;;^=HaHB!

RESOLVING SPATIAL iJONFLICT IN ADAPTIVE REUSE;

THE CASE FOR VJ.\REHOUSE MOVIE THEATRES

BY
Christopfser Steven Fidler

A THESIS

ARCHITECTURE

Submitted to the Architecture Facu.lty

Of the College of Architecture
Of Texas Toch University in
Partial Fulfillment for
Tfto Degree of

Westers of A r c h i t e c t u r e

Chairman of Committee

Research Schematics I n s t r u c t o r (ARCH 5395):Joseph B i l e l l o , P h . D . , A . I . A .

Design C r i t i c (ARCH 5692):Joseph B i l e l l o , P h . D . , A . I , A .

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May, 1999

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A review of the modernization of abandoned shell

retail warehouse structures 'la the purpose of

movie {hea^r functional Itq.

Arch ^ 5 6 ^ ;

Archlt<?ctural Research Veslqn Procjrammlnq

Professor Joseph [bilello, PhP„ A,I,A.

Christopher Fidler
Preface
Table of Contents
Abstract
Endnotes

TAKE

s^
The following program addresses the adaptive reuse of
prototypical retail warehouse space, specifically outdated
K-Marts that have been abandoned. This adaptive reuse
project will redesign an old, unused K-Mart building into
an entertainment complex which will include movie
theatres, sensory interactive games, a restaurant and ban-
quet hall. The purpose of this is to transform an other-
wise useless building into an economically viable busi-
ness that also serves the community. An abandoned K-
Mart in Lubbock, Texas, will be used as the prototypical
test facility, which will be redesigned into a multi-use
complex. This will be accomplished through analyzing
and resolving specific spatial conflicts that are inherent
when changing facility types of building. The thesis of
this paper is that not only is the makeover of this facility
type possible, but recommended because it will limit
waste, transform an architectural eyesore and economi-
cally rejuvenate the surrounding community.
This program represents the synthesis of research sur-
rounding the issue of adaptive reutilization. It shall be
clearly illustrated throughout this report that the contem-
porary corporate culture predominant throughout the
United States has evolved in a parallel manner to that of
its citizens - toward consumerism. Consumerism is a
form of mentality and not merely a set pattern of spend-
ing behavior. This mentality has manifested itself into a
society of disposability. Just as environmental engineers
iHii
vociferously combat the disproportionately exponential
growth of waste for the euphemized purpose of 'land-
filling,' architects must equally examine the byproducts
of our profession.
It is readily apparent that not all buildings are built with
the same life expectancy in mind. Some exist for centu-
ries, while others may be created only to be demolished,
or for one mere event. In stark contrast to the unseen so-
cietal consumer waste stashed beneath our feet, aban-
doned structures of yesteryear litter the urban landscape
and offers only disgust to the onlooker. This is exempli-
fied by the observance of avoidance. Derelict structures
engage innate feelings of foreboding in the passerby, on-
looker, and adventurous inhabitant.
The retail warehouse has achieved megatrend status to
the point that its physical presence is manifest wherever
the market will bear it. Like all trends, this one is cycli-
cal. What was sufficient space for a particular function
years ago has been replaced by ever larger and some-
times over-extravagant area. The old has been aban-
doned, thrown away. This is the essence of consumer-
ism. The architectural profession must rise to the occa-
sion by not merely condenming the problem, but search-
ing for solutions to this oft demeaning element in the ur-
banscape.
The following suggests a solution for the beautification
and revitalization of the byproducts of the modem mega-
trend superstore: a retrofit entertainment complex.
 Xahle of Gotten^
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11^^^*' Overview 3 Space Summary 57

Preface 4 Room Tabulation 58
Table of contents 6 60
Abstract 7 Facility User Tabulation-
Endnotes 9 61
Final Documentation
Theoretical Basis 10 Conceptual Basis Of 62
Supporting Theory 11 Design Solution
Design Concepts 14 Addressing Issues 66
Architectural Issues 16 Identified in Program 68
Potential Design Responses 17 Hierarchy of Spaces 70
Case Studies 18 (Controlling Factors
Endnotes 21 Most Compelling Aspect 72
of Design
Facility Program 22 Bibliography 73
Epistemology 23
Facility Analysis 25
Case Studies 27
Activity & Spatial Analysis 28
Endnotes 47

Context 48
Overview 49
Goals and Objectives 50
Site Analysis 51
Site Issues 53
Building Analysis 54

" • " ' ' ^

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v^ "--1 iiiiiiai Mil

 Abstract
Thesis Statement
This research endeavor is directed at designing architec-
ture to be an integral component of the entertainment ex-
perience which it houses. The design of each entertain-
ment environment may serve as an accent or hindrance to
this objective. The primary design approach for this
project will be a movie theater complex that is innova-
tive in its architectural design technologies while simul-
taneously seeking the nostalgic excitement of the " big
show" anticipation prevalent in the 1920s and 30s movie
era. However, practicality will dictate that the new en-
tertainment complex is responsive to patron activities
and industry forecasts.
The architecturally significant element of this research
lies in the introduction of environmentally exciting
spaces within an existing shell. While the goal of this
project has been established, its methods and materials
will be derived from the existence of a typical, functional
warehouse structure intended for a retail establishment.
In this case, a K-Mart. Several issues will arise in the at-
tempt to integrate the new facility and the basic existing
shell. These include spatial issues such as American Dis-
ability Act (ADA) compliance, stadium seating, elevated
projection rooms, THX certification requirements and
the inherent conflicts within these problems.
^tmm
Mission Statement
An entertainment complex can be innovative in its archi-
tectural design technologies while simultaneously allud-
ing to the nostalgic excitement of the "night out" antici-
pation prevalent in the 1920s and 30s motion picture era.
Adaptively reused warehouse structures, when designed
appropriately, can be as effective in its theatricality as
similar facilities specifically designed for this purpose.
Context Statement
The underlying pragmatic objective proposed will be ac-
complished through the reutilization of an existing struc-
ture, abandoned and without apparent immediate reuse.^
It is proposed that communities where these structures
are resurrected experience significant improvement in
their self-esteem. One of the byproducts of modernizing
an existing building is that it often extends to the sur-
rounding community where it generates further adaptive
reuse efforts.
A Project of Pragmatism
The reason why there is an unusually high number of
abandoned K-Marts is described in the following sce-
nario. In today's retail warehouse market, typically what
happens is smaller retail businesses are built for the sole
purpose of establishing a market presence in a particular
community, normally encompassing 3-7 years. In that
time the demands of their clientele, predictions of market
dynamics, community needs and potential added revenue -'"^.i.v.
 Abstract
are assessed for the purpose of possible expansion. Part
of this assessment includes additional services from other
market segments. For example, a smaller K-Mart will
have your typical department store retail items, such as
clothes, appliances and electronics. After several years,
a financial assessment is done and it is determined that
the marketplace in that community can handle the expan-
sion of the K-Mart. The new store will include addi-
tional retail goods, such as food, garden supplies, salons,
banking, video rentals, etc. At this point, the original K-
Mart is abandoned, and a new Super K-Mart is con-
structed.

A good example of this can be seen in Lubbock, Texas,

where the initial presence of K-Mart stores occurred at
two locations. Both were abandoned in anticipation of
moving into a significantly larger facility for the above
mentioned reasons. These represent key examples in
which user environment has largely been overlooked. It
is a tremendous waste of resources to abandon these
structures even though sometimes it is an economical so-
lution to the retail warehouse industry. The alternative
proposed in this paper is economically beneficial be-
cause the design of a widely applicable movie theatre
protot)^ has the potential to save millions to developers
in time and expenditures.

-'•**«s

M i ^ ^ iMHUttii
 ^ndnotd

Parcel was abandoned in 1995 and has remained vacant

since. Active and aggressive leasing methods have been used to re-
habitate the facility, but to no avail. Further, no prospective tenants
have expressed an interest in this retail warehouse shell building.
Kurt Shinder, Rice Properties; Bruce Bracht Loss Control Manager
K-Mart Corporation.

