AUERBACH POLLOCK FRIEDLANDER

SAN FRANCISCO, CA, NEW YORK, NY AND MINNEAPOLIS, MN –
(June 12, 2007) – Auerbach Pollock Friedlander, Performing Arts/Media Facilities Planning and Design, collaborated with the design team of SMWM Architects on the recently opened San Francisco Conservatory of Music. The firm provided theatre consulting and sound, video and communications consulting for the new facilities centrally located in the San Francisco Civic Center arts district.

Auerbach Pollock Friedlander’s work included participation in the initial early consideration of expanding the Ortega Street Campus, progressing to the exploration of several adaptive reuse venues and then a due diligence study for the War Memorial Veteran’s Building and the International House. This work ultimately led to the realization of the new Oak Street home for the Conservatory. The broad scope of Auerbach Pollock Friedlander’s work included the planning of the performance spaces and design of seating and theatrical performance systems, such as theatrical lighting, sound, stage lifts, variable acoustics elements and orchestra riser systems for the 445-seat Concert Hall, the 135-seat Recital Hall and the 100-seat Osher Salon. In addition, the firm’s work included all sound video and performance communications systems for the performance spaces, studios, class rooms and recording studio.

The success of these efforts is the result of a strong working relationship with SMWM Architects, the Conservatory staff and the acoustics consultant. The fusion of traditional performance environments with highly developed modern support systems contribute to a dynamic and inspirational learning facility and complement the historic building and its new contemporary structure. This is most evident in the Concert Hall which pays tribute to the “Great Ballroom” and yet is equipped with outstanding advanced performance technology.

FACT SHEET

Concert Hall

The Concert Hall audience chamber is built within a renovated existing ballroom of the historic International House building with the performance stage extending into in the new building addition by eliminating one of the ballroom’s walls. The unification of the old and new by linking and straddling the two structures created a warm and elegant music environment. The 445-seat Concert Hall is configured in an end stage format with two small rear side galleries and a small balcony box on the house left wall. An on-stage choral loft alternately serves as audience seating behind the orchestra.

The variable acoustic control system is fully integrated into the entire Concert Hall, seamlessly complementing both the historic and modern architecture. The large reverberant volume can be adjusted to reduce its reverberant response to a variety of music performances tailoring its character to the demands of the music by a system of sound absorbent banners that can be deployed along the walls.

The performance lighting system supports various stage events with an overhead system concealed in the ceiling, allowing easy adjustment for a variety of performances. Hanging points for concert lighting and special events are provided over the stage.

The sound, video and communications systems allow for high quality digital recording from the basement recording studios as well as playback from a portable system configured for rehearsal and performance use. A voice reinforcement system provides for in-concert program announcements, and narration is respectfully integrated into the architecture of the room. Additional portable loudspeakers can be suspended or placed on stage for music reinforcement and playback, such as electronic music compositions or rehearsal use. Audio coverage is also provided for the chorus seating area at the back of the stage along with front of house and conductor cameras.

The Recital Hall

The 135-seat Recital Hall is asymmetrically configured as an end stage with a main level of fixed seating, an informal rear and side gallery of chairs and balcony and upper side gallery of chairs. The concept of the upper gallery is to allow students to enter and inconspicuously listen to other student performances or rehearsals on an ad hoc basis. The character of a single volume for the audience and performer creates an aural listening intimacy by being in the same room as the performers. The venue supports small ensemble events, visiting artist showcases and auditions.

The variable acoustic system is a similar system of retractable banners as in the Concert Hall. Conservatory personnel are able to fine tune the Recital Hall by means of mechanically deployed absorptive surfaces specifically for whatever event is being performed. At the touch of a button the Recital Hall can be configured to support intelligible spoken word, small chamber events, and opera scenes. The dedicated control booth allows operators to control all aspects of the room.

The performance lighting system provides different lighting positions for both dramatic lighting for opera and more general area lighting supporting the more traditional recital events.

