for a majority of medium and large capacity drawing events. I �i ACCOMMODATIONS FOR INCREASED EVENT PROGRAMMING The programming of theatre events is the City's"pay-off"in terms of education, culture, and entertainment offerings. Further, programming is the key to successful audience development for the theatre operator through the marketing of ticket packages and single events. The study has found that throughout the recent life of the California Theatre,attractions offering the greatest audience draw have been overly costly to present.This results from expenses associated with limited stage space,and insufficient electrical power and other production needs. The study offers alternatives ("Major-Production)for expanding production capabilities and providing a policy of regular programming of major productions. AESTHETIC DESIGN RECOMMENDATIONS If implemented, recommendations in the study could provide the largest stage in a historic theatre in the Inland Empire. Included also would be auditorium dimensions, seating form, sightlines and sound enhancement equal to or better than several of the new theatres recently constructed in southern California. Revised seating capacity would approximate 1550 seats. The interior and exterior are both suited to aesthetically unique renovation and restoration. Decorative restoration of auditorium and lobby areas are recommended including carpet replacement. Stage drapes and seats were recently replaced in colors appropriate to the restorative palate and indirect interior decorative lighting effects would be full restored. ACCESS TO STAGE LOADING AREA The study recommends a service access for loading and unloading of scenery and equipment. Moving shows in and out of the theatre will occur on a frequent bases (considering 250 event offerings annually) and it is necessary to use both day and night operations. BUDGET RECOMMENDATIONS FOR ADAPTIVE AND RESTORATIVE WORK The generalization of costs according to the categories of accommodation described in this summary is as follows: Codes and Standards Conformance $735,000 Improved Operating Feasibility $500,000 to$1,600,000 Accommodations for Major-Productions $900,000. Exterior/Interior Design Aesthetics $160,000 Truck Loading Access Site Budget Additional to the cost of construction is fees and construction related soft costs which together average approximately 40%of contractor costs. CALIFORNIA THEATRE STUDY FOR CITY OF SAN BERNARDINO RFM&Co 12-Jan-95 - SHEET 1 I MAJOR-PROD I LONG-TERM ICODE & SAFETYICODE & SAFETY ] C O S T O U T L I N E I ITEM COSTS ITEM COSTS I ITEM COSTS SUB- I ( IRE EXIST CONDI TOTALS ]PART-2 - STRUCTURAL ISSUES & RECOMMENDATIONS ] 94,000 ] 2A FRONT OCCUPANCY SPACE 60,000 0 ] 28 STAGE FLOOR ] ------ 5,000 ] 2C GRID, CEILING, WALL: PRODUCTION ASSEMBLIES ------ REF 6G ] 2D OFF STAGE BRIDGES ------ 18,000 ] 2E ARBOR GUIDE SEISMIC SUPPORT ------ 11,000 ] 2F NORTH STAGEHOUSE ADDITION 78,000 0 ] 2G ORCHESTRA FLOOR FILL 30,000 60,000 PART-3 - CODES & STANDARDS COMPLIANCE 262,500 ] 3A AUDIENCE EXITS ------ I ------ 3B DOORS & HARDWARE 40,000 30,000 3C FUTURE 2ND LEVEL FRONT EXITS ( ( 30,000 30,000 3D EXISTING EMERGENCY POWER ( ------ REF 6A 3E EXISTING EMERGENCY ILLUMINATION ------ REF 6A 3F EXISTING GENERAL ILLUMINATION ( ------ REF 6A ' 3G ENERGY CONSUMPTION ------ REF 6A 3H FIRE SPRINKLERS 17,000 110,000 ] 31 STAGE SMOKE-VENTS ------ 35,000 31 PROSCENIUM FIRE-CURTAIN SUSPENSION ------ ( 7,500 ] 3K FIRE-ALARM, ASSOC. SYSTEMS ------ 50,000 3L PATRON ACCESSIBILITY (ADA) ------ REF 5-F & G 3M PERFORMER ACCESSIBILITY (ADA) 40,000 REF 6E ] ] PART-4 - PRODUCTION AREAS & EQUIPMENT 74,000 4A DRESSING AREA ACCESS (GENERAL) ------ 22,000 ] 46 DRESSINGS ROOMS - STAGE RIGHT 18,000 ------ 4C EQUIPMENT ROOM - STAGE LEFT 3,500 12,000 4D NORTH STAGEHOUSE ADDITION 100,000 ------ ] 4E DRESSING AREA FIRE PROTECTION IREF 3H & K I REF 3H & K ] 4F ORCHESTRA PIT & MUSIC PERFORMANCE 35,000 ------ ] 4G STAGE PLAYING AREA: MAJOR PROD. ( 250,000 ------ ------ ] 4H SCENERY HANDLING EQUIP ADAPT/REPLACEMENTS 70,000 50,000 40,000 ] 41 CURTAINS AND DRAPES 35,000 ------ ] 41 SCENERY LOAD-IN-OUT ( 25,000 ------ ] 4K PIPE ORGAN PRESERVATION 0 ------ ] 4L BASEMENT ADAPTATION 250,000 ] 30,000 ------ ] CALIFORNIA THEATRE STUDY FOR CITY OF SAN BERNARDINO RFM&Co 12-Jan-95 - SHEET 2 MAJOR-PROD I LONG-TERM ICODE & SAFETY C 0 S T O U T L I N E ITEM COSTS ITEM COSTS ITEM COSTS SUB- TOTALS - ------------------ -------------------- - IPART-5 - AUDIENCE ACCOMMODATIONS & RECOMMENDATIONS 25,000 1 5A TICKET SALES AREA 35,000 1 ------ 1 5B FOOD & BEVERAGE SALES 15,000 ------ 5C NON-FOOD & BEVERAGE SALES 6,000 ------ 5D PRE-FUNCTION, INTERMISSION FLOW 25,000 ------ 5E ORCHGESTRA LEVEL AISLES ------ REF 2G 5F ORCHESTRA LEVEL ACCESS ------ REF 2G 5G BALCONY LEVEL ACCESS ------ 25,000 5H BALCONY SEAT LAYOUT ( 1,500 ------ IPART-6 - BUILDING & THEATRE SYSTEMS 280,000 6A ELECTRICAL POWER 125,000 200,000 6B HEATING, VENTILATION, AIR-CONDITIONING 200,000 ------ 6C PLUMBING ADDITIONS 70,000 ( ------ 6D ROOFING/DRAINAGE SYSTEMS ( 120,000 ------ 6E ELEVATOR 80,000 6F MARQUEE/SIGNAGE/POSTER CASES 35,000 ------ 6G STAGE SCENERY HANDLING SYSTEM REF 4H REF 4H 6H PRODUCTION LIGHTING SYSTEM 200,000 112,000 ------ 6J ELECTRONIC SOUND SYSTEM 100,000 160,000 ------ 6K INSULATION 37,000 ------ IPART-7 - PAINTING & DECORATING I 0 7A EXTERIOR FINISHES & PAINTING 38,000 ------ 76 INTERIOR BASIC/DECOR FINISHES & PAINTING 65,000 ------ 7C CARPET REPLACEMENT 40,000 ------ 7D WINDOW/DOOR REPLACEMENT (SOUTH ELEV) 20,000 ------ ------------------------------------------------------------------------------------------------------------------� LUMN TOTALS 870,000 1,696,000 735,500 --------- CALIFORNIA THEATRE STUDY FOR CITY OF -AN BERNARDINO RFM&Co 23-Jan-95 SHEET 1 { MAJOR-PROD LONG-TERM ICODE & SAFETY { C 0 S T O U T L I N E { ITEM COSTS { ITEM COSTS { ITEM COSTS { {RE EXIST COND{ { { { { {PART-2 - STRUCTURAL ISSUES & RECOMMENDATIONS { { { 2A FRONT OCCUPANCY SPACE 60,000 0 { 2B STAGE FLOOR ------ 5,000 2C GRID, CEILING, WALL: PRODUCTION ASSEMBLIES ------ REF 4H { 2D OFF STAGE BRIDGES { ------ { 18,000 { 2E ARBOR GUIDE SEISMIC SUPPORT { { ------ 11,000 { { 2F NORTH STAGEHOUSE ADDITION 78,000 0 { 2G ORCHESTRA FLOOR FILL 30,000 { 60,000 {PART-3 - CODES & STANDARDS COMPLIANCE ( { { 3A AUDIENCE EXITS { ------ { ------ { 3B DOORS & HARDWARE 40,000 30,000 { { 3C FUTURE 2ND LEVEL FRONT EXITS 30,000 30,000 { 3D EXISTING EMERGENCY POWER ------ REF 6A { { 3E EXISTING EMERGENCY ILLUMINATION ------ REF 6A { 3F EXISTING GENERAL ILLUMINATION ------ { REF 6A 3G ENERGY CONSUMPTION ------ REF 6A { 3H FIRE SPRINKLERS 17,000 { 110,000 { 31 STAGE SMOKE-VENTS { { ------ { 35,000 3J PROSCENIUM FIRE-CURTAIN SUSPENSION ------ 7,500 { 3K FIRE-ALARM, ASSOC. SYSTEMS ------ { 50,000 { 3L PATRON ACCESSIBILITY (ADA) { ------ REF 5-F & G { 3M PERFORMER ACCESSIBILITY (ADA) 40,000 REF 6E { {PART-4 - PRODUCTION AREAS & EQUIPMENT { 4A DRESSING AREA ACCESS (GENERAL) { ------ 22,000 { 4B DRESSINGS ROOMS - STAGE RIGHT 18,000 ------ { { 4C EQUIPMENT ROOM STAGE LEFT 3,500 12,000 { 4D NORTH STAGEHOUSE ADDITION 100,000 ------ 4E DRESSING AREA FIRE PROTECTION IREF 3H & K I REF 3H & K { 4F ORCHESTRA PIT & MUSIC PERFORMANCE 1 35,000 { ------ { 4G STAGE PLAYING AREA: MAJOR PROD. 250,000 ------ ------ { { 4H SCENERY HANDLING EQUIP ADAPT/REPLACEMENTS 70,000 50,000 40,000 { 41 CURTAINS AND DRAPES 35,000 ------ { 41 SCENERY LOAD-IN-OUT 25,000 ------ { 4K PIPE ORGAN PRESERVATION D I ------ { 4L BASEMENT EXCAV, WALLS, FRAMING 250,000 30,000 ------ { ,r _ CALIFORNIA THEATRE STUDY FOR CITY OF SAN BERNARDINO RFM&Co 23-Jan-95 SHEET 2 { MAJOR-PROD { LONG-TERM ICODE & SAFETY{ { C 0 S T O U T L I N E ITEM COSTS { ITEM COSTS ITEM COSTS {PART-5 - AUDIENCE ACCOMMODATIONS & RECOMMENDATIONS { 5A TICKET SALES AREA 35,000 1 ------ 5B FOOD & BEVERAGE SALES { 15,000 ------ { 5C NON-FOOD & BEVERAGE SALES { 6,000 ------ { { 5D PRE-FUNCTION, INTERMISSION FLOW { 25,000 { ------ { 5E ORCHGESTRA LEVEL AISLES ------ REF 2G 5F ORCHESTRA LEVEL ACCESS { ------ { REF 2G 5G BALCONY LEVEL ACCESS ------ 25,000 { 5H BALCONY SEAT LAYOUT { 1,500 ------ PART-6 - BUILDING & THEATRE SYSTEMS { { 6A ELECTRICAL POWER 125,000 200,000 { 6B HEATING, VENTILATION, AIR-CONDITIONING { { 200,000 ------ { 6C PLUMBING ADDITIONS { 70,000 ------ 6D ROOFING/DRAINAGE SYSTEMS 120,000 { ------ { 6E ELEVATOR { 80,000 { 6F MARQUEE/SIGNAGE/POSTER CASES { 35,000 ------ { { 6G STAGE SCENERY HANDLING SYSTEM REF 4H REF 4H 6H PRODUCTION LIGHTING SYSTEM 200,000 { 112,000 ( ------ { 61 ELECTRONIC SOUND SYSTEM { 100,000 160,000 ------ { { 6K INSULATION ( 37,000 ------ { { {PART-7 - FINISHES, PAINTING & DECORATING { { { { 7A EXTERIOR FINISHES & PAINTING 38,000 ------ 7B INTERIOR BASIC/DECOR FINISHES & PAINTING 65,000 ------ { 7C CARPET REPLACEMENT 40,000 ------ { 7D WINDOW/DOOR REPLACEMENT (SOUTH ELEV) 20,000 ------ { { --------------------------- {COLUMN TOTALS { 870,000 1,696,000 735,500 { 0 a V V ` } \ U Z z W < r < z o Z z CL � Lo f Q W L U a 0)ad W < O ~ Z � a = c'7 O 0 UJ Z W at o za ¢ 0C W m > Z za v� W Q H w Z U. < Z W < O U W w 2 :E cc cc LLS CE < o < z U. 0 V U W W r g W J a a N ?elf W LL t � v 133ZI1S Hlb ..J a L O O INDEX PART-1 - REFERENCE DRAWINGS SH. A-2 EXISTING ORCHESTRA LEVEL PLAN A-2.1 ORCHESTRA LEVEL MODIFICATIONS DIAGRAM A-3 EXISTING BALCONY LEVEL PLAN A-3.1 BALCONY LEVEL MODIFICATIONS DIAGRAM A-4 MISCELLANEOUS PRODUCTION AREA PLANS A-5 EXISTING LONGITUDINAL SECTION A-6 EXISTING STAGE PLAN A-7 EXISTING SEATING PLANS A-7.1 REVISED SEATING PLANS A-8 ENLARGED UPPER SIDE-STAGE AREA PLANS A-9 EXISTING TOILET AREA PLANS A-9.1 TOILET ROOM ADDITION A-10 EXISTING RIGGING SECTION A-10.1 NEW RIGGING SECTION A-11 NORTH STAGEHOUSE ADDITION A-12 TICKET LOBBY ENTRY A-13 EXTERIOR SOUTH ELEVATION A-13.1 EXTERIOR SOUTH MODIFICATION ILLUSTRATION A-14 EXTERIOR WEST ELEVATION PART-2 -STRUCTURAL ISSUES & RECOMMENDATIONS PAR 2A FRONT UPPER LEVEL OCCUPANCY 2B STAGE FLOOR 2C GRID, CEILING, WALL PRODUCTION ASSEMBLIES 2D OFF-STAGE BRIDGES 2E ARBOR GUIDE SEISMIC SUPPORT 2F PROPOSED SOUTH (STAGEHOUSE) ADDITION 2G ORCHESTRA FLOOR FILL PART-3 -CODES & STANDARDS COMPLIANCE PAR 3A AUDIENCE EXITS 3B DOORS & HARDWARE 3C FUTURE 2ND LEVEL FRONT EXITS 3D EXISTING EMERGENCY POWER 3E EXISTING EMERGENCY ILLUMINATION 3F EXISTING GENERAL ILLUMINATION 3G ENERGY CONSUMPTION 3H FIRE SPRINKLERS 31 STAGE SMOKE-VENTS 3J PROSCENIUM FIRE-CURTAIN 3K FIRE-ALARM, ASSOC SYSTEMS 3L PATRON ACCESSIBILITY (ADA) 3M PERFORMER ACCESSIBILITY (ADA) INDEX (Continued) PART-4- PRODUCTION AREAS & EQUIPMENT PAR 4A DRESSING AREA ACCESS (GENERAL) 4B DRESSING ROOMS -STAGE RIGHT 4C DRESSING ROOMS -STAGE LEFT 4D NORTH STAGEHOUSE ADDITION 4E DRESSING AREA FIRE PROTECTION 4F ORCHESTRA PIT& MUSIC PERFORMANCE 4G STAGE PLAYING AREA: LONG-TERM & MAJOR PRODUCTION 4H SCENERY AND COUNTER-WEIGHT SYSTEM 41 CURTAINS AND DRAPES 4J SCENERY LOAD-IN-OUT 4K PIPE ORGAN PRESERVATION 4L BASEMENT ADAPTATION PART-5 -AUDIENCE ACCOMMONDATIONS & RECOMMENDATIONS PAR 5A TICKETS SALES 5B FOOD& BEVERAGE SALES 5C NON-FOOD & BEVERAGE SALES 5D PRE-FUNCTION, INTERMISSION FLOW 5E ORCHESTRA LEVEL AISLES 5F ORCHESTRA SEAT SPACING 5G BALCONY LEVEL AISLES &ACCESS 5H BALCONY SEATING PART-6- BUILDING AND THEATRE SYSTEMS PAR 6A ELECTRICAL POWER ASSESSMENT 6B HEATING, VENTILATION, AIR-COND. 