» iilWIW w i ^ w — » — I — ^ j ^ H ^ i H
Supporting Theory
Architectural Issues
Potential Design Response
Case Studies
Endnotes

^**JSi.i:
 $
''' ''Mir.*"
Throughout the United States there are thousands of va-
cant structures amounting to an epidemic of abandon-
ment and neglect. Such deterioration of our nation's
buildings perhaps signifies how a society feels about its
architecture: it tolerates squalor alongside its icons.
Architects are the incumbent torch bearers in the battle
for the recognition, rehabilitation or preservation of ex-
isting facilities. This responsibility extends to clients,
public and private, as well as society in general to find
possible uses for discarded facilities which may also sat-
isfy changing functional needs currently in demand.
Those able to apply creative solutions will become the
leaders of our profession.^
The Timeliness and Significance of this Research
The adaptation of antiquated buildings with contempo-
rary technology is an ancient process. Vitruvius cited the
conversion of wooden buildings into stone by his ances-
tors.^ In the contemporary context, Wal-Mart and K-
Mart are two companies that build small retail structures
when first entering a particular urban marketplace before
discarding them later (if the venture has been economi-
cally successful) to build a larger shopping environment. "*
Consequently, the original commercial places are left va-
cant without function - without life.
Even though communities may disagree with such acts of
abandonment, these corporate decisions are made with-
out considering the impact to surrounding areas. Unfor-
tunately, it is a purely economic decision. Their duties
are to maximize profits and returns to investors, not to
the general welfare of the public. These greedy interests
compromise the economical, physical and mental health
of the majority. Architects, on the other hand, through
the plan offered in this proposal, can turn the vacant
building into one that is an asset to the community, as
well as a profitable business venture. Simply stated, this
proposal brings together the ideal and the practical: the
ideal of transforming ugliness to beauty with the practi-
cal need to make money.
In the case of vacated Wal-Marts and K-Marts which
stand derelict across the United States, with minimal re-
sources these corporations should assist in the design of a
prototypical facility types to rehabilitate their litter with
utility and life. This would exhibit responsible actions
toward the communities which supported the organiza-
tion economically during its initial market success. It
would also retain the obligations that the companies have
to their fiduciaries. The solution is a win-win situation
as the participating parties cooperate in the new business
venture.
Economic Feasibility of Adaptive Reuse
Throughout the history of architecture, specific nartow-
use designs such as airbases and shipyards were rehabili-
iAKt
 5uppori\nq Vne
tated when their useful days are over. Political, military
and govenmiental facilities are well known for discover-
ing "second lives." Recently, creative solutions to other
antiquated residuals have emerged at the forefront of
adaptive reuse designs. Baltimore Harbor project, for
example, under the imaginative leadership of developer
James Rouse, transformed a depressed and dilapidated
river front area of Baltimore, Maryland, into a financial
successful. This was done by designing the Harbor proj-
ect to meet the needs of the community and visitors by
creating a beautiful recreational area that can be enjoyed
by all. The numerous attractions and shops at the harbor
are diverse enough to cater to all, especially tourists, and
pumps millions of dollars into the city. This unique
marriage of beauty and practicality should be the goal for
the architect and developer and is at the very heart of the
theoretical approach to adaptive reuse.
Another example of adaptive reuse can be seen in
Abilene, Texas. The Windsor Hotel, in Abilene, was
built in the 1920's during the oil boom. It was a grand
hotel with big ballrooms that catered to the wealthy. In
the 1950's it was modernized, but eventually fell into
disuse and became vacant, creating an eyesore in an al-
ready economically depressed area of the city. In 1993,
through creative funding and inventive adaptive reuse de-
sign, the hotel was transformed into federally funded re-
tirement housing on the third through ninth floors and re-
^^^.
tail space on the first and second floors. The architec-
tural design included recapturing the hotel's I920's ambi-
ance and charm which aided in the hotel gaining histori-
cal registry status. The result has been a resounding suc-
cess. Not only does the hotel serve a purpose to its resi-
dents and patrons, but the surrounding neighborhood has
been revitalized. A domino effect started where other
businesses slowly opened up in the neighborhood to cater
to the new influx of people. Where once stood a vacant
hotel in disrepair, contributing nothing to it's community,
now stands a vibrant, multi-use structure with historical
value that has revitalized the entire area. Such is the
power when developers and architects use their vision
and creativity by applying the adaptive reuse approach to
existing structures.^
This thesis, however, is not dealing with a riverfront or
hotel, but wishes to transform a warehouse structure into
a theatre/entertainment complex. The major advantage
in this thesis, a retrofit project, is the econcMnic incentive
for both theater and building owners. For building owner
it allows an economic resurrection of a building which is
a cmrently a hindrance.
To come to a determination if an abandoned building is
economically and architecturally feasible to retrofit to a
movie theater, the owners must evaluate both the advan-
tages and disadvantages. While impediments exist to this
' ^ % 3 ^ ,
goal, the benefits, discussed above, are far reaching. In
order for that benefit to become a reality, though, three
central issues need to be addressed: I) the challenge of
imposing new space and functional requirements onto an
existing structure; 2) resolving the impediments to spe-
cific provisions, i.e. regulatory agencies, required within
the new spaces and 3) analyzing the implications of the
design on the community, investors, and patrons.
1. Imposing new space andfunctional requirements
Retrofitting a movie theatre complex to prototypical K-
Mart has inherent spatial conflicts: 1) existing roof joists
too low to accommodate stadium seating and second
level projection room; 2) column spacing too close for
large movie theatre houses; 3) problems with noise trans-
mission between the three areas (theatres, game rooms
and restaurant/banquet area) and 4) possible asbestos in
building (which requires an expensive removal process).
The main advantage, however, is that a complete ware-
house structure is already in place, that include truck
docks, roofing, existing mechanical, electrical and
plumbing, etc. The huge building, or shell, is conducive
to be retrofitted for the intended new design.
2. Specific regulatory code compliance resolution
The disadvantages to note in this area are 1) zoning prob-
lems with the site because the K-Mart Lubbock site is
zoned for commercial retail and the new facility will re-
quire rezoning for commercial entertainment;^ 2) due to
age of building, it does not comply with ADA standards,
hence the entire building will need to be brought up ADA
standards^ and 3) building may not be up to current life
safety codes (fire, plumbing, electrical, structural, etc.).
The immediate advantage is parking. The existing park-
ing lot has more than ample parking spaces to meet code
requirements. Access to public streets and traffic pat-
terns have already been established. All utilities have al-
ready been brought to site.
3. Implications of design
The design encompasses ten (10) movie houses, a cigar
lounge, restaurant and banquet hall, interactive game
area or "virtual reality" games and a child care facility.
This multi-use facility was designed to address the cur-
rent cultural trend of "the big night out" where one sees
a movie, dines and enjoys the evening, all in one loca-
tion. The facility is designed to meet the needs of pa-
trons in allowing them to be more socially interactive and
have multiple entertainment options under one roof It
also accommodates the current societal needs regarding
children by providing entertainment for them as well as
an onsite childcare facility for the convenience of par-
ents. The structure itself will aesthetically pleasing be-
cause it will be designed in the I920's motif and give that
feeling of "the big show." To conclude, by meeting the
cultural and societal needs of the patrons, the surround-
ing community is upliftedfinanciallyand aesthetically by
its success and the investors will profit from their invest-
ment.
 Cox\cep\ye>
Mission Statement: Performance Requirement:
Create an adaptable prototype capable of retrofit in facili-
To turn prototypical warehouses into successful multifunc- ties throughout the nation of similar size of form.
tional entertainment complexes, while returning to the 1920's
movie theatre nostalgia.
Goal;
Goal; Utilize the latest construction techniques to retrofit exist-
Fit a new function into an existing structure which was de- ing facilities.
signed and erected for differing purposes.
Steel beams removed Opoi web joists added

->

Columns removed Bracing added

Section "A' Section "B'

Figure 1: A conceptual diagram that represents structural
and spatial differences between warehouses and movie
theatre complexes. Drawing " A" is a typical section
through a stadium seating house. Drawing " B " is a typi-
cal structural section lay-out of a warehouse.
Performance Requirement;
Make modifications with minimal amount of fiscal and
time expenditures, such as lowering sections of the fin-
ished floor instead of raising the roof to accommodate
ceiling height problems.
B
Figure 2: Drawing " A" represents a standard post and
beam construction that is used in typical warehouses to-
day. Drawing " B " represents structural alternatives that
resolve the existing spatial conflicts inherent in the exist-
ing building types, such as interrupted sight lines due to
closely spaced columns.
Performance Requirement:
Minimally modify the existing structure to accommodate
the new physical requirements.

K
\ '^a^^^**^
 v'Saasp?^

Performance Requirement:
Remove obtrusive vertical structural members and replace
with long-span reinforced roofing members.

Goal:
Reinforce die " Big Evenf concept for patrons.

Figure 4: The picture shows that there will be many eye

Figure 3: A representation of the giltz and glamour that
was standard in the movie theatres in the 1920s.
Performance Requirement:
Utilize ornamentation and music to harness the visual
energy and emotional excitement inherent in the nostal-
gia of 1920s motion picture theatres.
catching events and structures in or around the exterior of
the movie theatre, such as street performers, spot lights,
marquees and advertisements.
Performance Requirement:
Present an ambience that suggests that" something excit-
ing happens in there."

Goal;
Enhance the physical ornamentation and fanfare. If the prototype goals can be realized successfully they
can be adopted across the nation.

