Well, you know I always enjoy challenges. The toughest? Probably when I’m short on the three basic ingredients required to plan theatre spaces:
Time. Space. Money. (TSM)
Keeping TSM in balance makes a happy owner and a successful project, so the first challenge is to convince the owner to invest some T. This is a tough sell. Why? A comprehensive Architectural Program is necessary to predict TSM, and a Program is hard to grasp.
Architectural Program: ar•chi•tec•tur•al (adj) pro•gram (n) Quantified list(s) of rooms, spaces, floor areas, expressed in net square footage and/or diagrams; prose descriptions of qualities that can’t be characterized in data.
I think of the Program as the recipe for the design and construction of the project. Here’s the catch: an owner often expects to begin the project with the design. With no program. And with a budget.
Our job is to communicate the value of the Program to the decision makers, who are not usually in the business of building buildings. It can be tricky: we’re designers and we love to draw; owners are bottom-line-driven and want results. So it’s tempting for all of us to rush, and discipline is required. Otherwise the project gets out of hand, costs more than it should and doesn’t meet anybody’s expectations. That’s not the way we like it.
Here’s the way we do it:
THE DESIGN TEAM WORKS WITH THE OWNER AND USERS
Interviews + Observation + Comparisons + Documentation = THE LIST
THE LIST:
How many?
How big?
Why?
For whom?
For what purposes?
Near what?
Why?
+ How often
Sq Ft, Ht + adjacencies
TRANSLATE THE LIST INTO BUBBLE DIAGRAMS
REVIEW DATA WITH COST ESTIMATOR OR QUANTITY SURVEYOR
CONVERT:
Net Sq Ft to Gross Sq Ft
Apply $psf cost values
Synchronize with local construction costs
RESULT: a prediction of project cost
In 40 years, no one has ever said “We’ve gotta spend more than that…” I’ve never seen a preliminary cost estimate meet with contentment. It’s another challenge of my job, cuz accuracy and qualifications of the team are usually questioned.
This is often the most intense time of a project because its very life is threatened. Assumptions are challenged: “What can you live without?” Soul searching begins and programmed spaces may be reduced. Difficult decisions are made. Eventually the Program is brought into alignment with the budget. TSM is clear.
You know what’s amazing? This all happens before anyone has drawn a line. 90% of the most important decisions for the project have been made!
We’ve agreed on the recipe – now we’re ready to cook. For me, that’s the fun part.
1An earlier version was published in Theatre By Design, the Studio’s Newsletter
My name is Ann Sachs, and I'm developing a process I call Theatrical Intelligence®. This is my Beta-Blog, where I post ideas and bits of writing as I build the idea into a book and a business.
Amen and amen. We can all be extremely creative to find solutions to design problems, but only after we know the constraints (e.g. program) that we’re working in.
Absolutely, Greg. Understanding limits is liberating. (It’s not a bad concept for child rearing either!)