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NNV0ow '3'H 131V3H1 VIN10311V� ... ! .0 ETIEZUL- oc a ;- 9 n 0 Z - 0 J W I F" N 8 3b Zi 0 ..ormv in3rvdo�n3me oirvo'uo3 E 101 16 VIN210.�1'IVO 'VN30vsvd 3 711 V 3 H 1 eoe cl OVI101V 'I3 Hl.'IOS 6E O N I U 71 V N 71 3 0 N V S NOUVA313 1S3M ONIISIX3 00 � NNVJoN 3N 831V3H1 VINbOd11 > I I � �I i i c i I _ I Q W J W f" Vf W U Z {~A W S X5 PART-2 STRUCTURAL ISSUES AND RECOMMENDATIONS Structural issues related to continued, adaptive use, of the California Theatre are included in this section. The scope of structural considerations relate to framing members and materials for the elements considered. Many of the assemblies described in this section are visual grade, exposed steel fabrications that do not involve other trades or types of work. Costs for work described in this section are therefore broken down on a line-item basis in the cost report. TWO STORY, (ORIGINAL RETAIL PORTION) OCCUPANCY ROOF, FLOOR AND VERTICAL SUPPORT, STAGE FLOOR CONSTRUCTION AND INTEGRITY, STAGEHOUSE AND AUDITORIUM ROOF FRAMING CAPACITY FOR CARRYING ADDED PRODUCTION EQUIPMENT LOADS, STAGEHOUSE AND AUDITORIUM PRODUCTION ASSEMBLY ADDITIONS AND MODIFICATIONS APPROACH TO REPORTS AND ANALYSIS The general approach to compliance with codes and standards in this study is moderate. The age and design character of the theatre are reasons for approaching upgrading of standards of safety and usage in positive, yet unique ways that will maintain the identity of the California Theatre. PART-2 STRUCTURAL ISSUES AND RECOMMENDATIONS Page 1 FLOOR, ROOF AND VERTICAL FRAMING SYSTEMS: A. "Front Occupancy" Second Floor& Roof: Wood beams and joists support the upper floor and roof. Portions of each were replaced following a fire in the early 1990's. 1. Wood framing installed in conformance with 1992 building and safety standards would have provided up to 100-pounds per square foot (psf) floor load capacity and 20-psf roof capacity (16-psf sloping roof). Such loads would allow for public lobby usage in the second floor space. 2. The 1992 structural repair, however, has been reported to have occurred without design calculations, according to representatives of the former owner. This issue combined with the degree of noticeable roof deflection indicate needed additional stiffness (joists) to qualify for a roofing guarantee, assure long term moisture protection, and adequately support new air-conditioning equipment. 3. Current standards for publicly owned theatre facilities give reason to further upgrade second level construction of the"Front Occupancy"to Type-l. This would provide fire and seismic resistance standards matching the theatre. Moreover, upgrade would reduce vibration and its transmission to other areas resulting from new mechanical equipment recommended for roof installation. B. Verification of Existing Stage Floor Construction: The stage includes structural concrete over basement areas (located under about 50% of the playing area) with the remaining portions being concrete bearing on grade. Both systems date from the time of original construction. 1. Dimensioned lumber supports a stage-floor"trap" (removable wood panel) located approximately in the center of the playing area. The trap measures approximately 8- feet by 14-feet. Live design load of the stage floor requires 125 pounds per square foot. 2. Finished flooring is installed over the concrete floor or grade. Sleepers spaced 16- inches apart separate dimensioned floor boards from the concrete slab. C. Proposed Grid, Ceiling, Wall Mounted Production Assemblies: Auditorium and stagehouse roof framing require analysis of long-span trusses and concrete beams respectively. Calculation of concrete carrying capacity is based on reinforcing steel embedded in the concrete beams while analysis of truss members is based on member sizes and types of connections. Data gathering and engineering exceeds the scope of this study, therefore recommendations are based on comparable beam and truss capacities previously analyzed in buildings of similar age and construction. PART-2 STRUCTURAL ISSUES AND RECOMMENDATIONS Page 2 1. Stagehouse Roof Structure: Noticeable deflection existing in stagehouse concrete beams warrants analysis, (this may be an insignificant degree of"creep", a common concrete phenomenon of minimal impact). However, prior to using beams for attaching smoke vents or new loads from a grid structure or"under-hung" loft blocks, existing beam capacities need verification. a. Recommended New Steel Scenery Grid: A steel replacement grid is recommended to replace the existing wood grid which has been seriously weakened through remodel and poses a combustible material hazard. Structural analysis of stagehouse wall thickness, height and embedded steel reinforcing bars, is necessary to verify type of attachment and/or support of the new grid in conformance with design-load limits in concrete structures. b. Design criteria for sizing of new steel grid members, checking gravity supports and verifying load capacity of elements recommended for reuse (refer to Stagehouse-Diagram AD-10) are as follows: Sheet Note Number Loading (pounds) 1 75 psf 2 1250 plf, vert. & horiz. 3 250 plf, vert. & horiz. 4 250 Ibs per lead line 5 250 plf, uplift @ pin-rail 6 100 psf 7 1250 pounds per each g 1250 plf, up lift g 1250(1.33) horiz. c. Existing Grid Hazard Relative to Fire Curtain Compliance: A change from standards which governed the original 1926 design of the stagehouse was later (1932 reportedly) enacted involving the fire curtain. The new requirement meant adding several feet to the top of the original fire curtain, causing it to hang lower than the top of the proscenium arch opening during performances. The remedy was to raise the available curtain travel distance about 2-feet above the grid by cutting away grid support beams. This allowed the curtain to rise higher and out of sight during performance, but it caused the removal of the originally designed attachments of grid members into the concrete wall. The result replaced wall embedded beams with rods that suspend the grid from the stagehouse roof. However, no lateral resistance members were installed as part of the changes. PART-2 STRUCTURAL ISSUES AND RECOMMENDATIONS Page 3 While allowing fire code conformance,the lack of lateral restraint is a seismic hazard and suspended loading may be overstressing roof concrete (already deflecting due to creep). The lack of lateral controls is non-conforming with current codes and matches conditions that contributed to ceiling collapse and structural failure in two theatres and the partial ceiling collapse at Powell Library at UCLA during the Northridge earthquake. 2. Auditorium Roof Structure: Existing framing over the auditorium is significant to supporting proposed production lighting positions above the auditorium ceiling. The approximate square proportion of the California Theatre auditorium involves deep-trusses that span the auditorium width at approximate quarter points between the rear auditorium wall and the proscenium (E/W span). Between E/W trusses are shallower (N/S span) trusses spaced a quarter of the width in from the side walls. Between this combination of deep trusses are long span light steel trussed joists spanning approximately 40-feet each. The main deep trusses currently posses residual capacity available for suspension of either a ceiling light-bridge or light pipe that would be supported from members that extend from the foreword deep truss to the proscenium wall 3. Proposed New Ceiling Lighting Position: Refer to recommended design of Light-Bridge in Section-6. Structural requirements for suspension of ceiling production lighting at the California Theatre involve opening a vertical portion of the suspended ceiling (the decorative ante-proscenium beam) and building a catwalk structure supported from and below the E/W deep truss in the manner described above. 4. Proposed New Side (box-boom) Wall Lighting Positions: Structural requirements for box-booms include standard pipe construction outriggers attached to and braced from the concrete walls.The assembly is then extended through the decorative plaster wall to the appropriate sightline position. Cantilever from the face of the splayed (ante-proscenium) concrete wall is approximately 6-feet. D. 1 st Stagehouse Bridge (used as combination load &fly gallery): A steel bridge currently spanning the stage depth (about 28-feet), and approximately 24-feet above stage right, provides the capability of a fly bridge for"tieing-off" spot lines and hemp lines. Load limits cannot be determined without testing or recording steel thickness and connection design. Years of usage, including up-lift from spot- lines has tested capacity in the range of 1000 pounds per lineal foot up-lift on the pin rail. Such values approximate current design standards. PART-2 STRUCTURAL ISSUES AND RECOMMENDATIONS Page 4 E. Recommended Stagehouse Arbor-Guide Support: Vertical "T-guides" (steel T-shapes spaced 6-inches apart), provide attachment for counterweight carriages called arbors. Presently, the counterweight arbors are attached only to the gallery floor slab and at top and bottom points consisting of the head-block- beam and stage floor. 