^^•fe,.
 N'chiedmva
Specialized Structural and Mechanical Requirements
Among the unique elements encountered when designing
a theater include accommodations for the disabled. This
can be particularly difficult when redesigning an existing
facility which has been constructed prior to the current
building codes. These include the Texas Accessibility
Standards Act of 1992, the Americans with Disabilities
Act of 1991, and other regional, state codes and stan-
dards, mandated by the appropriate legislative authori-
ties.
Acoustical considerations include the reverberating and
sound transmission qualities of the existing type of con-
struction as well as possible control methods it requires.
Staggering the studs in partition walls is a common prac-
tice for the reduction of sound transmission, yet in many
buildings it may not be possible to retrofit in this maimer.
The alternative is to add sound absorbing insulation the
walls

EVOLVING PHYSICAL & FUNCTIONAL NEEDS

Facilitv demand: Issue/conflict:

Multi-level stadium seating Roof too low to accommodate

Elevated projection room As above

Accommodation for the disabled Incorporating

stadium seating
creates multi-level
problems and
problems related to
the installation of
elevators

'*•*:,«•
 Potential Ve
Facilitv Demand: Multi-level stadium seating
Issue/Conflict: Roof too low to accommodate
Solution: The concrete slab is broken and reformed-
below grade, generally 5 feet. This solu-
tion is economically attractive because the
level of structural impact in making struc-
tural alterations to accommodate new roof
members, weatherproofing the existing
roofing composition plus compromising
the existing surety bond.
Facilitv Demand: Elevated projection room
Issue/Conflict: Roof normally too low to accommodate
projection room
Auditorium
FLOOR OF PROJECTION ROOM
CEILING OF PROMENADE
U"'
Figure 5: Potential Design Solution
Pe
Solution: Instead of placing the projection room
over the promenade, which is standard
procedure in movie theatres the prome-
nade will be moved away from the projec-
tion room, so that its floor can be lowered
to accommodate the low roof elevation
without compromising the space below.
Facilitv Demand: Accommodation of the disabled
Issue/Conflict: Stadium seating, multi levels not able to
accommodate an elevator
Solution: The theatre houses will have handicap seating
at both the upped and lower levels of the seating area.
The lower seating areas can be accessed by the main en-
trance to the house. While the upper level handicap seat-
ing can be accessed through a door from the projection
room, each of these rooms will have LULA (limited use
limited access) lifts.
oiecition
om
J Promena
 Ca^e 5tudi^3
Paramount Theater
Middletown, New York

In 1925 several theaters were grouped to provide the

most modem of entertainment complexes. In four years
it became known as Paramoimt Publix, one of the leading
theater operating companies in the U.S. In 1929, Para-
mount Publix decided to build a new movie house in
Middletown, New York. It was designed specifically for
the new " talkie" movies and conformed to the newer de-
mands consistent with shovsdng audible films. The con-
tract was awarded in September 1929, just before the
Wall Street Crash, Nielson Construction Company was
the General Contractor, and they had instructions from
Paramount Publix to let every possible subcontract to
Middletown firms. From the beginning the new theater Figure 6: Hall of the Paramount Dinner Theater
was community based.

Construction began in October 1929, and the new theater
was ready for occupancy by 1930. The auditorium,
lobby, and mezzanine (balcony) were completely fire
protected. A heating and cooling system was installed to
maintain a constant temperature of 72 degrees.
One of the most important aspects of design for the new
theater was the painstaking attention paid to acoustics
and sight lines. Great care was taken to make the theater
acoustics perfect. To this day, they remain thefinest,vir-
tually comparable to Came
gie Hall. The design of the auditorium and balconyflooren-
sured a great viewfromevery seat in the house. Even with a
reduction of a little over four hundred seats, the initial design
holds, and the Paramount offers the finest lines of sight.
On Tuesday, June 10, 1930, the Middletown Time Her-
ald published a Special Paramount Edition on the Para-
mount Publix corporation and its new theater.
Middletown merchants ran special sales and took out ads
in the paper not only announcing their sales, but welcom-

18
 Ca'^e 5budi(^5
ing the theater. Paramount Publix shot special film foot-
age of Middletown and its citizens, to be shown on open-
ing night.
On Wednesday, June 11, 1930, Mayor Clarence Van
Fleet threw the switch that illuminated the huge electric
sign over the theater. On Thursday, June 12, a parade
was held at noon which included the police, fire depart-
ment, sixty-two new automobiles entered by fourteen car
dealers, some floats, and the American Legion Band. At
6pm the same day, the Paramount Theater opened its
doors to the general public. Approximately 2000 resi-
dents of Middletown and the surrounding areas attended
the two opening shows, presented at 7pm and 9pm. The
first audience included several hundred special guests.
The line in columns of four for the second show ex-
tended from the ticket booth (located where the two cen-
ter doors are now) to Franklin Square, and halfway down
the block on Main Street.
Both programs consisted of a film welcome by Charles
Rogers (one of the stars of the first Best Picture Academy
Award, " Wings"), a musical selection by the Paramount
Symphony Orchestra, Paramount News ("The eyes and
ears of the world"), a short feature of Middletown and
some of its best known citizens, including the Mayor,
Chief of Police, and Fire Chief The Times Herald
stated, " Judging by the applause... the opening nights
crowd enjoyed this part of the entertainment." After a
musical and dancing number by the U.S. Indian Reserva-
tion Band and a political comedy, the main feature
played," The Big Pond," staring Maurice Chevalier and
Claudette Colbert, billed as " A Paramount all talking
motion picture."
Across the street, on Paramount's opening night, stood
the State theater. The State, built in 1921, showed Will
Rogers, Irene Richem, and Maureen 0-Sullivan in the
movie "So This is London."
The 1502 seat Paramount theater remained open until
1978. In 1959, Middletown Savings Bank had bought the
State theater and tumed it into a parking lot. In Febmary
1979, the City of Middletown took ownership of the
Paramount in lieu of back taxes. The Arts Council of Or-
ange County bought and restored the theaterfromthe
City which formally opened in September 1985 as a per-
forming arts theater. To tum the old movie theater house
into a performing arts center, the stage had to be en-
larged. The enlargement of the stage and the reduced
balcony seating dropped the number of seats in the thea-
ter from 1502 to 1104. Even with the reduced seating the
Paramount is still one of the largest performing arts thea-
ters in Orange County, and certainly larger than its sister
theater, built three years later by Paramount Publix,
Peekskills-Paramount theater Performing Arts Center.
 Of note the sight lines," Big Event" , and ornate din-
The theater is a fine example of landmark restoration ning area are successful examples which will be incor-
supported by the community. Nevertheless, over the past porated into the design of the entertainment complex
ten years as the economy experienced setbacks, so did of this type of design.
the Paramount. At the same time the fortune of the Para-
mount waned, Middletown's downtown area was on the
rise. Led by Mayor Joseph DeStafano, the city, con-
vinced that this fine old theater is an important part of the
downtown revival, took action through the IDA to ac-
quire ownership of the Paramount.^ Today it is still suc-
cessful.

»S' MAX. 4eOOePORMATlO^J

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ACOUSTICAl. TREATMEMT
SCWECfNi SMOWrsI

Figure 7 : Example of Sight Lines inrtieParamount Theatre

 tr\(k\dtee>
Young, Stewart, Maijabelle. Executive Etiquette. Copy-
right 1979; St. Martin's Press; New York, NY. Page 11.

^Vitruvius, The Ten Books of Architecture trans. Morris

Hickey Morgan (NY: Dover Publications, Inc., 1960: reprint, Cam-
bridge, MA: Harvard University Press, 1914; original written in the
first century B.C.), 38-41.

•* K-Mart Corporation, Detroit, Michigan

'Kathryn Ladoulis, Good Fuhen & Farrel; Dallas, TX.

Lubbock Zoning Code.

'American Disabilities Act, 1991, U.S. Department of Jus-

tice (Washington, DC).
Texas Accessibility Standards Act, 1992.

* History of the Paramount Theatre," The Paramount Thea-

tre. 1930-Today (9 February 1998). Http://wv*nv.ci/middletown.ny.
us/~oecd/cityhall/history.htm
Pacilltii P
Epistemology
Case Studies
Activity & Spatial Analysis
Endnotes