The Recital Hall is also wired to provide high quality recording and audio playback. Ceiling and stage microphones allow digital multitrack recording for both archival and rehearsal purposes. A high quality pan/tilt/zoom camera provides the image along with the music. Discreetly mounted loudspeakers allow music and speech playback for narration, sound effects playback and rehearsal music. As with all of the venues, audio and video tie-lines provide a centralized recording control in the lower level recording studios.

The Osher Salon

The Osher Salon is a flexible space with a maximum of 100 seats that can be randomly configured for a variety of events such as orchestra rehearsal, master classes, intimate performances or social events. All systems in the Osher Salon are integrated with the wood finished interior architectural surfaces. Retractable traveler velour curtains provide variable acoustic absorption.

The Osher Salon has a flexible seating arrangement to allow for different configurations: front facing, in-the-round, banquet tables and many others. Sound, video and communications systems extend to a built-in motorized projection screen, sound system and infrastructure tie-lines to the recording studios as well as support for video projection. Simple theatrical controls allow easy control of lighting via a touch screen panel.

Performance Systems

Auerbach Pollock Friedlander worked closely with the Conservatory faculty and staff to develop high quality theatrical performance systems that would serve their current needs and allow for future expansion with developing technology. Each space has its own performance requirements and the daily use of the spaces by faculty and students mandated an approach permitting easy use of the theatrical systems without a technician while providing sophisticated support for artistic design presentation with professional staff.

The Performance Lighting Systems
The performance lighting systems in each of the venues is an Ethernet-based control system with the ability to have dimmed control of conventional and automated theatrical and architectural lighting fixtures. This dual network allows for the use of two different microprocessor based control consoles or a combination of both to operate as one large network.

Staging Systems
The Concert Hall is provided with an orchestra pit accommodating up to 35 musicians with a mechanized pit lift. The lift also alters the size of the stage depending on the requirements of the ensemble. With the lift at audience level an additional 30 seats can be added to the Concert Hall. The lift is built with two floor levels, one at the top providing a stage extension or pit floor and the lower level providing storage for an orchestra riser system. Orchestra risers enable a variety of orchestra staging configurations and provide additional choral risers to the fixed choral loft seating.

The Recital Hall is equipped with a musicians pit to accompany small operatic performances. The pit has an under-stage piano storage area and stacking of the pit cover system. Additional seats can be added when the pit is covered.

The Osher Salon is provided with a stage platform system that can be configured and located in various positions in the space.

Variable Acoustic Systems
In each of the spaces the reverberation time of the room is controlled for the requirements of use and performance type. Responding to the criteria of the acoustics consultant, Auerbach Pollock Friedlander conceived a system of retractable sound absorbing banners in the Concert Hall and Recital Hall. These are remotely controlled and can be selected to several preset configurations responding to the needs of the acoustical response of the spaces. The Osher Salon has a manual system of sound absorbing curtains.

Recording Studios

Two recording studios are located in the basement of the building to provide the maximum acoustic separation from the street and performance halls. Each studio is built on a floating slab with isolated walls to further isolate these highly precise rooms. Each room is provided with audio and video tie-lines to the performance spaces, the jazz ensemble room and the electronic music studio. Multitrack recording and control of the Concert Hall remote camera system is located in these highly flexible studios that will be put to heavy use providing rehearsal tapes to students and faculty alike. The variable acoustic wall coverings provide excellent acoustics behind the jazz or electronic music monitoring functions.

Library Listening Room

The listening room stations provide playback for the Conservatory’s vast library of CDs, DVDs, Cassettes and LP records. Headphones are provided for playback in an isolated cubicle.

Classroom systems

Classroom audio playback is provided to mirror the library listening system. It allows faculty the ability to play back any current media over wall-mounted loudspeakers in each classroom. A portable video cart adds the ability to play back VHS tapes or DVDs in the classroom environment and access to the live feeds from each of the performance spaces.