1. Currently locations and spacings of the T-attachments are insufficient to resist buckling of the T-guides in the event of either earthquake or intensive usage. This condition is also non-conforming with respect to the structural code. 2. An open steel framework is recommended in theatres lacking required lateral resistance for arbor-guide-tracks. Such an assembly is described on diagrammatic drawings and in Part-6. F. Recommended North Stagehouse Addition: 1. Approximately 2,200 square feet of phase-1 additional space is recommended to be added adjacent the north (rear) stagehouse wall, (880-square feet stage level, 1275-square feet upper level). After an increase of another 2,000 square feet as a phase-2 supplement, total additional area would be 4,200 square feet. Functions for this area are included in Part-4, and on reference diagrams. 2. Framing and construction would involve steel light framing with concrete floors and infill (non-structural) walls. Door openings through existing concrete stagehouse walls would be maintained. The existing scenery opening would be aligned closer to the face of the adjacent wall pilaster by removing a portion of the concrete wall This would then allow a 3-foot door access and use of the new area for a performer crossover during events. G. Orchestra Floor Seat-Platform Fill Planning for leveling of the orchestra floor surface over existing seating platforms is described in Part-5. Structurally,this may be accomplished using infill between existing steppings (Concept-1) or may involve construction of a raised floor segment above the concrete floor (Concept-2). An infill over steps would create a smooth concrete floor. A raised floor, would be concrete floor also, but over compacted fill. In either case, standard strength concrete is necessary to hold expansion anchors used to secure floor mounted theatre seats. PART-3 CODES AND STANDARDS COMPLIANCE A review of the California Theatre's conformance to safety codes and standards is included in this section. The scope of the items surveyed generally include: PUBLIC EXITING AND CODE COMPLIANCE, TITLE-24 ISSUES RELATED TO THEATRE LIVE-SAFETY FIRE PROTECTION SYSTEMS AND STANDARDS ACCESSIBILITY STANDARDS The general approach to compliance with codes and standards in this study is moderate. This means that age and design character of the theatre are reasons for approaching upgrading of standards of safety and usage in positive and yet unique ways that will maintain the identity of the California Theatre. PART-3 CODES AND STANDARDS COMPLIANCE ISSUES Page-1 EXITING CODES AND STANDARDS A. AUDIENCE EXITS SERVING THEATRE SEATING: Distribution and size of exits generally conform to applicable safety standards. Rows of theatre seating on the main level generally do not conform. 1. SEAT ROW SPACINGS: (Refer to Floor Plans and Seating Plans) Seat row spacing on orchestra and balcony levels currently vary in each row. Orchestra seats are floor mounted on existing platforms each 2-feet, 8-inches, but seat backs are adjusted (to increase leg room) such that some rows clear only 2-feet, 6-inches. (refer to seating form diagrams and Part-5) 2. CROSS AISLES SERVING SEATING AREAS: Cross aisles serve the front of the orchestra and mid-depth of the balcony. Width on the orchestra is 2'-7'. This distance is less than the minimum for safety and must be increased to 3'-8" clear. Width on the balcony is 4'-0"which is adequate based on the tributary aisle loads flowing into the balcony crossover. The side balcony aisles are 4-feet, 4-inches which slightly exceeds the required width. Existing side balcony stairs are 3'-0", and less than the required standards. 3. VERTICAL AISLES SERVING SEATING AREAS: Tapered vertical aisles (maximum 5-feet, 4-inches to minimum 3-feet, 6-inches) serving orchestra seats are adequate and conform with current exit codes. (Refer to access issue in Section-L). B. EXIT DOOR OPENINGS: Non-conforming doors that should be fire-labeled and rated exist at the following locations: 1. STAGE-AUDITORIUM OPENING PROTECTION: One door separating stage and auditorium is non-rated; code requires 3/4 hour protection. 2. EXIT PASSAGE-AUDITORIUM OPENING PROTECTION: Four doors separate side exit passages from the auditorium and are non-rated. Code requires 1/3-hour protection. PART-3 CODES AND STANDARDS COMPLIANCE ISSUES Page-2 3. DOORS LEADING TO ORCH AND BALCONY AISLES: Currently exit doors and door jambs are non-rated. Replace existing doors with rated wood doors and metal jambs at three locations, provide panic devices also at these locations. 4. TYPES OF DOORS AND HARDWARE: Class-C, doors are recommended, at the ratings required for the locations involved; solid mineral core with wood skin is acceptable, set in metal frames. Panic hardware is required at all such exit locations. C. EXIT PASSAGES AND STAIRS AT FUTURE 2-ND LEVEL (FRONT OCCUPANCY): Exiting from the original B-2 occupancy area (upper level fronting the street) is only by a single stair which is of wood construction. This area does not qualify for sharing the grand stair and other balcony level exits because of its wood construction. Practically, as well as for safety, it needs separation from the theatre by doors that close in the event of fire. 1. RECOMMENDED WOOD STAIR REPLACEMENT: Replace existing wood stair with non-combustible construction and add an exit stair on the opposite side of the space to supplement the existing stair. 2. RECOMMENDED DOORS AND HARDWARE: Provide panic devices as required on exits serving the former B-2 occupancy area and assure rated area separation devices will close future openings between B-2 and the theatre mezzanine lobby. TITLE-24 ISSUES RELATED TO THEATRE LIFE-SAFETY The following incorporate generally required provisions that the majority of building jurisdictions in California have mandated for continued use of historic theatres of the vintage of the California Theatre. D. EXISTING EMERGENCY POWER Generally non-conforming power supply, lighting levels fixture types and locations are in use serving exit pathways and doors, aisles through theatre seating, and lobbies and passages. PART-3 CODES AND STANDARDS COMPLIANCE ISSUES Page-3 1. RECOMMENDED EMERGENCY POWER SOURCE: Emergency power source is proposed to serve exit lights, egress illumination in both theatre exit passages, stairs, toilets and lobbies. A central battery power source would be most economical for serving the number of locations of required emergency power. E. EXISTING EMERGENCY ILLUMINATION Illumination is provided only at a select number of locations relative to exits and is less than minimum Title-24 standards. 1. RECOMMENDED EMERGENCY ILLUMINATION Emergency exit paths from seating areas, (auditorium aisles), and exit path lighting through lobby areas and passages require supplement to 1-foot candle illumination level. Exit marker signs require conforming locations and/or lamp and color changes at approximately four locations. F. GENERAL ILLUMINATION (House and Lobby Lighting) Existing house (auditorium) lighting is below current minimal standards for reading programs and general safe movement in aisles and balcony stairs. Foot candle levels are insufficient to be readable. 1. RECOMMENDATION FOR INCREASED ILLUMINATION Increase is recommended in the range of 1.5 to 2.5 foot-candle illumination level G. ENERGY CONSUMPTION HVAC system energy usage is non-conforming, but continued operation has been allowed to continue based on continued theatre usage, and minimal expenditure for facility upgrading. Natural gas fuel is noted serving at least one water tank. Also one gas fired furnace was noted serving the west set of dressing rooms. PART-3 CODES AND STANDARDS COMPLIANCE ISSUES Page-4 FIRE PROTECTION SYSTEMS AND STANDARDS H. FIRE SPRINKLERS Automatic fire sprinklers are in existence only in select parts of the stagehouse and performer dressing areas. Sprinkler water service and pipe sizes are sized to match the existing number of sprinklers and dates from original construction. 1. RECOMMENDED SPRINKLER ADDITIONS: Automatic sprinkler coverage should be provided throughout all areas of the California theatre building.This also is a requirement of the current City of San Bernardino sprinkler ordinance. 2. RECOMMENDED SYSTEM LOCATIONS AND COMPONENTS: Include"supervised fire sprinkler valves; and provide sprinklers in the auditorium ceiling. Sprinkling has been provided above the ceiling to protect long span steel trusses. This approach is generally less costly than sprayed fire proofing. Adopting this recommendation requires consideration and approval of Fire Department Officials. I. STAGE SMOKE VENTS Non-conforming stage smoke vents exist in the stagehouse roof. 1. RECOMMENDED VENT REPLACEMENT: Install new"self-actuating" smoke vents conforming sizes greater than presently existing. Added structural support along edges of new cut roof openings are necessary when installing new vents. Inter-tie of the vents to the Proscenium Arch Fire Curtain is also part of the requirement for smoke vents. J. PROSCENIUM FIRE-CURTAIN The existing asbestos fire curtain in the proscenium is reported to have been encapsulated. Currently rigging which supports the fire curtain is non-conforming to the CALOSHA and Title-24 life safety code. 1. RECOMMENDED NEW RIGGING OF EXISTING FIRE CURTAIN: Replace existing"wall"-blocks and counterweight (dating from original installation), with a 5-lift line system, (replacing the existing Vines). This recommendation will distribute suspension loads (Thus preventing jamming or possible falling of the fire curtain in the event of failure of a lead line (suspension support) which is possible with the existing installation. PART-3 CODES AND STANDARDS COMPLIANCE ISSUES Page-5 K. FIRE-ALARM, DETECTION, ANNUNCIATION AND PUBLIC ADDRESS: Currently neither alarm, detection nor annunciator or public address systems are installed in the theatre at any location. 1. RECOMMENDED COMPONENTS OF FIRE ALARM SYSTEM a. An alarm system is recommended. Included should be manual call boxes, smoke detectors and sprinkler flow valves. 