lAKE
•'-yiS o o S^'
^:i§ 22 m
Theatre and entertainment complex designs through his-
tory are significant. The desire of a society at large to be
entertained instigated its birth, a desire to have entertain-
ment within the boundaries of the common family and
separate from the live theatres of Broadway while en-
compassing a part of the live theatrical experience. It is a
place for society to see themselves separated from their
everyday toils.
In the early 1900s when the movie theatre was bom, it
became an inclusive event comprising a host of outside
live performances, chats in its smoking room, gatherings
in vast galleries accented with extravagant tables, and
shopping areas where retail subtly intermingled. Comple-
menting an age of glamour, the movie " palace" an-
swered the call of society mirtoring the proper, elegant
and extravagant value and tastes of the richer classes,
omate flourished in these places of affluence congrega-
tion. By the mid-1920s, the movie palace craze hit its
prime, even the movie posters and the glittering stars
were considered art forms and an important part of thea-
tre design. The movie theatre became new phenomenon
in its role of advertising. Through they advertised flam-
boyantly, their purpose remained directed at the tastes
and sensibilities of the family audience. It was generally
agreed that no motion picture should lower the standards
of the public nor direct audience sympathies to crime,
evil or sin.
The 1930s introduced a new era to motion pictures. The
appearance of sound changed many aspects of theatre de-
sign for the years to come. This introduction removed the
"art gallery" aspect of advertising to the screen. The rise
in the number of movie theatres resulted in sound becom-
ing one of the major distinguishing factors in competition
and most of the nation's theatres were wired for sound.
With the depression, theatres were threatened with bank-
mptcy, movie producers abandoned the self-imposed
moral restraints reinforced culture's changing morality
partly driven by the economic crisis.
By the 50s, the same movie content from the 1930's was
still being applied to a society whose industry and audi-
ence had changed. To change the growth of the televi-
sion, it became increasingly important to provide an ex-
perience unavailable in front of the ' ectronic hearth.
This meant change was necessary to theatre design. Sev-
eral aspects of recording and reproduction were experi-
mented with in order to enhance the theatre sound and
distinguish it from the home setting. Speaker configura-
tion and " stereo" sound were some of the elements ex-
perimented with. This lead the theatres into an economic
dilemma to save on the cost of sound others postulated
that the screen color displace all other aspects of the film
experience, that the whole of the cinema could be re-
duced to the screen alone. This lead to the popularity of
the drive-in movie theatre. This type of theatre rose in
numbers from 820 in 1948 to 3,775 in 1954 even though
their sound characteristics were far from pleasant (the
cars on the back rows saw what was happening before
they heard the accompanied sound).
The 1960s had a more liberal atmosphere. The ethics of
this culture changed again and the role of the movie thea-
tre followed suit. It was not enough for a movie to con-
tain stars, the movie theatre became a place to view ex-
treme science fiction removing thoughts from the imper-
fect fabric of society. Fantasy blockbusters initiated a
new era in speaker usage. Surround sound appeared with
the movie Star Wars and for the first time, audio senses
became most acknowledged in this setting. The surround
sound system created sounds coming separately from the
sides, or from the front. It exemplified an attack of ten-
sion building scene. Furthermore, the new sound systems
involves not only the eyes, ears and the brain but created
a relationship with the whole body, shaking the body
when a huge spaceship rumbled across the screen.
Recently, movie theatres have combined all of these in-
fluences. In a culture mled by economy, the theatre mim-
icked the new cultural norm. Like the majority of new
urban buildings, the theatre became an example of
"cookie cutter" architecture. Movie theatres around the
nation looked the same in the mass-produced plan re-
gardless of context. As a result of this economic high of
the 90s, 23,689 screens exist regardless of the demand.
Overpopulation of these replica theatres once again
proves distasteftil in the public's eye. There is a call for
the restoration or adaptation of the old 1920s theatres
from people wanting more than an environmental step up
from their home living room. Regarless of their architec-
tural integrity. These recreated palaces, have become ur-
ban tools. They are proving to be popular ventures as cor-
nerstones for urban revitalization. New theatres are in-
corporating game rooms (relating to the glitz of the past),
retail areas, and even restaurants. Examples of this are
cinema grill in Whitefish Bay, Milwaukee, or the Alamo
Draft house cinema in Austin, Texas. These integrated
approaches to theatre design are in response to the pub-
lic's holistic desires.
*''*j
24
 Pacilitii Anali|5i^
7^^5 sideration will be given to areas which will not allow
ng environment for en- easy visibility by theater staff, modifications will then be
1 /
young, and old alike introduced.
IJ •^^'^(/j food and restaurants.
Performance Requirement:
The design will minimize dark areas, both interior and exterior,
/
y by having a minimum of IFc on the site and in the complex's
corridors.
o the complex:
omote and facilitate the
/ 7 / . , Performance Requirement:
' a fiill service modem
p-v.o
I X The corridors will not be dead end corridors nor have
bends where someone could be hiding unobserved.

f e n m mn EM^-^ m.-m
Ehict work within theatre shall be oversized to allow the same
amount of air toflowthrough the ducts, at a reduced speed,
therefore reducing the noise level for the THX certification. All
other areas will use recommended duct sizes.
Performance Requirement;
Lighting within the theatre will be reduced as patrons
moves from the public areas to the theatre house allow-
ing their eyes to adjust slowly to the change in light. All
other areas will follow the recommended light levels
stated in the activity and spatial analysis section of this
document.
Inexpensive and prototypical retrofit:
During schematic design, and design development, repe-
titious and multi-use spatial formations shall be prefer-
able. The objective of these considerations is to facilitate
the widest applicability of the design solution to other fa-
cilities desiring adaptive reuse solutions. As more stmc-
tures are adaptively reused with this prototypical design
fewer man-hours, material, and chronological resources
will be required. This design solution shall be optimized
at every opportunity without compromising the quality or
integrity of the facility in the protection of the health,
safety, and welfare of the occupants.

Safefacility: Performance Requirement:

This theater will be reviewed both during its design The construction of the complex will utilize repetitive proc-
phase for areas where crinves could occur. Carefiil con- esses whenever possible.

TAKE
I 2^
Performance Requirement:
Where an item or assembly is reproduced multiple times,
this process shall be done in the factory and shipped to
the site, a process allowing higher degrees of accuracy
and speed.

Aggressive attention to detail:

Architectural detailing of this facility shall be reminis-
cent of the theaters from the past. Such accents should
include carved and molded ceiling tiles in the lobby or
promenade, a lighting system incorporating neon, black
lights,fluorescent,and multicolored schemes, and archi-
tectural features which are designed for accentuation by
the lighting system. Examples include the hall of the
Paramount (Figure 6), and the massive sculpture of the
Butterfly Theater (Figure 8).

Performance Requirement:
The omamentation used on the exterior and interior of
the complex shall be of appropriate materials that reject
anticipated abuse from the environment, such as weather- Figure 8: Sculpture atop the Butterfly Theater
ing and air pollution from extended exposure to cigarette
and cigar smoke and vandalism

26
 Ca^^e 5ixidu
Albertson's Supermarket - Albuquerque, New Mexico After analyzing this project in retrospect, I feel that the
removal of the floor was unnecessary and not economi-
Albuquerque is the home of many Albertson's Supermar- cal. A more economical solution would have been to
kets. One such store began to decline in it's revenue gen- raise the projection port approximately eight feet above
erating capabilities, and was subsequently abandoned. the theatre floor to allow the projection of the movie to
The Architecture firm of Partners in Architecture (P.A.) be shown slightly above the patrons heads. This ap-
was commissioned by United Artist movie theatres. I proach would have required less floor to be removed,
previously was employed by P.A. and personally worked thereby, avoiding an expensive procedure. Also, the
on this particularly project. length of the exiting ramps for the disabled would have
been substantially shorter, thereby, alleviating the exist-
Problems were encountered throughout the course of the ing existing problems for the disabled.
facility's design including the provision of appropriate
exiting from the individual theaters through adjacent
spaces and the accommodation of disabled patrons
through compliance with applicable accessibility laws.
The primary problem encountered in this retrofit was the
height of the roof joists were too low to allow a second
story projection level. The solution used to solve this
problem was to remove ninety percent (90%) of existing
finished floor and lower the floor from two - five feet.
This expensive procedure allowed for a second story to
be constmcted.

However, this solution also created exiting problems for

disabled pafrons because theflooringwas lowered so far
below finished level that there was difficulty getting the
disabled patrons back to existing grade.

27
"Entertainment as a project segment has evolved to in-
clude other disciplines such as retail, hospitality, and Light levels in the restaurant shall be between 5-10 Fc,
education."^ through semdirect lighting.

Restaurant / Bar Provide a restaurant/ bar area of approximately

10,000 sq.ft.
Provide space for 500 patrons

Within this area patrons dine and/or drink while waiting

for the showing of a movie. An area that will be used for
formal banquets will also be included. There will be re-
lated seating for patrons inside and out, when the climate
permits.

The motif will be one that brings back memories of the 1920
movie theatres, with their grand smoking rooms and omate Figure 9 : Semidirect Lighting Diagram for Restaurant /
decorations.
Bar
According to Graphic Standards, 16 sq.ft. per person is
required for restaurant/bar activities. In addition to the ^5r worn
seating and circulation areas for the patrons, additional
workspace behind the bar for the employees.

The flooring will be constmcted of materials that have a

total sound absorption coefficient of at least 0.90, so that
the movement of chairs along with the impact sounds,
vwrnnm '
from high heels do not travel throughout the space or the
building. Figure 10 : Adjancency Diagram for Restaurant / Bar
 Stadium Seating Theatre Houses The Facility will house 10 equal theatres totaling
21,000 sq.
Provide seating for 1,500 patrons

According to Architectural Graphic Standards, 14 sq.ft.

per person is required for theatres. Multiple-aisle seating
with no row having more the 14 seats between aisles will
be provided. Stadium seating houses the floor to rise in
14-inch for the best sight and sound lines.

Wheel chair access for the theatres will be dispersed be-

tween the upper and lower rows of the theatre house,
however each requires an additional standard companion
seat.

The acoustical quality of these houses must meet or ex-

ceed that of THX requirements. Architectural firms are
using specific wall constmction, to meet this acoustical
requirement (Figure 13).

The flooring will be constmcted of materials that have a

total sound absorption coefficient of at least 0.90, so that
impact sounds, from high heels, do not travel throughout
the space or the building.