	AUERBACH POLLOCK FRIEDLANDER COMPLETES WORK ON THE SAN FRANCISCO CONSERVATORY OF MUSIC SAN FRANCISCO, CA, NEW YORK, NY AND MINNEAPOLIS, MN – (June 12, 2007) – Auerbach Pollock Friedlander, Performing Arts/Media Facilities Planning and Design, collaborated with the design team of SMWM Architects on the recently opened San Francisco Conservatory of Music. The firm provided theatre consulting and sound, video and communications consulting for the new facilities centrally located in the San Francisco Civic Center arts district. Auerbach Pollock Friedlander’s work included participation in the initial early consideration of expanding the Ortega Street Campus, progressing to the exploration of several adaptive reuse venues and then a due diligence study for the War Memorial Veteran’s Building and the International House. This work ultimately led to the realization of the new Oak Street home for the Conservatory. The broad scope of Auerbach Pollock Friedlander’s work included the planning of the performance spaces and design of seating and theatrical performance systems, such as theatrical lighting, sound, stage lifts, variable acoustics elements and orchestra riser systems for the 445-seat Concert Hall, the 135-seat Recital Hall and the 100-seat Osher Salon. In addition, the firm’s work included all sound video and performance communications systems for the performance spaces, studios, class rooms and recording studio. The success of these efforts is the result of a strong working relationship with SMWM Architects, the Conservatory staff and the acoustics consultant. The fusion of traditional performance environments with highly developed modern support systems contribute to a dynamic and inspirational learning facility and complement the historic building and its new contemporary structure. This is most evident in the Concert Hall which pays tribute to the “Great Ballroom” and yet is equipped with outstanding advanced performance technology. FACT SHEET Concert Hall The Concert Hall audience chamber is built within a renovated existing ballroom of the historic International House building with the performance stage extending into in the new building addition by eliminating one of the ballroom’s walls. The unification of the old and new by linking and straddling the two structures created a warm and elegant music environment. The 445-seat Concert Hall is configured in an end stage format with two small rear side galleries and a small balcony box on the house left wall. An on-stage choral loft alternately serves as audience seating behind the orchestra. The variable acoustic control system is fully integrated into the entire Concert Hall, seamlessly complementing both the historic and modern architecture. The large reverberant volume can be adjusted to reduce its reverberant response to a variety of music performances tailoring its character to the demands of the music by a system of sound absorbent banners that can be deployed along the walls. The performance lighting system supports various stage events with an overhead system concealed in the ceiling, allowing easy adjustment for a variety of performances. Hanging points for concert lighting and special events are provided over the stage. The sound, video and communications systems allow for high quality digital recording from the basement recording studios as well as playback from a portable system configured for rehearsal and performance use. A voice reinforcement system provides for in-concert program announcements, and narration is respectfully integrated into the architecture of the room. Additional portable loudspeakers can be suspended or placed on stage for music reinforcement and playback, such as electronic music compositions or rehearsal use. Audio coverage is also provided for the chorus seating area at the back of the stage along with front of house and conductor cameras. The Recital Hall The 135-seat Recital Hall is asymmetrically configured as an end stage with a main level of fixed seating, an informal rear and side gallery of chairs and balcony and upper side gallery of chairs. The concept of the upper gallery is to allow students to enter and inconspicuously listen to other student performances or rehearsals on an ad hoc basis. The character of a single volume for the audience and performer creates an aural listening intimacy by being in the same room as the performers. The venue supports small ensemble events, visiting artist showcases and auditions. The variable acoustic system is a similar system of retractable banners as in the Concert Hall. Conservatory personnel are able to fine tune the Recital Hall by means of mechanically deployed absorptive surfaces specifically for whatever event is being performed. At the touch of a button the Recital Hall can be configured to support intelligible spoken word, small chamber events, and opera scenes. The dedicated control booth allows operators to control all aspects of the room. The performance lighting system provides different lighting positions for both dramatic lighting for opera and more general area lighting supporting the more