2. RECOMMENDED AUDIO EVACUATION FEATURE] An audio evacuation feature of the house sound system with lobby monitor speakers is recommended also and is included in Title-24 requirements for places of public assembly. ACCESSIBILITY STANDARDS L. PATRON ACCESS:. The original period of design and construction of the California Theatre accounts for spatial and floor constructions that do not conform to current accessibility standards. Specific issues are listed. 1. NON-ACCESSIBLE PATRON AREAS (LONG-TERM COMPLIANCE SEE PART-5) Space for wheelchairs is not provided in the auditorium at any location. Existing ramped aisle access to orchestra level disabled persons seating 2 PROPERLY ACCESSIBLE PATRON AREAS: Toilet area provisions for disabled patrons do not conform to the most recent standards for space requirements,fixture types and heights in patron toilet areas. b. Orchestra level drinking fountains are not type approved fixtures M. PERFORMER AND STAFF Access involves performers and staff at production areas located in both on-stage and off- stage areas. The current stage level is within 18-inches above the existing outside grade. Existing dressing areas are located above the stage level on floors accessed by stairs on three levels above the stage floor level. PART-3 CODES AND STANDARDS COMPLIANCE ISSUES Page-6 1. RECOMMENDED PERFORMER/STAFF ACCESS PROVISIONS: a. Provide a stage-level addition on the outside of the stagehouse, extending to the north into the parking area.The space in the addition would provide dressing, wardrobe and toilet areas at stage level and a loading dock-transfer area with direct opening into the stagehouse. PART-4 EVENT PRODUCTION AREAS AND EQUIPMENT The following assesses accommodations for presenting and producing multi-purpose events at the California Theatre.The approach of this study considers the theatre as a competitive venue for entertainment and culture in the inland empire. Therefore, selected production and operational spaces, assemblies and equipment are analyzed according to"Long-Term" or"Major-Production" issues which attract rental tenants and favor operating the California Theatre with minimum financial subsidy. "Long-Term" recommendations are items that allow renters to meet current standards for crew size while unloading and mounting visiting-company productions, for running shows with current standards of electrical equipment, dressing accommodations lighting and sound "Major-Production" recommendations provide specific facility attributes for staging major attractions which can "sell-out'at ticket prices that top the competition. The following considerations are included: EXISTING DRESSING AREA ACCESS AND SPACE USAGE NORTH DRESSING ROOM ADDITION ORCHESTRA-PIT SIZE AND ADAPTIVE RECOMMENDATIONS STAGE PLAYING-AREA USAGE: FOR LONG TERM AND MAJOR-PRODUCTION SCENIC COUNTERWEIGHT ADAPTATIONS AND EQUIPMENT CURTAINS AND DRAPES SCENERY AND EQUIPMENT LOAD-IN-OUT: FOR LONG TERM AND MAJOR-PRODUCTION PART-4 PRODUCTION AREAS& EQUIPMENT AT THE CALIFORNIA THEATRE, SAN BERNARDINO Page 1 EXISTING DRESSING FACILITIES: A. DRESSING AREA ACCESS Access to dressing rooms on floors located above stage level is by two stairs each located on opposite sides of the proscenium. Since no floors exist on the upper levels connecting the two dressing areas, each stair is the only exit from the area served. By code, this condition currently limits the legal capacity that may be served by each stair to 10 persons. On stage left the stair is wood construction and is open onto the stage. This condition poses a fire hazard. 1. Recommended Replacement Stair-Stage-Left A steel replacement stair is recommended leading to dressing areas above stage-left. Width of 3'-8" is proposed as part of master planning. Such stairs, in the event of a north dressing room addition that included an upper level, would be located in the addition instead, and permit a maximum number of occupants in the dressing areas as determined by the square footage rather than by stairs. With such reassigned usage, ladder access would be sufficient to serve reassigned uses for equipment and storage above stage left. B. DRESSING ROOMS STAGE-RIGHT: Thirteen small dressing rooms currently exist on two levels above stage right. Due to the small size, rooms are limited to use by a single performer in each. 1. Recommended Stage-Right Dressing Room Planning, (Refer to Diagram A-8) provide the following: At the time when a north addition to the stagehouse is provided,this study recommends dressing areas No.-1 and 2 be converted to reuse as a women performers'toilet and shower. This would include removal of the enclosed performer toilet presently adjacent No.-1 for replacement with a men performers' shower. Showers, which are an"Equity" requirement, are presently lacking and would become a potential cause of loss of rentals and revenue under the new operating format. 2. Recommended Dressing Area Systems: Dressing room electrical, air-conditioning and ventilation system revisions are recommended as provided in Part-6, system rehabilitation. PART-4 PRODUCTION AREAS & EQUIPMENT AT THE CALIFORNIA THEATRE, SAN BERNARDINO Page 2 C. RECOMMENDED SPACE-USE ADDITIONAL TO EXISTING STAGE RIGHT: The chorus dressing-room above stage left serves chorus performers, along with their wardrobe, but prop and wardrobe maintenance requirements cannot be met due to the small area available. Supplement of the left stage dressing area with either a north addition or basement addition is recommended. Use of the area off-stage for production as a sound equipment and rack-room is recommended. 1. Benefits of Stage-Right Integrated Planning: As part of master-planning, and anticipating a future north dressing room addition, both dressing areas (upper right and new addition), are recommended to be used in combination, including chorus area, wardrobe area, washer and dryer, toilet and shower facilities on the second level. 2. Recommended Electrical and Ventilation: Chorus plumbing, electrical and ventilation systems are included in Section 6 as part of system rehabilitation. D. LONG-TERM NEW NORTH DRESSING ROOM ADDITION DESIGN (Refer to Diagram A-11) A new two-level structure would benefit long-term operation if located adjacent the north (upstage) wall of the stagehouse in an area presently used for parking. 1. Recommended New Upper Level: Two chorus-dressing areas, with chorus-toilets, showers and wardrobe areas are recommended. Wardrobe to also include washer and dryer facilities. A green-room accommodation can be shared usage with dressing areas on stage right, as the two areas are proposed to connect and share stair access. 2. Recommended New Main (Stage) Level: One private (stars') dressing area with private toilet and shower is recommended on stage level to serve combined needs for a"principals"dressing room, or a"quick change" or a disabled performers' dressing area. Additional area on stage level is proposed for an enclosed loading dock and transfer space to facilitate load-in and out of scenery and production items (Refer to Paragraph-J in this Part). PART-4 PRODUCTION AREAS & EQUIPMENT AT THE CALIFORNIA THEATRE, SAN BERNARDINO Page 3 E. RECOMMENDED DRESSING AREA FIRE PROTECTION: Detectors and fire-alarms are recommended over stairs, in corridors and in all dressing rooms along with fire sprinklers which already exist in some areas. F. ORCHESTRA-PIT AND MUSIC PERFORMANCE ACCOMMODATIONS: Pit length approximates 48-feet and width averages approximately 5-feet (7-feet beyond stage facia at center). Up to 18 musicians playing acoustical instruments may be accommodated. Pit Depth extends approximately 54eet below stage, (just over 1-foot below the floor level at the first row of seating 1. Orchestra-Pit Size: Many"medium"and "small" musical productions will use instrumental accompaniment that will be accommodated easily within the size of the existing orchestra-pit. Major musicals and much ballet repertoire will require either more than the 18 instruments referred to here or use an electronic recorded musical supplement.The latter anticipated source of accompaniment appears to be most consistent with conditions in the near future (based on current costs of live music production compared with current ticket sales potential). Notably, these conditions follow cycles, and in the future a larger pit for ensemble accompaniments will become necessary. 2. Long-Term Recommended Orchestra-Pit Depth: The pit depth is shallow by pit usage standards. An increased depth of 4-feet would allow increased capacity approximating 8-instrumentalists (by recapturing use of over 3-feet of current"low-headroom"space under the stage overhang). Increased pit depth benefits the members of the audience in the front of the orchestra by eliminating distractions of music-stand lights and activity in the pit. 3. Long-Term Recommended Orchestra-Pit Platform: A platform covering the pit is recommended to serve as a stage extension for use in concert events.The proposed expansion of the stage is necessary to accommodate solo instruments physically and acoustically. G. STAGE PLAYING AREA The on-stage playing area is determined by the arch width: 51-feet existing; and available playing depth between the proscenium-line ('P'-Line) and the last"available" pipe: 27-feet existing. The apron extends 3-feet, 7-inches in front of the proscenium-line.These dimensions, while usable for most"small"and "medium" size musical and ballet PART-4 PRODUCTION AREAS & EQUIPMENT AT THE CALIFORNIA THEATRE, SAN BERNARDINO Page 4 productions, is limiting to major touring events and symphony orchestras playing "romantic-period" literature. 1. Major-Production Stagehouse Extension: To provide stage space suitable for major productions and orchestral and dance repertoire, this provides and alternative to the north-dressing area expansion described above. Such alternative is expansion of the Playing Area by an additional 12-feet to the north (exterior). The extension would rise to match the existing grid and roof elevation and include scenery hanging sets. Stage playing depth could then approximate 40-feet and allow most major ballet and musical production repertoire. The alternative dressing room expansion at basement level would be one corollary recommendation (See paragraph"L",this Part-4)in the event of choosing the stage expansion option, or a further extension to the north by as much as 32-feet may be considered. H. SCENERY AND COUNTERWEIGHT SYSTEM Thirty-nine (39) 4-line sets are currently installed at varying spaces of either 6-inches or 9- inches. Arbors are T-guided, operated and locked on the stage level on stage-right. Structural issues involving the counterweights and arbors are covered in Parts-2 and 6. Equipment components of the system include the guides, arbors, blocks, cables and pipes used to suspend scenery and lighting above the stage. 