Light levels in the theatre shall be between 2-3 Fc'',

through indirect lighting, this is to allow the eyes of the
patrons to adjust to the lower light levels before the
movie starts.
 Activitii & spatial hna\\\e>\5

^ WOf^ f

Figure 12 : Semindirect Lighting Diagram for Theatre

VI 1 3 / 4 " AIR SPACE-

3 LAYERS OF 5 / 8 " TYPE X GYP BD
STAGGERED JOINTS; TAPE AND FILL
OUTER 2 LAYERS.
2 LAYERS OF 5 / 8 " TYPE "X" GYP BD
M^M STAGGERED JOINTS; TAPE AND FILL
OUTER 2 LAYERS.
6" METAL FRAMING AT 2 4 ' O.C.
T>fAr^ ON 6" METAL RUNNERS.
(STAGGER STUD)
3" SOUND ATTENUATION
FIRE BLANKETS (2.5 PCF)

Figure 11: Adjancency Diagram for Stadium Seating Theatres Figure 13 : Typical Wall Construction for THX
Theatres 12
TAKE
 Acti Spatial AnalL|5i$

TOP OF ROOF
-*-
'2zM^m<M^,., 2 l ' - 0 " MINIMUM
CEILING HEIGHT ^
P rojecpio n
R o0mp

^ < ^ ^
I A u d ito riu m
^mm n=:^
P ro m e|i ad e
^ ^

riNlSHED FLOOR ^

Figure 14: Typical Stadium Seating Theatre House Section"

 Activitil & spatial AnalL|$i3

o
o
F3
<o
:^
^ M o
^_J£'
H
> e
"" X
1/13
U
H—(
__^_^ w
o o
H
Q ^-1
<
<r-
^1
hi

Figure 14 : Typical Stadium Seating Theatre House Plan

TAiOE
 Activitii & spatial hc\A\\5\e>
Child Care Area

Provide enough space for 50 children

Within this area patrons come and leave their children

while attending a film.

The motif of this area shall be suitable for tiny children.

Primary colors will be used in this room with play-
ground-like toys. Also within this room there will be an
area for children to sleep.

According to Graphic Standards (1988), 15 sq.ft. per

child is adequate space for these activities.

The flooring will be constmcted of materials that have a

total sound absorption coefficient of at least 0.90, so that
the movement of chairs along with the impact sounds, do
not travel throughout the space or the building.
^5rft7(9M5
Light levels in the Restaurant shall be 50 Fc'"*, through
semdirect lighting.

The area for child care area of approximately o\w cm

750sq.ft.

Figure 15: Adjacency Diagram for Child Care

Area
<^
5^ ^S
•TJ.;';?^ T
 Activitii & 5patial Analij^i^
Rest Rooms

Rest rooms will be located in four areas, the lobby, the i$5r worn
promenade area, the child care area and the restau-
rant/bar area.
Child Care Adjacency
For calculations of the number of rest rooms for this type
of facility, the total occupant load is not used in the thea-
tre area. Instead the occupant load of the largest theatre ^$r worn "^^•^wom
house is used. '^ The restaurant/bar area total occupant
load will be used to calculate the number of restrooms in
this space.

Light levels in the restrooms shall be between 20-30 Fc,

through direct lighting. ^^

The materials used in the rest rooms shall be of high du- Lobby Adjacency Restaurant /Bar Adjacency
rability and vandal resistant quality, such as ceramic tile
for walls and flooring, and pressure injected epoxy for
counter tops.

Floors and all walls to a height of 54" above finished

floor shall be tile4 water closets will be wall hung, there
will be floor drains in the all restrooms so to allow ease
of cleaning. ?wm\wt)
Provide an area for rest rooms of approxi- Promenade Adjacency
mately l,851.25sq.ft. (See Rest Room Tabula-
tions) Figure 16: Adjacency Diagram for Rest

M
Activitil & spatial Anali|$i5
Men s Rest Rooms

Lobby Promenade RestTbar Child Care

Stalls 2 1 2 12.5 sq.ft (each)
Handicap Stall 1 1 26 sq.ft. (Each)
Urinal 3 2 3 8 sq.ft (each)
Lavatories 3 1 3 1 8 sq.ft (each)

Subtotal 349.5 sq.ft.

Circulation Factor 2.5

Total 873.75 sq.ft.

Women s Rest Rooms

Lobby Promenade Rest./bar Child Care

Stalls 5 3 5 12.5 sq.ft (each)
Handicap Stall 1 1 26 sq.ft. (Each)
Lavatories 3 1 3 1 8 sq.ft (each)

Subtotal 391 sq.ft.

Circulation Factor 2.5

Total 977.5 sq.ft.

Figure 17: Rest Room Tabulations

TAKE .„
 Activity &

Figure 18 : Direct Lighting Diagram for Restrooms Figure 19: Typical Rest room Lay-out

TAKE

56 ^B
 Box Office

Two ticket stations within the box office are required to

handle the number of patrons that will enter the theatre.
Each of these stations will take up approximately 50
sq.ft.

The front of the box office will be transparent glass

above the counter top so that the employees can see the
patrons.

The box office is approximately lOOsq.ft

1 1 l\^ 1
z' ^
/ \\\
/
(
( i/w
\ / w
\
^
/ \ w\^
w n
RHEUMATIC TUBE - - - ^ \\
\\

Figure 20: Adjancency Diagram for Box Office Figure 21: Typical Box Office lay-out

TAKE

^7 -
 Lobby

This area will be used for an assembly of people before

and after the showing of a movie. It also is an area that
will be used for circulation both in and out of the movie
theatre, to the rest rooms, concession area, game room
and the restaurant/bar.

The flooring will be constmcted of materials that have a

total sound absorption coefficient of at least 0.90, so that
impact sounds, such as high heels do not travel through-
out the space or the building.

Light levels in the lobby shall be between 10-15 Fc,

through indirect lighting. '^
^ x (jnce
Provide a lobby area of approximately 3,500 sq.ft

Entrance Vestibule

The entrance vestibule allows patrons space to wait be-

fore purchasing their movie tickets and entering the
lobby. This area will also buffer patrons and the lobby from
exterior noises and indecent weather.

The entrance vestibule is approximately 750sq.ft.

Figure 22 : Adjacency Diagram for Lobby

58 If-
 The lighting will be indirect and between 5-7 Fc.'* This
\IIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIII IIIUIIIIIIIIIIIIIIIIIIIII
allows patrons to view games without receiving glare off
'IIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIMIIIIIIIIIIIIII
glass or video screens.

niiiiMiiiiiMim iiiiiiiiiiiiiiiiiii mill The game area is approximately 1,000 sq.ft.

MiniMIIIIIIIIIIIIIIHIIIIIIMIllllllll Illllll

--t=- Manager's Office

Due to the nature of this multi-faceted entertainment

complex, the manager's office will accommodate a wide
range of activities, such as: counting money, ordering
supplies and movies. It will contain a safe, pneumatic
tube equipment, along with two decks and filing cabi-
nets.
Figure 23: Side Elevation of an Entrance Vestibule (by
author) For security reasons, there will be limited access to this
Game Area space.

It is a waiting area for movie theatre patrons that consists The manager s office is approximately 600 sq.ft.
of video games and pinball machines.

The flooring, walls, and ceiling materials will have a to-

tal sound absorption coefficient of at least 0.90, prevent-
ing noise (produced from the games) from traveling
throughout the building.

, tfVKE
'., SSi
SL-

:i ^
^^aaaam
 Concession Area
The large volume of patrons using the concession area
requires four work stations in the lobby and two in the
promenade. Each work station will have a candy counter,
cash register, butter dispenser, soda dispenser, three pop-
com poppers, two nacho dispensers, and two hot dog and
bun warmers. The area required for the operation and
placement of the equipment for each station will be ap-
proximately 50 sq.ft.
To accommodate handicap workers, one of the conces-
sion work areas will be lowered to meet their needs.
Lighting will be direct and light levels between 20-30
Fc.'^
Work Area
This is a storage area for concession equipment as well
as a space for minimal amount of food preparation
needed for the concession stands.
The lighting will be direct and light levels between 20-30
Fc.2«
Floors and all walls to a height of 54" abovefinishfloor
shall be tiled, there will be floor drains installed to allow
ease of cleaning.
The work area is approximately 300 sq.ft.

Floors and all walls to a height of 54" abovefinishfloor

shall be tiled, there will be floor drains installed to allow
ease of cleaning.