traditional recital events. The Recital Hall is also wired to provide high quality recording and audio playback. Ceiling and stage microphones allow digital multitrack recording for both archival and rehearsal purposes. A high quality pan/tilt/zoom camera provides the image along with the music. Discreetly mounted loudspeakers allow music and speech playback for narration, sound effects playback and rehearsal music. As with all of the venues, audio and video tie-lines provide a centralized recording control in the lower level recording studios. The Osher Salon The Osher Salon is a flexible space with a maximum of 100 seats that can be randomly configured for a variety of events such as orchestra rehearsal, master classes, intimate performances or social events. All systems in the Osher Salon are integrated with the wood finished interior architectural surfaces. Retractable traveler velour curtains provide variable acoustic absorption. The Osher Salon has a flexible seating arrangement to allow for different configurations: front facing, in-the-round, banquet tables and many others. Sound, video and communications systems extend to a built-in motorized projection screen, sound system and infrastructure tie-lines to the recording studios as well as support for video projection. Simple theatrical controls allow easy control of lighting via a touch screen panel. Performance Systems Auerbach Pollock Friedlander worked closely with the Conservatory faculty and staff to develop high quality theatrical performance systems that would serve their current needs and allow for future expansion with developing technology. Each space has its own performance requirements and the daily use of the spaces by faculty and students mandated an approach permitting easy use of the theatrical systems without a technician while providing sophisticated support for artistic design presentation with professional staff. The Performance Lighting Systems The performance lighting systems in each of the venues is an Ethernet-based control system with the ability to have dimmed control of conventional and automated theatrical and architectural lighting fixtures. This dual network allows for the use of two different microprocessor based control consoles or a combination of both to operate as one large network. Staging Systems The Concert Hall is provided with an orchestra pit accommodating up to 35 musicians with a mechanized pit lift. The lift also alters the size of the stage depending on the requirements of the ensemble. With the lift at audience level an additional 30 seats can be added to the Concert Hall. The lift is built with two floor levels, one at the top providing a stage extension or pit floor and the lower level providing storage for an orchestra riser system. Orchestra risers enable a variety of orchestra staging configurations and provide additional choral risers to the fixed choral loft seating. The Recital Hall is equipped with a musicians pit to accompany small operatic performances. The pit has an under-stage piano storage area and stacking of the pit cover system. Additional seats can be added when the pit is covered. The Osher Salon is provided with a stage platform system that can be configured and located in various positions in the space. Variable Acoustic Systems In each of the spaces the reverberation time of the room is controlled for the requirements of use and performance type. Responding to the criteria of the acoustics consultant, Auerbach Pollock Friedlander conceived a system of retractable sound absorbing banners in the Concert Hall and Recital Hall. These are remotely controlled and can be selected to several preset configurations responding to the needs of the acoustical response of the spaces. The Osher Salon has a manual system of sound absorbing curtains. Recording Studios Two recording studios are located in the basement of the building to provide the maximum acoustic separation from the street and performance halls. Each studio is built on a floating slab with isolated walls to further isolate these highly precise rooms. Each room is provided with audio and video tie-lines to the performance spaces, the jazz ensemble room and the electronic music studio. Multitrack recording and control of the Concert Hall remote camera system is located in these highly flexible studios that will be put to heavy use providing rehearsal tapes to students and faculty alike. The variable acoustic wall coverings provide excellent acoustics behind the jazz or electronic music monitoring functions. Library Listening Room The listening room stations provide playback for the Conservatory’s vast library of CDs, DVDs, Cassettes and LP records. Headphones are provided for playback in an isolated cubicle. Classroom systems Classroom audio playback is provided to mirror the library listening system. It allows faculty the ability to play back any current media over wall-mounted loudspeakers in each classroom. A portable video cart adds the ability to play back VHS tapes or DVDs in the classroom environment and access to the live feeds from each of the performance spaces.