1. Recommended 5-Line Sets: The additional line in each set produces shorter spans between pick-up points on batten pipes,thus accommodating structural design-load limits and scenery-grid design codes. 2. Existing Headblock Beams The distance between existing head-block beams is approximately 12-inches.This varies from industry standard and governs allowable head-block diameters (currently about 1/3 smaller than standard accounting for slightly increased frictional force in raising and lowering pipes) and "thru-bolt"attachment between blocks and beam flanges. 3. Recommended Head-block Beam Replacement: The primary need for head-block beam replacement is to accommodate new industry standard 5-line head-blocks needed to accommodate grid and loading design limits noted above. New beams also permit using larger diameter head-blocks than presently exist, and labor savings through the use of flange clamps in lieu of thru-bolt attachments. PART-4 PRODUCTION AREAS & EQUIPMENT AT THE CALIFORNIA THEATRE, SAN BERNARDINO Page 5 4. Recommended Cables and Handlines: New connections of cables and handlines at tops and bottoms of arbors is recommended for safety-compliance with current standards. 1. CURTAINS AND DRAPES Recently replaced stage drapes and teaser-leg sets are in good condition. Recommended additions include: J. SCENERY AND EQUIPMENT LOAD-IN-OUT Currently loading of scenery and production items is direct from the parking lot behind the stagehouse through an approximately 9-foot square door opening. 1. Long-Term Recommended Scenery Loading and Transfer Area: A covered, 15-foot vertically clear, "transfer"area is recommended with loading dock access through a roll-up door 8-feet wide by 12-feet high. This space would occur within the new"north dressing room addition"described in Item-D above in this Part- 4. 2. Long-Term Recommended Truck Access: A truck drive and standing area are necessary to serve the stage loading dock. Alignment of the drive to serve the"transfer"area of the stagehouse is recommended in line with the E/W axis of the north stagehouse addition. Tail-gate height should be coordinated with a stage loading platform equal to the stage floor elevation and depression of the truck drive. While standing at the loading platform trucks and trailers need to stand level and not on a slope. K. THEATRE PIPE ORGAN PRESERVATION Currently,the theatre pipe-organ occupies chamber spaces in the side-walls of the ante- proscenium for pipes, a blower is located in the under-stage basement, an antiphonal rank is mounted on the up-stage wall and the console is located on orchestra pit-right. A console-lift is required to allow use of the organ following proposed orchestra pit revisions and relocation of the antiphonal pipe rank would be necessary to allow major production use of the stagehouse. PART-4 PRODUCTION AREAS & EQUIPMENT AT THE CALIFORNIA THEATRE, SAN BERNARDINO Page 6 L. LONG-TERM UNDER-STAGE BASEMENT ADAPTATIONS Area under the existing stage which is currently not excavated represents an area equal to approximately 40-per cent of the stage. Newly excavated space combined with existing under-stage basement space provides an alternate to a north-stagehouse addition. Functional usage beyond dressing accommodations could also include expansion of the orchestra pit approximately 10-feet under the stage, potentially doubling the allowable number of musicians. Several different plans are possible using the under stage area,for this study,the concept also offers a less cost possible alternative to the North Stagehouse Addition described in this Part, paragraph-D. PART-5 AUDIENCE ACCOMMODATIONS AND RECOMMENDATIONS The California Theatre's accommodation of the members of the audience involves considerations that relate equally to operational necessities and patron comfort. The following are generally considered to be major accommodations for attracting return patrons to subscribed series events and other presentation offerings: "Long-Term" recommendations are referred to in Part-5 in the same way as in Part-4. Considerations termed "Long-Term" reflect features that provide greater feasibility for non- subsidized operation. The"Major-Production" category, as in Part-4, provides accommodations that warrant top ticket prices and provide efficiencies that bottom line to attracting major events to the Inland Empire and to the California Theatre. TICKET PURCHASE, "WILL-CALL"AND ENTRY CONTROL; CONCESSION FACILITIES, LOBBY ACCOMMODATIONS AND TOILETS CONVENIENCE OF ACCESS TO THEATRE SEATING ORCHESTRA SEAT SPACING; BALCONY SEAT SPACING MAIN LOBBY EXTENSION CONCEPT The general approach to audience accommodations and facilities in this study is moderate. The age and design character of the theatre are reasons for approaching upgrading of standards of safety and usage in positive and yet unique ways that will maintain the identity of the California Theatre. PART-5 AUDIENCE ACCOMMODATIONS AND RECOMMENDATIONS Page-1 TICKET PURCHASE, "WILL-CALL", ENTRY CONTROL: A. TICKET SALES AND MAIN ENTRY Advance subscription and single-event sales have been handled off site away from the theatre. Under rental format operation, a box office is necessary which operates during daytime business hours. Adaptation of the entry lobby as a box office lobby can combine usage as an enclosed pre-function holding area and intermission overflow area. New enclosing doors are recommended setback a short distance from the sidewalk. The present lobby doors would be replaced as decorative interior crowd control doors. 1. LONG-TERM-RECOMMENDED TICKET SALES FACILITY: (Refer to Plan Diagram A-12) The change to EVENT-RENTAL type operation requires on site sales of tickets for all events to be presented at the theatre. A ticket sales office is recommended, with full computer and telephone lines in and out. At least three ticket sales windows are recommended, with counter space across the sales windows as well as computer, monitor and ticket-printer space, a treasurers area with a desk and file space. 2. RECOMMENDED TICKET SALES LOCATION: (Refer to Plan Diagram A-12) An area approximating 100-square-feet is recommended for accommodating ticket sales activities involving up to 3 persons. A location is recommended using a portion of the "Rehearsal-Room"adjacent the east side of the outside entry lobby. B. FOOD AND BEVERAGE CONCESSION (ALSO REFER TO PARAGRAPH PART-5-D4) Currently both main and upper lobby levels have one dedicated concession and liquor sales area each. At the main level, a permanent concession counter is installed in the Don Quixote Room. The nearly 20-foot long bar is equipped with three sales stations. On the balcony, level, an enclosed concession bar approximately 15-feet long is equipped with two sales stations. Equipment on the main level includes sinks, floor drains, local hot water heater, ice machine and soft drink dispenser. Health codes and standards are generally in compliance. C. NON-FOOD CONCESSION (ALSO REFER TO PARAGRAPH PART-5-D4) Additional portable lobby sales stands for promotional merchandise can be located within the traffic flow at the main and balcony levels. PART-5 AUDIENCE ACCOMMODATIONS AND RECOMMENDATIONS Page-2 D. PRE-FUNCTION AND INTERMISSION AUDIENCE FLOW: Main aisles and doors serving seating areas conform to current safety codes (refer to Part- 3). Assessing overall patterns of flow raises convenience more than safety issues. Important to the"theatrical-experience" is convenience to toilet areas, concession locations and routs leading to theatre seating both prior to showtime and during intermission breaks. 1. MAIN LOBBY EXISTING CONDITION (Refer to Plan Diagram A-2) Considerable congestion at entrances to both mens' and womens' rooms in the main lobby will occur when attendance reaches"full capacity". This is due to the number of available toilets in the respective locations. Similarly, lobby concession sales will prove less than comparable capacity theatres due to the"enclosed" location of the Don Quixote Room compared with locations that are commonly more visible. (REFER TO PART-5-D4) 2. LONG-TERM RECOMMENDATION AT MAIN-LOBBY WOMENS'TOILET One-way traffic through the womens'toilet is recommended to decrease congestion and time spent entering and leaving the area. An additional option is to add toilets into the existing womens'ante-room. 3. LONG-TERM RECOMMENDATION AT MAIN-LOBBY MENS'TOILET Allowing audience access to additional mens'toilets is recommended.This may be accomplished through combining presently existing plumbing along with added fixtures in the area of the existing Will Rogers room. 4. LONG-TERM RECOMMENDATION FOR LOBBY EXTENSION Present configuration of main-lobby patron-toilets essentially"divides" public space between the Don Quixote room, Will Rogers room and the crossover lobby. Modification of the entrances opening into each of the rooms would invite the general public into these areas thus reducing congestion in the traffic flow around the grand balcony stair. Additionally, all lobby floor levels are recommended to be maintained at the same level as the main-lobby floor. This would provide both greater safety and allow freer movement of patrons between areas. Windows to 4th Street are also recommended to be opened for view to the interior. ACCESS TO THEATRE SEATING E. ORCHESTRA (MAIN) LEVEL: At the main inner door from the outer lobby a"ticket-taker"checks authorized and paid admission tickets. The"ticket-taker"then calls out an easily identified door designation that sends the patron off in the direction to find their theatre seat.The pathway to theatre seating involves convenience (and safety) issues. And because such issues are planning PART-5 AUDIENCE ACCOMMODATIONS AND RECOMMENDATIONS Page-3 or construction items, or both, they are only governed by the intent of the safety codes instead of being specifically mentioned as a particular section in the code. This is the reason such issues are included in this Part of the Study instead of in Part-3,the code part. 1. EXISTING AISLE IDENTIFICATION Neither painted nor lighted signs provide aisle or door identification at entry points into orchestra and balcony seating areas. 