The lobby concession area is approximately 300 sq.ft

The promenade concession area is approximately 200
sq.ft.

iJ2M
mtM mmaam
 ^
JUUUL \ \ unnc junui: V \ juuun
m hmoi^ S m rJBBIoloi I Jlfc«w<l I I I J
m
CONCESSION AREA

"T r
^71 ^
rJ L_rx i \
I I
\ L _ ^ LOJ
-D [L,

WORK ROOM

-3;!-
/ \
/ \ >i I ! Kl td
m
CONCESSION AREA
< WC?0( ROO^
I I'
^
innnr / / innn,
\

Figure 23 : Adjancency Diagram for Concession Area T^^xt 24 : Typical Concession and Work Room Area Lay-out

TAKE
41
 Promenade
The promenade is a large room connecting all the houses
with the lobby area and the restaurant/bar. The room's
width will accommodate emergency exit requirements.
The flooring, walls, and ceiling materials will have a to-
tal sound absorption coefficient of at least 0.90, to pre-
vent noise produced from theatre patron traffic traveling
to other houses.
The lighting will be indirect with light levels in the thea-
tre between 2-3 Fc, to allow patrons eyes to adjust and
also to buffer the lobby lighting to the theatre house
lighting.^'
The promenade area is approximately 2,000 sq.ft
Projection Room
This area will be at the back of each theatre house in or-
der to project movie onto screen. The projection equip-
ment requires a minimum of 10'-6" of space from projec-
tion window to the back wall. The movie reels require a
6' square floor area next to the projector. Due to the fa-
cility type and existing building restrictions, each projec-
tion room will serve two theatre houses instead of one
projection room serving all theatre houses.
The lighting will be indirect with light levels between 2-3
Fc, so that light does not bleed into adjacent theatre
houses.''
Due to the specialized activity in area, access to space
will be limited.
The five projection rooms totals approximately 2,500
sq.ft.
TAKE
42
 MM^ lytAM IveAM MAM MAM

VrtKm IMAM \M-AV^ IVrtAM \i\tAM

1\tAm ^Am MAM MAm MAm

Figure 25 : Adjacency Diagram for Promenade Figure 26 : Adjacency Diagram for Projection Room

TAKE

4^'
 CAUL KINO
* T ALU

^- 3'-^' SATT INSUl A ION

^-•WBlulCN^ CHAN->4CL
*•" » X lO" WOOD JO'STB
8 LAVCWS •**" OVPHUM BOARD

r F4t HA> INK) a a ViOUAC

«Tc: > e s TO 9 9
irc • 74

Figure 27 : Sound Isolation Diagram

^ > - - ':^m'
"yy////

v///////:' ;-^v>y'; ;;

Auditorium Auditoriub

Figure 28 : Typical Auditorium /Projection Room / Promenade lay-

out
TAKE

44
 Kitchen

The kitchen is for restaurant/bar food preparation. It

will contain equipment capable of preparing both hot and
cold foods.

Lighting will be direct with light levels between 50-75

23
Fc.

The materials shall be of a high durable quality.

Floors and all walls to a height of 54" abovefinishfloor

MOT rOOO F»<W*R*TION AWA-CAFETEBl
shall be tiled, there will be floor drains installed to allow
ease of cleaning..

Additional cooling will be needed in this area due to heat

generated from stoves.

The kitchen is approximately 1,500 sq.ft.

oex.D r o o o »>f»epi*"ATiON A R C A -
CArCTC«IA/«ANQyCT

Figure 29: Typical Commercial Kitchen Lay-out

TAKE

45
 Stairs Electrical Room
Due to the size of each projection room, two exit stairs The electrical room needs to be a minimum of 3'-5" wide
are not required. Therefore, five stairwells of 150 sq.ft. to accommodate the electrical panel with a minimum 3'-
each will be provided. 0" clearance from panel to wall.

The stairwells totals approximately 750 sq.ft. Additional cooling is needed in area due to heat gener-
ated from electrical panels.
Janitorial Closets
Electrical room is approximately 150 sq.ft
Each closet will contain a large trash can and supplies
used by cleaning crews for theatres. Closets need not be
larger than 25 sq.ft. each. There will be one closet in Storage Room
every theatre house so that cleaning crews do not disturb
patrons using other theatre houses.
There will be two storage rooms, one to store non-
Ten janitorial closets total approximately 250 sq.ft. perishable kitchen items and the other to store non-
perishable concession items.

Area needs additional cooling due to storage of choco-

late.

Two storage areas total approximately 1,500 sq.ft

46
 tx\Ax\ck£^^
23
'Pete Ed Garrett, "Practice Q and A," Texas Architect. Ibid., 50
(July/August 1998): 19.

'" THX is not a type of sound but an over all sound experi-
ence with requirements ranging from the amount of background to
the proper position of the speakers in the theatre house.

" Architectural Graphic Standards. Eight Edition, The

American Institute of Architects, Sumerset, N.J. :50.

'^ United Artistes Corporation. Department of Construc-

tion, 1992.

*' Partners in Architecture, Professional architectural firm

Dallas, Texas.

*"* Architectural Graphic Standards. Eight Edition, The

American Institute of Architects, Sumerset, N.J.: 50

" Architectural Graphic Standards. Eight Edition, The

American Institute of Architects, Sumerset, N.J.

" Ibid., 50

" Ibid., 50

' ' Ibid., 50

^ Ibid., 50

^* Ibid., 50

^ Ibid., 50

TAKE

47
Overview
Goals & Objectives
Site Analysis
Contextual Requirements

TAKl-;
The major contextual elements to this new theater in-
clude the abandoned structure, the site's residential
neighbors to the north and a relatively few commercial
tenants to the east and west.

TAKE
49 I
Neighborhood beautification
Beautification of the site and neighboring community is a
primary concern in the process, design, and implementa-
tion of this adaptive reutilization design response.

Profitability
Optimal use of space and solid market review are re-
quired to make this facility a viable project. Further, the
success demonstrated here may have far reaching impli-
cations for other similar facilities seeking an economic
revitalization.
An abandoned structure originally constructed for a K-
Mart store will serve as the facility for this project. The
facility's site is situated at the northeast comer of 19th
Street and West Loop 289, duly parceled at the Lubbock
County Recorder's Office as 5802 19th St.; Lubbock,
Texas. Approximate size of the lot is 7.25 acres with
195' on 19th St., 600' on Frankfort and 500' abutting a
residential area. The site is predominantly fiat (Figure
30) and completely paved. Adjacent uses include a resi-
dential development at the north end and light commer-
cial at the east and west sides. There are three site en-
trances- one at the 19th St. abutment and two on the
Frankfort Ave. Property side. Figure 30: Facility and southern parking lot as
pictured facing north.
Utilities for this facility are located on the north side of
the site, with the main connections located off of Frank-
fort.
 $it^ Ana
"J
-J
arir^Aw'" oycdMNvtu i i s ^ 1^
> *.

^r -I
t i *
.J' --i< ftfl
y
SillTTBTTD t - & •
1 ^ i't.a-

I ft

,|.-|xx.--<^
1 '-f-
V' ' • ••\-—^—rrr-'^-''" —'. v v ; -Iv—•-* A^
X
•»V'» r*
I-

,^g^^^:^i
hi

Figure 31: Facility Site Plan

TAKE
Vehicle Access Parking Lot

The location of the curb cuts on the site does not allow
easy access from loop 289 or eastbound 19th Street. Ve-
hicles coming from these directions have to wait at a
light to tum onto a residential road which takes them
alongside the site before allowing them to enter.
A possible solution to this is a new curb cut that would
be located mid-way through the site. This will allow
enough room for the traffic at the light to back up while
not blocking the entrance to the site. Also, moving the
main entrance for vehicles will allow them to view the
entire buildingfromthe front instead offromthe side.
As seen in the preceding pictures there is ample parking
in front of the building. This vast amount of parking was
needed to meet the zoning codes of the city of Lubbock.
However, the zoning codes for a movie theatre/restaurant
are not the same as those for a retail store. Therefore,
the removal of some of these parking spots would be ac-
ceptable in order to allow raised cmbs with shrubs.
Also, due to the change of peek usage at the site, it will
be necessary to place additional site lighting to meet ap-
propriate levels for the patrons.

Drop-off Areas

At the present time the site does not allow an area where
vehicles can stop and drop off patrons with out stopping
traffic flow infrontof the building.

A possible option to this problem is to increase the width

of the sidewalk in front of the building, while at the same
time adding drop off lanes.
Description ofExterior msm/'^'

Constmction of the building took place between the

years of 1978 and 1979. The stmcture as it stands today
measures 240' x 320' with an additional walled area for-
merly used for gardening £ind botanical supplies. (Figure
32) The stmcture's height at top of parapet is approxi-
mately 22 feet. The exterior walls consist of 8" CMU
block with a 4" CMU split face block on the surface.
(Figure 33)

The roof is constmcted of built-up roofing over rigid in-

stallation over metal decking. The roof slopes to the Figure 32: Gardening and Botanical Area
north at a quarter inch/foot slope. There are seven HVAC
rooftop units..

The south elevation (front of building) has the main en-

trance to the building. The main entrance consists of ap-
proximately 80 lineal feet of store front which contains a
vestibule. There is an awning over the main entrance.
(Figure 30)

The north elevation (rear of building) has a tmck dock

with two tmck wells located at the midway point in the
wall. It also has a trash compactor and electrical trans-
former. (Figure 34)

The north side of the east elevation has a garden area.

Figure 33: Split Face CMU
TAXI-
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^4
The south side has six garage doors for an auto service
center area.

Description ofInterior

The interior stmctural system is made up of 5" circular

columns which are spaced 40'-0" x 33'-4". These col-
umns are connected to beams and on the beams are open
web steel joists. The minimum bearing height for these
joists is 1710". The maximum bearing height is 18'-10".
Approximately two thirds of the way back there is a 8'
CMU stmctural firewall.

The floor consists of a 5" thick concrete slab covered Figure 34: North Elevation of Building
with 12" vinyl composite tiles throughout the building.

The walls surrounding the auto center are nonstmctural

CMU walls. All other interior walls consists of gyp
board and metal studs.

