Boxoffice-November.24.1951

impulse pfctrons steady oustomers of the
theatre.
FIVE POINTS OF GOOD DESIGN
The first step in practical modernization
is to get an advanced design— a functional
plan by an architect who has a
thorough knowledge of and experience In
theatre modernization and who has fully
considered the "five points of good design"
in his planning.
These are display, identification, entrance,
setting and overall attraction:
1. DISPLAY
Display has now rightfully cofie into its
own as the primary requisite of good theatre
design. To the operator, display governs his
success in getting, pleasing and holding patrons.
A'l other elements lend themselves toward
display, too.
2. IDENTIFICATION
Nothing is more valuable as a merchandising
asset than a good name. Just as important
is to identify that good name with the
establishment and the attractions it has to
offer. Arrangement and placement of the
name is a serious consideration. The identification
of the theatre by its signs is very important.
Signs should be of good proportion, not
garish ond yet not exceedingly small. They
should be decorative as well as convey a
message and should serve as an integral part
of the theatre.
3. ENTRANCE
The entrance should unobtrusively guide patrons
from the street to the interior. It
should suggest a word of welcome and have
on inviting effect, if such is possible. The combination
of the entrance, walls and the disp'ays
which separate the theatre front from
the lobby should not be separating devices but
rather a means of protection from the elements
and a means of enclosure at night.
4. SETTING
Framing of the exterior to best enhance
and harmonize with the interior, includes the
piers, lintel and bulkhead. There is no distinct
demarcation indicating where tha theatre
front ends and the interior begins because
both are parts of the component whole. A
whole which can reflect personality, quality,
comfort,
character and aggressiveness.
5. OVERALL ATTRACTION
The test of the preceding good design points
comes in the final requirement—overall attraction.
This includes proper lighting, color
selection, comfort facilities, and the general
finishing touches needed to create a pleasing
atmosphere. Attraction should be directed
toward the fancies of the person desired as a
patron. Color can aid in directing traffic flow
OS also can lighting and display arrangement.
Color, however, should be carefu'ly selected
so OS to feature the display facilities rather
than to divert attention unless for directing
traffic. The colors in the majority of instances
should be light in value such as pastel shades
with some dark accents, because with open
vision to the lobby a bright interior will do
much to eliminate outside glass reflection. An
interesting finding about color is that it is not
particular color which we find pleasing but
rather their association one with the other.
The same is true when plain surfaces are
combined with decoration and accents because
they make better compositions. The lighting
of these colored surfaces and materials is
extremely important since it can make them
either vivid or dull.
An unusual
marquee
of Pittco storefront
metal molding is featured
by the Martin
Theatre,
Bainbridge,
Ga. Carrara structural
glass and glass
block enhance this
striking
exterior
Rufus B. Bland was
the architect.
Speaking of both the exterior and interior
of the theatre from a general point
of view, we find from past experience that
change must be considered. Therefore, the
importance of having a plan which is flexible
Is obvious. I am sure that you will
all agree that change is not only good for
the morale of the patron but also for the
staff and that a better job can be done in
promoting the house if good morale is
maintained. Many merchants and display
men find that more flexibility and ease of
change can be had with an "open vision"
type of front because practically any type
of display arrangement can be used. Also,
the entire lobby may be screened off if
so desired without .structurally affecting
the building. Or, it may be partially
screened depending upon what effect is
wished to be created. Variations in plan
for special attractions is a part of this
flexibUity and though used to some extent
at present will be given more consideration
in the future. Also, with a flexible plan,
aisle spaces can be made wider to accom-
(Continued on page 40)
The sandblasted design on these interior glass doors at the Paramount Theatre. Chester, N. Y.. creates
on interesting decoratiye effect, ixterior doors to the street are also of glass, permitting a "see through"
view from the outside of the theatre. The architect was M. J. DeAngelis
BOXOFFICE 39