2. RECOMMENDED AISLE MARKERS: Develop directional-signs throughout all areas and at auditorium entry doors based on a graphic design standard. 3. 4-FOOT LEAF AT AISLE DOORS: Replacement of existing doors accessing orchestra level aisles is one of the components of wheelchair accessibility as required to meet provisions for disabled theatre patrons. Where an entrance serves as a rout for wheelchair access, a 4-foot wide leaf is required at any door serving that entrance. 4. EXISTING RAMPED-AISLE ACCESSIBILITY: The measured ratio of"rise"to"run" in the ramped aisles at the rear of the existing orchestra level is 1 vertical in 8 horizontal. This exceeds the maximum federal guideline ratio for wheelchair ramps which is 1 in 12. 5. RECOMMENDED WHEELCHAIR ACCESS: This Study recommends following federal guidelines wherever wheelchair access is to be provided. But, conflicting conditions occur at the California Theatre. The current wheelchair-patron locations are accessible only by the ramped aisles. Because aisle slope is a function of the calculated sightline rise required for the floor (for the advantage of wheelchair patrons as well as ambulatory patrons), changing aisle slope is not recommended. Therefore this study recommends reassignment of areas where wheelchair patrons may sit, making the reassignment in areas that do not require encountering excessively steep portions of the aisles. 6. WHEELCHAIR PATRON RELOCATION: Several relocation alternatives are possible. One involves an enlarged flat floor area at the rear of the auditorium (Diagram A-7.1 and A-7.2) which is on the same level as the lobby floor. Wheel chairs could roll directly into such a location from the lobby. Another alternative would involve terracing the orchestra floor at the rear of the orchestra level, the upper terrace would then incorporate approximately 12-rows of seats set on the maximum slope of 1 in 12. End seats on the aisles of the upper PART-5 AUDIENCE ACCOMMODATIONS AND RECOMMENDATIONS Page-4 terrace would be provided with removable arm rests along the aisle that permit non- ambulatory patron to slide from a wheelchair onto the theatre seat. The lower terrace which would begin several feet lower than the forward-most row on the upper terrace would extend forward to the pit. The lower terrace would not be wheelchair accessible because of the drop between the terraces (an alternate sightline technique to replace the continuously increasing ramped floor technique). 7. AISLE WIDTH: Width of vertical aisles serving the rows of theatre seats is significant to audience convenience and comfort. Because such width is a specific code item it is covered in Part-3. ORCHESTRA SEAT SPACING ISSUES F. IMPORTANCE OF ORCHESTRA LEVEL SEAT-ROW SPACING: Seat-row spacing is a code issue identified in Part-3. Significant to audience convenience and comfort in accessing seating and leg room while watching events on stage, the width between rows is also critical to ticket price, and salability of certain seats. Because seat spacing affects sightlines and acoustical quality it is a significant factor in marketing of the theatre to event promoters. 1. EXISTING ORCHESTRA SEAT-ROW SPACING: Required width between rows of seats for safe exit purposes has been a minimum of 2-feet, 10-inches since the 1930's. Row spacings measure different widths in various rows, but range between 2-feet, 6-inches and 2-feet, 11-inches. The concrete floor construction incorporates stepped seating platforms which are 2-feet, 8-inches. Representatives of the former owner have indicated that the present seats, which are new on the orchestra level, were installed within the last 5-years. The seats are adjusted to compromise between the concrete platform spacings and an attempt to conform to current required spacings in selected rows. 2. LONG-TERM ORCHESTRA RE-SEATING PLAN: The in-fill of existing concrete seat platforms or terraced floor alternate, provide a continuous floor surface on which seats can be reinstalled at adequate row spacings and elevated to assure adequate sightlines. In addition, seat installation requires staggering of seats in successive rows to allow patrons to see"between"the heads of patrons in the immediate row ahead. 3. LONG-TERM ORCHESTRA RE-SEATING CAPACITY: Revised seating capacity is based on total orchestra and balcony and wheel chair seats in the revised plan (refer to seating diagram A-7.1): PART-5 AUDIENCE ACCOMMODATIONS AND RECOMMENDATIONS Page-5 G. BALCONY LEVEL: Directions at the main entry door from the outer lobby will send balcony"ticket-holders" up the grand-stair to the balcony lobby. The pathway to balcony seating relates to convenience (and safety) through the stairs, door openings and balcony stepped-aisles. As explained for the main level, because building codes only cover general safety intents, patron convenienceissues of balcony design are included in this Part of the Study instead of in Part-3, the code part. 1. EXISTING BALCONY AISLE IDENTIFICATION Neither painted nor lighted signs identify entry points to balcony seating areas. 2. EXISTING BALCONY STAIR ACCESS Stairs lead to the balcony crossaisle from the balcony lobby. Width and steepness of the stairs are acceptable although steepness is slightly greater than currently advised for public assembly use. Interior renovation and carpet selection can assist in overcoming problems associated with the steepness issue. 3. EXISTING BALCONY WHEELCHAIR NON-ACCESS: This Study recommends following federal guidelines wherever wheelchair access is to be provided. Presently wheelchair-patron locations are neither available on the balcony nor is access to the balcony lobby provided. 4. BALCONY WHEELCHAIR PATRON ACCOMMODATION: Space and sightline considerations limit potential balcony wheelchair access to the crossaisle area. Avoidance of further blocking in the crossaisle involves expanding the crossaisle width. Such revision to the crossaisle would require increasing the height of seats above the crossaisle to allow unobstructed sightlines from those seats. The balcony lobby offices and other lobby facilities are recommended to be fully accessible. 7. BALCONY AISLE WIDTHS: Width of vertical aisles serving the rows of balcony theatre seats are significant to balcony patrons comfort. Because such widths are calculated by formula, (and currently conform to safety standards), they are covered in Part-3. Steps in balcony aisles are especially comfortable due to the existing "low-rake" of the balcony. PART-5 AUDIENCE ACCOMMODATIONS AND RECOMMENDATIONS Page-6 BALCONY SEAT SPACING ISSUES H. BALCONY SEATING AND SEAT-ROW SPACING: Seat-row spacing is a code issue identified in Part-3 similar to orchestra spacing. Significant to balcony audience enjoyment is the sightline rake of successive balcony rows. This rake also involves the convenience of negotiating steps in the balcony aisles, comfort in accessing seating and leg room while seated. 1. EXISTING BALCONY SEAT-ROW SPACING: Row spacings measure different widths above and below the crossaisle. Below, rows are approximately 3-feet, and above the crossover 2-feet, 8-inches. The larger spacing below the crossaisle is within both safety and comfort standards (although many new theatres incorporate up to 3-feet, 4-inches for comfort). The concrete floor construction incorporates stepped seating platforms which are part of the structure of balcony. 2. LONG-TERM BALCONY RE-SEATING PLAN: Reseating on the balcony involves the reinstallation of existing seats reinstalled in staggered configuration as described for the orchestra level o provide better sightlines. Reinstallation would involve average seat widths of 21- inches, with a proportion of 20 and 22-inch widths. 3. LONG-TERM BALCONY RE-SEATING CAPACITY: Revised balcony seating capacity is based on total seats in the revised plan (refer to seating diagram A-7.1). PART-6 BUILDING AND THEATRE SYSTEM IMPROVEMENTS AND REHABILITATIONS Systems in the California Theatre provide electrical power and distribution, climate control and all forms of theatre production accommodations. Text descriptions provide general assessments of current conditions of system components and their performance plus recommendations for adaptation to current safety and code standards. Identification of issues according to"Long-Term"and "Major-Production" recommendations is provided for reasons explained in Parts-4 and 5. In considering systems this identification helps understand the operating and marketing benefit associated with each recommendation. ELECTRICAL POWER SERVICE AND DISTRIBUTION ASSESSMENT HEATING, VENTILATION AND AIR-CONDITIONING SYSTEM REVIEW PLUMBING SYSTEM SUPPLEMENTS ROOFING REPLACEMENT ELEVATOR EQUIPMENT MARQUEE LIGHTING AND SIGN STAGE SCENERY HANDLING SYSTEM PRODUCTION LIGHTING SYSTEM AND COMPONENTS PRODUCTION SOUND SYSTEM AND COMPONENTS The general approach to building and theatre systems in this study is moderate. The age and design character of the theatre are reasons for approaching upgrading of standards of safety and usage in positive and yet unique ways that will maintain the identity of the California Theatre. PART-6 BUILDING SYSTEM IMPROVEMENTS AND REHABILITATION Page 1 A. Electrical Power General Assessment: Limited available power relates to the obsolete short circuit protection of the existing building service and distribution system. New installations are necessary for compliance with present Electrical Code and CALOSHA requirements. 1. Building Power Service The estimated electrical power need is preliminarily calculated to be 2500A. 208/120V., 3- phase, 4-wire service based on 125% of an estimated future peak load of 2000 amperes. This load requirement creates a need for new transformer equipment from the power utility. 