The ceiling throughout the building consists of 2'-0" x 4'-

0" lay-in ceiling tiles. (Figure 35)

Restrooms are located behind the firewall.

Upon careftil examination of the existing plans, there is

no indication that asbestos was used in the constmction
of this building. However, after talking to the leasing
agent who stated other K-Marts built at same time con- Figure 35: Interior View of Main Area
tained asbestos and considering the time frame in which
the building was built, there is a possibility that asbestos
is present. Further investigation of this subject should be
done.
 ^pace 5
Room Tabulation
Facility User Tabulation

-tj

.K.I ' . . » , . . U I FMIi".''.!" l - ' l . ^ J l . J M

Room Name Number of Rooms Square Feet / Room Total Square Feet

Restaurant/Bar 1 10,000 10,000

Theatre House 10 2,100 21,000
Child Care 1 750 750
Rest Rooms
Men 4
Lobby 247.5
Promenade 91.25
Restaurant/bar 450
Child Care 85
oUDlOl 873.75
Women 4
Lobby 281.25
Promenade 113.75
Restaurant/bar 216.25
Child Care 85
Subtotal 977.5

1,851.25
Entrance vestibule 750 750
Concession Area 300
200
500
Kitchen 1,500 1,500
Work Area 300 300

lAKt
6^8 %
 \(9(?m ' ab\}\aim
Room Name Number of Rooms Square Feet / Room Total Square Feet
Manager s Office 1 600 600
Stairs 5 150 750
Lobby 1 3,500 3,500
Game Room 1 1,000 1,000
Janitorial Closet 10 25 250
Promenade 1 2,000 2,000
Projection Room 5 500 500
Electrical Room 1 150 150
Storage Room 2 1,500 1,500

Total Usable Square Footage 46,901.25

Usable Square Footage * Gross Square Footage Factor = Gross Square Footage

46,901.25 sq.ft * 1.1 = 51,592 sq.ft.

The gross square footage factor that was used is 10%,

because with in the space summary, circulation throughout
the complex has been included.

Gross Square footage 51,592 sq.ft

Actual Square footage 68337 sq.ft.

 $(^r tabulatim
TvoeofUser Number of Rooms
Employee
Theatre 20
Restaurant 25

Patron 2,050

Total Users 2,095

60 jv
. I .1.1.I'll!' 'III. J l U J l
 Pinal Voc\mex\iakJ\ox\
Conceptual Basis Of Design Solution

Addressing Issues Identified in Program

Hierarchy of Spaces

Controlling Factors

Most Compelling Aspect of Design

TAKE
61
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 $duti(9n
The conceptual basis for this project is the adaptive reuse
of a prototypical retail warehouse space, specifically an
outdated K-Mart that has been abandoned. This adaptive
reuse project redesigned an old, unused K-Mart building
into an entertainment complex which included movie
theatres, sensory interactive games, a restaurant and ban-
quet hall. The piupose of this was to transform an other-
wise useless building into an economically viable busi-
ness that also serves the conununity.

The most important conceptual basis upon which the

success of the design hinged, was changing the negative
connotation that comes with an abandoned K-Mart: a
building in disrepair, deserted and useless. That negative
impression that the town's people had lived with several Figure 36: Existing Exterior View of K-Mart
years had to be dealt with on a conceptual level. This
was accomplished by transforming the exterior and inte-
rior into a new attractive, economical facility that would
be inviting to anyone.

Exterior
A major section of the conceptual basis dealt with trans-
forming the exterior of the old K-Mart into something
new and different. This was accomplished conceptually
in stages. The first stage was to examine the front eleva-
tion and remove the stigma of a big concrete box. This
was done by contrasting different exterior portions of the
stmcture. Therighthand side was made to appear Figure 37: Proposed Improvements To K-Mart
 Cor]cep{ua\ \^ae>\5 of Ve^lo/n 5o\ui\on
massive and heavy while the left hand side appeared
lighter. This was accomplished by removing large sec-
tions of the wall on the left side and moving the exterior
facade back. The main entrance was also changed from
a small store front entrance to a large over-hanging can-
opy. The height of the entrance was also raised by ex-
tending the space framing into the air. Basically, the
front entrance was opened up, widened and pulled out to
accommodate a drop off area.

The second stage was to visually change the roof of the

existing stmcture. This was done by adding a wave on
the roof that visually bisected the building in plan, along
with elevation. This wave was also created because the
building was visible to those driving on the interstate
loop nearby. The wave concept is also repeated inside Figure 38: Existing South Elevation
on the first floor (discussed in interior section). The
rooftop units were also changed. Instead of trying to
hide them, they were painted blue. The purpose of this
was so that people driving by could see effort was done
to upgrade the building by making it more visually attrac-
tive.

The third and fmal stage of the conceptual design solu-

tion was the movement of the banquet hall to the exte-
rior. Initially, the banquet hall was enclosed within the
existing K-Mart building. But then upon further consid-
eration, it was moved to the exterior because it facilitated Figure 39: Proposed South Elevation
 Concep{jUia\ ^ae>\5 of Ve5\qr\ 5O\\}\J\OY\
better utilization of kitchen area and exterior seating
with the restaurant.

Interior
The interior was transformed by changing ceiling
heights, creating new spaces within the stmcture and put-
ting in creative lighting that also visually effected the in-
terior. Again, the purpose of which was to remove the
connotations that the building was once a K-Mart.

Throughout the building, ceiling heights change. The

purpose of this was to break up the monotony of the old,
one height K-Mart ceiling. The ceiling in the lobby was
changed to a gyp board ceiling with multiple levels and
diffused lighting. The ceiling in the promenade and hall- Figure 40: Existing Interior View of K-Mart
way are also multi-level ceilings with diffused lighting.
The restaurant ceiling was chosen to be a darker color to
create a more subdued ambiance. The restaurant also has
different levels of ceilings to separate different activities
within the restaurant, physically as well as psychologi-
cally.

One of the most important aspects of the interior design,

conceptually, was to get rid of that feeling the you are
walking into a warehouse stmcture, which an abandoned
K-Mart essentially is. The manner in which this was ac-
complished was by taking this massive amount of space
(over an acre) and breaking it up into smaller, separate Figure 41: Proposed Ceiling Changes In Lobby
 Concepbaal ^ae>\e> of Ve5\qr] 5o\ui\or]
spaces or rooms: movie theatre houses (ten), lobby, res-
taurant, game room, childcare, banquet hall, concession
areas, restrooms and managerial offices.

Creating these new spaces was accomplished by design-

ing different rooms according to their fimction. Even
though there are multiple rooms created by floor to ceil-
ing walls, there is not a box-like effect taking place be-
cause the shape of the walls and multiple ceiling eleva-
tions creates a pleasing, unique environment. For exam-
ple, on thefirstfloor,the wave concept(discussed earlier)
is repeated. The wave, a long curve hallway, extends the
entire length of the building. This curving space creates Figure 42: Proposed Restaurant
a fluid atmosphere and directs circulation of people
through the building, without creating a long, narrow The restaurant also has carefully designed lighting that is
hallway effect which tends to have a negative psycho- conceptually consistent with transforming the interior of
logical effect. a huge space to a cozy eatery. In addition to the multi-
leveled ceilings, the ambient lighting is created by softly
Another method of creating unique spaces within this diffused lighting that is dark blue, turquoise and yellow.
massive area, was through creative lighting. For exam- The lighting accentuates the theme of the restaurant,
ple, in the lobby there is diffused lighting which uses the which is marine in nature and includes multiple aquari-
same three colors that were used on the exterior of the ums, a dark ceiling, soft lighting and a marble floor.
building: yellow, green and purple. This was done to Again, the purpose of which is to create a unique envi-
draw a connection between the exterior and interior by ronment by transforming dead, empty space to an inter-
creating a continuation of color and lighting. This is not esting, appealing, cozy place.
only soothing to the eyes but also accentuates the high
ceilings and gives a feeling of spaciousness— the oppo-
site of a K-Mart interior.
 33U(^5 \(ieert\f\ec\ In P
As discussed in the program, there are two areas of issues
identified: architectural and site.

Architectural

1. Multi-level stadium seating.

The issue here was that the ceiling height of the building
was too low to accommodate stadium seating. As part of
the design program, it was imperative to include stadiimi
seating because the whole conceptual theme behind the
facility design was to take out the old and bring in the
new. The newest trend in movie houses is stadium seat- Figure 44: Proposed Movie Theatre
ing. It is the very reason why many people are returning
to movie houses, in that these theatres have become more
comfortable and convenient. It adds to the feeling of created that provided enough space for the equipment to
movie patrons that this is a new place that is fun to go to. be placed. This problem was resolved by elevating the
But accommodating stadium seating creates certain ar- roof in this specific area.
chitectural challenges, such as ceiling heights need to be
higher than standard theatre seating. To resolve this 3. Accommodation for the disabled
problem, sections of the floor were removed and the
floor elevation was lowered. This was an issue because incorporating stadium seating
created multi-level problems and problems related to the
2. Elevated projection room disbursement of handicap seats throughout the movie
house. The reason it's a problem is because the floor ele-
This was an issue because the existing roof stmcture did vation in stadium seating increases too rapidly to accom-
not allow enough space to accommodate the equipment modate ramps. This was resolved by having handicap
necessary for the projection room. A design had to be seats in the front and back of the movie house. The front
 5$U(^5 \()ieeY^\f\ed In P
seating was accessed through the main entrance, while
the rear seating was accessed from the projection room
via an elevator.