2. Building Electrical Distribution System a. The existing electrical distribution system in the California Theatre is obsolete. Present distribution equipment neither possess capability of handling present fault currents, nor meets Electrical Code and OSHA requirements. Therefore a replacement distribution system is proposed. b. New main switchboards for both 480 volt power and 120/208 volt lighting are recommended, in addition, a Motor Control Center for the Mechanical Equipment Room and new branch circuit breaker panels serving all areas of the building are recommended. Wiring with deteriorated insulation is unsafe and requires replacement although much of the steel conduit is re-usable and of adequate size for most required loads. 3. Existing room lighting requires increased levels in lobby, auditorium and basement areas (refer to Life Safety section above); decorative auditorium ceiling lamps and the central fixture require replacement with updated energy efficient technology and UL rated wireways and lamp bases. 4. Egress and exit lights are currently do not meet current code. Exit signs and pathway illumination are required at low level also. . 5. A fire alarm system is required including annunciator, pull stations, heat and smoke detectors. 6. A source of emergency power is needed to handle emergency lighting (refer to Title-24 Life Safety issues in Part-3). PART-6 SYSTEM IMPROVEMENTS AND REHABILITATIONS Page-2 B. Heating, Ventilation, Air-Conditioning General Assessment 1. Seating capacity of the auditorium plus additional heat loads from theatre lighting determine the cooling capacity requirement for a theatre. Based on theatres with similar capacity and production capability, the cooling capacity requirement for the California Theatre auditorium is approximately 100 tons. Additional capacity split systems are required to supply adequate cooling for dressing rooms and ticket-sales areas. The stage area is recommended to be cooled through the use of an exhaust system that draws auditorium temperature air onto the stage and upward through roof mounted exhaust fans. 2. The auditorium air-conditioning system incorporates components originally installed in another building. Auditorium cooling relies on 2-air cooled chillers. The capacity (tons of AC) designations are not visible or have been removed and thus comparison with design capacity was not readily possible at the writing of this analysis. However, reports of cooling recovery problems when successive shows occur in the summer indicate capacity is substantially less than the 100 ton recommended design capacity. The current heat source is two gas-fired boilers, located in the upper-level mechanical area. One of the boilers is not functioning. Currently, safety codes prevent boilers from sharing a single room location with air-handling equipment as presently existing. 3. Long Term Cooling Recommendation: The auditorium cooling system is recommended for replacement. New equipment design will assure proper capacity of replacement chillers based on the auditorium seating capacity. Also, proper sizing of the separate systems serving the auditorium, lobby and dressing rooms and ticket office are of major importance to saving maintenance and operating costs and will become part of overall redesign of the air- conditioning system. Additional operating cost saving are can be realized by conversion to a water type chiller and installation of new chilled water coils in front of the supply fans. Savings in operation can be compared with added installation cost to determine actual pay-off time of this alternative. 4. Long-Term Heating Recommendation: Relocation of a replacement boiler at a location removed from the air-handling system is recommended. A new gas fired boiler would preferably be located at an exterior location. 5. Long-Term Air-Flow Recommendation: Current air handler capacity, similar to cooling capacity, needs to be compared with the recommended seating capacity. At 1500 seats, comparable new theatre supply PART-6 SYSTEM IMPROVEMENTS AND REHABILITATIONS Page-3 air levels are about 36,000 cubic feet per minute. This volume of air circulation needs to be compared with the existing supply to determine if supplemental fans are necessary. This report recommends maintaining the existing fans (4-centrifugal fans in the mechanical room adjacent the projection room). 6. The delivery and return air-balancing component of the auditorium cooling and heating system is recommended to maintain existing main ceiling ducts but incorporate new diffusers for more even air supply. Also, return air flow currently relies on the differential between positive and negative pressures between the fan room proper and the auditorium in violation of fire codes. Pressure reading devices are recommended to be used in assessing the actual air-path of return air serving all areas. C. Audience Toilet Fixture Provisions (Diagram A-9.1) The total of available plumbing fixtures is less than recommended by current design standards and health codes. Toilet facility counts for theatre capacities in the 1500 range are established to serve patron convenience as well as code requirements. Live performance theatres in most major cities provide womens'facilities at ratios less than 1- toilet fixture per 30 women patrons and 1-urinal-toilet per 40-men. Ratios are calculated based on average intermission times for live events. Current ratios at the orchestra level are 1:53 for women and 1:75 for men; serving balcony women is a ratio of 1:40, and balcony men the ratio of 1:85. 1. Long-Term Recommended Facility Supplement (Refer to Diagram A-9.1) Additional facilities are recommended to be added within existing toilet rooms at both orchestra and balcony levels. Increased accommodations may be added which will provide an orchestra womens' rato of 1:37 and an orchestra mens' ratio of 1:49. Balcony supplements to existing fixture counts would provide balcony women with a 1:28 ratio and balcony men with 1:37. D. Roof System Assessment and Recommendation Separate Roof areas cover the stagehouse, off-stage right and left sides, auditorium,front occupancy side-bays (flat) and front occupancy gable (sloping with tile cover). Serious leaking is reported to occur in areas of the stagehouse and auditorium roofs. Excessive deflection of flat roof sheathing over the front occupancy indicates a potential for leaking in the near future for those two relatively new roof areas. 1. Long-Term Roof Replacement Recommendation A toxic material report issued in February 1994 by General Environmental Management Services has indicated a presence of asbestos containing materials in layers of past roof materials. Additionally, if more than 3-roof-layers already exist, codes restrict the addition of further roofing layers PART-6 SYSTEM IMPROVEMENTS AND REHABILITATIONS Page-4 out of concern for total weight per square foot. This condition requires total removal of all existing (and prior) roofs before a replacement roof can be installed. 2. Following removal of toxic materials as required, new replacement 20-year, built- up roofing systems are recommended. Included with the roof recommendation is replacement of existing crickets, cant strips and counter-fleshings. New reglets are advised to be installed along all parapet walls. Also, removal of damaged, obsolete or unused fans and vents, motors, plumbing vents, roof scuppers and drains would be included with roof work. E. Elevator Equipment (Refer Diagram A-3.1) Elevator installation is considered as part of providing full conformance with access requirements to all areas. Elevator size, location, enclosure and mechanical design all depend on areas needing to be served. 1. Long-Term Passenger Elevator Recommendation Elevator service between the main lobby level and the balcony lobby needs to be located between "grid-I"and the"separation-wall'to the south, with access from either the east or west end of the crossover lobby. The chosen location will involve partial removal of existing main level facilities in the elevator area plus limited excavation, and fire rated shaft construction through the upper level and roof. 2. Wheel-Chair Lift Recommendation (Refer Diagram A-3.1) A wheel-chair lift mechanism is recommended to overcome an approximate 4-foot height difference between the balcony lobby level and the balcony crossaisle in the event balcony access is to be provided for wheelchair patrons. The crossover would be modified to allow wheelchair positions with sight-and-soundlines to the stage. 3. Long-Term Combined Freight and Personnel Elevator Recommendation Combined performer and equipment transportation between the stage and either of the upper levels or basement is recommended if occupancy in either occurs on a regular basis as part of theatre operations. Economically, installation is recommended to be combined with construction of either the north stagehouse addition concept or the stagehouse extension concept. PART-6 SYSTEM IMPROVEMENTS AND REHABILITATIONS Page-5 F. Marquee Sign and Lighting Assessment The marquee sign involves several types of electrical lighting (incandescent, neon and fluorescent tubes), changeable letter panels and light boxes, and transformers and sequencing controls. Moisture protection of the interior of the sign includes a built-up roof, flashings and roof drainage plus welded seams around sign boxes and bottom weep holes. Currently many components of the marquee and sign boxes appear to be usable except for electrical circuitry and transformers (containing PCB). 1. Long-Term Recommended Marquee Renovation Replacement of existing changeable letter tracks and fonts is recommended due to the need for new letters (currently a variety of letters exist, donated from various sources) and a newer method of attachment. Such replacement will also allow use of single mylar signs that attach over back lighted letter panels. Other recommendations involve replacing power transformers, internal wiring and selected neon tubes and colors. G. Stage Scenery Handling System (Diagram A-10) The existing rigging system in the stagehouse is a 4-line support used to suspend approximately 39 batten pipes. As explained in Part-4(H), a 5-line system is recommended for continued use of the theatre in presenting major musicals and other scenery intensive events. 