Site

1. Vehicle Access

This was an issue because the location of the curb cuts

on the site does not allow easy access from loop 289.
This was resolved by accessing a public right of way in
back of lot which directly led to the 289 feeder. This re-
solved the problem. Figure 45: Proposed New Drop-off Area

2. Drop-off Areas
This was an issue because at the present time the site did
not allow an area where vehicles can stop and drop off
patrons without stopping traffic flow in front of the
building. The solution was to increase the width of the
sidewalk in front of the building, while at the same time
adding drop off lanes.
3. Parking Lot
This was an issue because the amount of parking re-
quired by zoning codes for a movie theatre/restaurant are
more than those required by code for a retail store (previ-
ous K-Mart). Even though there was a vast amount of
existing parking space, the site could not comply with
current zoning codes. Twenty more parking spaces were
needed to comply. To date, this issue has not been re-
solved. It would be necessary to go in front of the zoning
board and request a variance.

^k?>a«^GrjLKJ>Ll,IJLH
 Hi(^rarchi| of^
SPACES (hierarchy from view of patron) B. Restaurant entrance

1. Entrances This is a secondary entrance and is primarily used

The entrances are the most important features, design
wise, because the lobby areas are the first impression
people will get when entering the building. This first
impression is important, psychologically, because the
purpose of the design is to make people forget the build-
ing was an old K-Mart.
There are three entrances to the building. Within those
three entrances there is a hierarchy. That hierarchy is
viewed through the eyes of the patron.
A. Main entrance to complex.
for access to restaurant and outside seating areas.
C. Banquet entrance
This is a tertiary entrance that is used exclusively
for the banquet area. This is designed so those
attending the planned function at the hall will not
have to wander through the main lobby of the
complex looking for the banquet hall. It also pro-
motes privacy for those at the function.

2. Movie Theatres: Restaurant; Game Room (all equally

This is the primary entrance where one can gain
important)
access to all public areas of the complex. From
this area you can purchase movie tickets, and en-
ter and exit the movie theatres. There is also di-
rect access to a game room area, along with indi-
rect access to a restaurant, childcare and banquet
areas.
A. Movie Theatre
The theatres are the main feature and takes up the
most square footage of the complex. It is one of
three activities that will bring patrons into the
complex. This area will also accommodate the
majority of the patrons that visit the complex.
 [\\erarch\Ji of 5
This area is as important as the movie theatres
section because people will flow from the thea-
tres to the restaurant and vice versa. For many it
will be a place to go before or after the movies.
The space needs to be inviting, comfortable and
convenient.
B. Childcare room
This is an area where patrons can drop off chil-
dren so they can enjoy different areas of the com-
plex, while their children are in a safe and enter-
taining area.
4. Services Areas

C. Game Room The following are to facilitate the enjoyment of

complex:
This area is also for keeping people busy in ac-
tivities before or after the movies they attend. A. Concession stand
Where the restaurant can stand on its own in re- B. Ticket counter
gard to whether or not people go there, the game C. Restrooms
room is geared towards entertaining people for
short amounts of time. 5. Nonpublic Areas
(in spite of being listed at bottom of hierarchy in the view
3. Banquet Hall. Childcare Room of the patron, these areas are actually very important for
the smooth miming of the complex)
A. Banquet Hall
These areas consist of the day to day mnnings of
The banquet hall is it's own entity. The patrons the complex.
here do not interact with any other section of the
complex. This is to ensure privacy and security A. Management offices
for functions. However, there is an option to in- B. Projection room for theatres
crease the banquet hall space by sharing the open C. Kitchen
patio area cotmected to the restaurant. D. Storage areas
E. Work rooms for concession stand
 CovkoWm ^aciove>
1. The overriding controlling factor of this project is the
existing K-Mart building. The purpose of this project
was to transform an existing stmcture and deal with the
spatial conflicts in that transformation. There were many
limiting factors that had to be taken into account in the
design of the facility, such as stmctural system, roofing
system, flooring, and zoning ordinances.
A. Stmctural Svstem
The use of the existing stmctural system throughout the
building was a controlling factor throughout the design
of this complex because of the existing stmctural walls
and column spacing. The stmctural system was sound to
begin with so there was little modification that needed to
be done. One place where the stmcture was modified
was within the theatre houses. This is to accommodate
the specialized nature of the movie houses. Each theatre
house needs to be a specific length, width and height to
gain optimal site and sound quality. Several columns
had to be removed in order comply with these specifica-
tions. Columns were also removed and added within the
movie houses to accommodate stadium seating.
Additionally, columns were added to accommodate new
roof elevations that were needed for the projection rooms
and lobby.
Existing stmctural walls were modified as needed, such
as filling in existing doors and windows that would not
be used, and creating doors and windows that were
needed.
B. Roofing Svstem
The roofing system was originally a controlling factor be-
cause of its height. Certain areas of the buildings had to
be raised, such as, the projection room and lobby. For
the lobby, the roof had to be raised as part of the design
feature to reduce the negative psychological effect of
walking into an old K-Mart. The roof had to raised in
the projection room due to the functional necessity of ac-
commodating the projectors.
C. Foundation/Flooring
Within the movie houses, the ceilings were not raised,
but the floors were lowered because it was economically
more feasible to lower thefloor,as opposed to raising the
roof
While lowering the floor helped to accommodate the
space and height required for the stadium seating within
the movie houses, it also created another problem in
dealing with handicap accessibility. Additional consid-
eration had to be given to acconmiodate ramps within die
emergency exit areas.
 Pa(:t(;r5
D. Zoning Ordinances

The existing site already had curb cuts which needed to

be incorporated into the site design. These curb cuts
limited access to site and could not be changed.

Also, another limiting factor was the size of the lot itself
and it's ability to accommodate the required number of
parking spaces.
 t:a#,yAi:^uj^fm„fSm,

Vae U\o5i Compe

The most compelling aspect of the design was the chal-
lenge of separating the K-Mart icon from the existing
stmcture and transforming it into a conceptually differ-
ent, multi-faceted complex. The main method of how
this was accomplished was by changing the appearance
of the existing stmctiu-e, thereby erasing the memories or
associations that former K-Mart customers and town pa-
trons would make upon entering the building,
(see exterior section of Conceptual Basis for Program
above for in-depth discussion)
It was cmcial to the success of the project to get rid of
that "old, abandoned, and deserted" look and transform it
into a facility people would be excited to go to and most
of all, enjoy.

latMmiUJWxwaagi
Resources and Evidence of Research Method
The research methods used for this academic endeavor
have included the accumulation of case studies, personal
interviews, professional exposure to and participation in
similar warehouse modernization projects for the accom-
modation of movie theaters. The disciplines of architec-
ture, urban plarming, and engineering are integrated
herein with those of business, management, marketing,
andfinancialmanagement. An understanding to all sides
of this complex interaction between the interests of com-
munity, corporations, the public, as well as market forces
that effect the commercial constmction, entertainment,
and movie patronage industries lay at the foundation of
this research. In order for a project of this type to be
successful, it is imperative that all of the above-
mentioned factors be taken into consideration.
Evidence of Research Method
Accompanying documentation should be sufficient to
demonstrate the substantive nature of the research
sources for this report and investigation. Videos, photo-
graphs, and taped interviews have been included to fill
any gaps which may appear in the course of these facility
and contextual reviews.
Bibliography
Pete Ed Garrett, "Practice Q and A," Texas Architect.
(July/August 1998):
Architectural Graphic Standards. Eight Edition, The Ameri-
can Institute of Architects, Sumerset, N.J.
United Artistes Corporation. Department of Construction,
1992.
Partners in Architecture, Professional architectural firm Dal-
las, Texas
Young .Stewart, Maijabelle. Executive Etiquette. Copy-
right 1979; St. Martin's Press; New York, NY. Page 11.
Vitruvius, The Ten Books of Architecture trans. Morris
Hickey Morgan (NY: Dover Publications, Inc., 1960; reprint, Cam-
bridge, MA: Harvard University Press, 1914; original written in the
first century B.C.), 38-41.
K-Mart Corporation, Detroit, Michigan
Kathryn Ladoulis, Good Fulten & Farrel, Dallas, TX.
Lubbock Zoning Code.
American Disabilities Act, 1991, U.S. Department of Justice
(Washington, DC).
 Texas Accessibility Standards Act, 1992.

History of the Paramount Theatre," The Paramount Thea-

tre,, 1930-Today (9 February 1998). Http://www.ci/middletown.ny.
us/~oecd/cityhaU/history. htm

Parcel was abandoned in 1995 and has remained vacant

since. Active and aggressive leasing methods have been used to re-
habitate the facility, but to no avail. Further, no prospective tenants
have expressed an interest in this retail warehouse shell building.
Kurt Shinder, Rice Properties; Bruce Bracht Loss Control Manager
K-Mart Corporation.

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