1. Revision to the 5-line system requires replacement of all existing headblocks and widening the space between the existing headblock beams (assuming reuse of the same beams subject to structural verification of load capacity) 2. A blend of reuse of existing with the new items is recommended as follows: a. Loft-blocks, Provide new b. Arbors, Maintain existing c. Counter-weights, Maintain existing plus add d. Locking rail, Maintain existing e. T-guides, Maintain existing. . f. Hemp Inspect/replace as required g. Cable Inspect/replace as required h. Clamps Provide Title-24 provisions PART-6 SYSTEM IMPROVEMENTS AND REHABILITATIONS Page-6 H. Production Lighting System and Component Assessment The stage production lighting system includes an impressive array of existing component items. Additional equipment to supplement the existing items is necessary for long-term and major-production uses for reasons which follow. Problems currently noted involve limitations in quantities of circuits between dimmer cabinets and lighting positions. Presently, physical reconnections to accommodate separate requirements of each show are made within dimmer racks and at lighting positions which is non-conforming with current electrical codes, costly in manpower and set-up time. 1. Existing Production Lighting Configuration Significant to existing production lighting is that design and installation were by, and for the use of, a resident producing company. Ownership change affects the usage of the lighting system which in the future will serve multiple visiting company users with a variety of needs. a. The main difference between resident company and rental policy use of production lighting involves methods of attaching traveling-company items into existing power and control circuits. b. Lighting instruments, dimmers and control equipment carried by visiting companies need interphase connections which are presently lacking in order use building power and control circuits. 2. Long-Term Production Lighting Additions a. Provide additional frontal circuits and mounting Positions, (Refer to Part-2C): increase box boom circuits from 6 (existing) to 12 and add 20-circuits on new ante-proscenium bridge and add 10-circuits on balcony rail. b. Provide additional stage circuits and drop box circuits off-stage right and left: increase stage Electric-#1 from 19 to 35-circuits, Electrics-#2 through 5 from existing (15,10,9,10 circuits) to 25-circuits each. c. Provide additional stage-production dimmers to approximate 300 dimmers at 2.4k capacity. d. Provide"switch select" capability for choosing between either of two front-of- house light plots matrixed to either resident dimmers or a visiting company patch panel. PART-6 SYSTEM IMPROVEMENTS AND REHABILITATIONS Page-7 e. Replace existing lighting controller to run from either of two off-stage connections or two connections in the auditorium. f. Provide front of house instrument compliment for box booms, anteproscenium bridge and balcony rail. g. Provide house-lighting dimmers and house-lighting multi-program pre-set controller with 3-control positions. J. Production Sound System and Component Assessment 1. Existing System An inventory of system components reflects only a minimum or items which would be used as part of a larger electronic house sound system. A system designed for the acoustical characteristics of the auditorium is required to serve the change to rental operating format. Reportedly, the approach of the resident producer was to build the system for each production separately. This relied mainly on rented equipment and exposed temporary wiring. 2. Long-Term System Description The Change to visiting-company rentals actually demands the presence of a sound system installed into the auditorium. Such system requires complete design and configuration for both the natural acoustical characteristics of the auditorium as well as for the intended multiple usages planned. 3. System Components a. Hardwire installations in conduit are needed between input and output positions including speaker locations, stage panels in the orchestra pit, rack-room and mixing area. b. A main cluster and/or distributed speakers together form a speaker network for production sound.enhancement and effects. c. A power and rack room is required with dedicated and separately grounded power for the sound system. In this area will be power amplifiers and rack-mounted signal processing equipment items. d. A sound control desk with mixer(s), effects equipment, equalization, reverberation, CD players' and other items needs a permanent location at the balcony level with full aural "sightlines"from speaker locations, stage and pit. PART-7 DECORATIVE AND FINISH ISSUES AND RECOMMENDATIONS Decorative and finishing issues include material selections, non-decorative and decorative painting, carpeting and drapes and architectural lighting. The scope of decorative finishes relate to the elements considered. INTERIOR & EXTERIOR NON-DECORATIVE PAINTING INTERIOR DECORATIVE PAINTING AND EFFECTS CARPETING EXTERIOR WINDOW AND DOOR REPLACEMENTS APPROACH TO REPORTS AND ANALYSIS The age and design character of the theatre are reasons for restoring finishes to conform with design idioms of the original architectural style. The contemporary eye, however, prefers decorative effects with less detail than characteristic of the original classical prototypes. Therefore the approach envisioned for the California Theatre is conservative while preserving the identity of the theatre and its heritage. PART-7 DECORATIVE AND FINISH ISSUES Page 1 INTERIOR AND EXTERIOR BASIC FINISHES A. EXTERIOR The Theatre front onto 4th Street combines cast stone and exterior cement plaster (stucco) over concrete bearing walls. Storefonts and the theatre ticket-lobby have been partially resurfaced since the date of original construction along the base of the sidewalk level and on the main theatre entry corner pilons. 1. Long Term Replacement of Metal Surfacing on Front Elevation Replacement materials recommended include marble or ceramic tile for maintenance and appearance. Above the base level, at the theatre-entry pilons, marble or stucco surface materials would be more attractive, and require less maintenance. 2. Exterior Repainting Cleaning of existing concrete with pressure water is recommended using a mild detergent. After cleaning, and allowing time to dry, a single water based modified acrylic paint coat may be applied. B. INTERIOR The Theatre interior combines flat walls with utility finishes and highly decorative ornamental plaster and decorative wall paint finishes. Interior Lobby Masonry Effect Decorative Walls: (a) Repair plaster cracks, holes, etc. and touch-up to match typical texture as revealed following stripping process outlined in Section 09900. (b) Finish coat decorative masonry effect walls with a flat, seal coat. Masonry Effect Finish: Paint only after preparation, plaster repair and touch-up, then apply: single coat flat, water based, modified acrylic glaze. Interior Lobby Coffered Ceiling: (a) Repair plaster cracks and water damaged areas revealed in "loose-paint" removal, "touch-restore"color where necessary. (b) Finish coat coffer panels, coffer beams, beam soffits and cornice molding surrounding top of wall with "antique-glazing", then dry-brush with gold highlights. (c) Final finish apply"orange-tinted" glaze as directed by Architect. Mezzanine Lobby Masonry Effect Decorative Walls: Similar to"Interior Lobby" Masonry Effect described above. Mezzanine Wall Crown Moldings: Similar to Coffered Ceiling described above. Mezzanine Lobby Ceiling: Faux-paint with 2-coat application including color and sponge coat as directed by Architect. PART-7 DECORATIVE AND FINISH ISSUES Page 2 Mezzanine Railings Baseboards: (a) Sponge antique with gold highlight, (b) Finish coat with clear glaze. Mezzanine Wood Doors: (a) Wood paint finish as directed by Architect; (b) Finish coat with clear matte-finish. Auditorium Masonry Effect Decorative Side Walls: (a) Repair plaster cracks, holes, etc. Omit stripping of previous paint. (b) 2-coat decorative masonry effect including color coat, followed by mottled sponging with two"spatter" colors. Grout lines are to be painted on by hand. Auditorium Stencil Decoration on Side Walls: (a) Compose and Cut stencil of required pattern as directed by Architect, (b) Paint pattern and highlight with gold edges. Auditorium Atmospheric Ceiling Spray coat light blue shading above and behind the proscenium and ante-proscenium ornament. (This shading coat is to be painted over a base-blue coat. Auditorium Ante-proscenium Columns: Match mezzanine classical column effects described above. Auditorium Ante-proscenium Entablature (a) Over-coat existing ornament and moldings with "antique-glazing", then dry-brush with gold highlights. (b) Final finish apply"orange- tinted" glaze as directed by Architect. Auditorium Ante-proscenium Organ Grills- Similar to entablature ornament above. Auditorium Ante-proscenium Column Pedestals: Similar to auditorium masonry effect decorative side walls, with slightly darker shading. Auditorium Ante-proscenium Niche: Similar to auditorium masonry effect decorative side walls with shading for shadow. Auditorium Proscenium Arch Ornament: Similar to ante-proscenium entablature ornament above. Auditorium Railings: (a) Sponge antique with gold highlight, (b) Finish coat with clear glaze. Painted Wood Trim, Doors, Plaster Trim and Ceiling Mouldings Finish with flat alkyd enamel, brush or spray applied. C. Carpet Replacement Replacement carpet is recommended to be solid color with borders at walls, along aisles and with inset patterns at emphasis points such as the lobby. PART-7 DECORATIVE AND FINISH ISSUES Page 3 D. Window and Door Replacement 1. Windows are recommended to be replaced with laminated glass as a code requirement. Existing metal window"storefront' scale is recommended to be maintained, although new safety glass frames will be required to hold the larger thickness of glass. 2. Doors at the main entry are recommended to be 4-foot wide double doors. Relieving exit doors in the storefronts are recommended to account for the additional aggregate width required to serve the occupancy load. It is necessary in this concept to fully open the Quixote and Rogers rooms as described in Part-5D.