Teatro Carani in Sassuolo (Italy)
The Teatro Carani was founded in the 1930s in response to the economic development of the area, with the aim of making Sassuolo a top cultural center. After several successful seasons, the theater experienced a period of closure, but thanks to the Teatro Carani Foundation established in 2020, it was returned to the city on March 2, 2024.
The Challenges of Teatro Carani
From the beginning, the Foundation focused on technological and design choices that now allow for the accommodation of a wide variety of contemporary performance forms, as well as events, conferences, concerts, etc. They identified Decima 1948 and we at Cavea Engineering as consultants for the design and implementation of scenotechnical and multimedia technologies: our project ensured that we met the three primary objectives set by the Foundation:
– Creating a multipurpose theater: a versatile environment that can host different cultural events through several adaptations: an automated seating system that allows the auditorium to transform into a completely open space, or the ability to access infrastructure for the transport and management of multimedia signals from multiple points in the auditorium and on stage.
– Identifying cutting-edge technological equipment to support the variety of intended uses. From a state-of-the-art cinema setup to basic equipment for conferences and small events, to a versatile and safe scenotechnical structure.
– Meeting the planning and execution timelines, set for a maximum of 24 months.
During the renovation of the Carani Theater, one of the main challenges was to integrate new technologies into a historic building from the 1930s. Thanks to careful planning and well-coordinated design, we successfully addressed the complexities related to the overlap of renovation work with architectural, structural, and system constraints
Technologies for a Multipurpose Space
Selecting the technological equipment for a theater is a complex task because it needs to meet the demands of various stakeholders. The clients aim to ensure the profitability of the investment, while resident technicians seek solutions that offer system ergonomics, integrate seamlessly with existing infrastructures, and ensure ease of installation and reliability. External companies, on the other hand, desire venues equipped with “rider-friendly” equipment that meets their specific needs.
In this context, Cavea Engineering worked intensively to engage with all parties involved, identifying their expectations and balancing the requirements based on experience gained in designing other theaters.
During the design phase, we invested many resources in creating a structure for the widespread distribution of audio and video signals to cover every area: from the stage to the auditorium and backstage. Indeed, the different uses of the theater required the installation of specific multimedia sources in key locations, such as the technical booths for performances located at the back of the auditorium and in the orchestra pit, the speaker podiums for conferences and readings, as well as video projection for cinema.
We also defined various usage scenarios to facilitate the management of the auditorium, automating and synchronizing certain equipment and their controls:
• Automatic mode: designed for smaller events such as conferences and events that do not require specialized technical staff.
• Digital cinema mode: optimized for cinematic screenings.
• Manual mode: which allows the technicians of the companies to directly manage lights, audio, and video through control consoles.
Another fundamental aspect is the ability to transform the seating area to adapt the auditorium for any type of event: from the traditional configuration with seats, it is indeed possible to easily switch to a completely free and walkable space. It is also possible to raise the floor of the orchestra pit to expand the auditorium space or to create a stage with a large proscenium.
Multimedia for Every Need
The need for flexibility in the space led us to develop multimedia systems that could meet the various anticipated requirements.
For video projection, essential in many usage scenarios—from cinema to conferences to DJ sets—we designed a dual system: a fixed cinematic projection system in DCI standard (typical for cinema) at 2K resolution positioned at the back of the auditorium and a second full HD system for conferences and theatrical events, which can be repositioned as needed.
For video recording, necessary for both conferences and live streaming of events, we established many low-latency connection points linked to a video matrix. This allows for both classic framing with fixed cameras and the connection of broadcast cameras for professional recordings, while the video control room is equipped for live streaming, recordings, and videoconferences with an easy-to-use real-time interface.
Turning to audio, the theater also uses a sound distribution system based on three different setups to adapt to various types of events:
Main System: fixed in the auditorium and suitable for theater productions, conferences, and shows, it ensures performant and quality audio distribution, reducing dispersion outside the listening area.
Dolby Surround 3.1 System: connected to the DCI media server, it is positioned behind the cinema screen and is optimized for cinema.
Line Array System: a mobile, high-power system used for rock concerts and DJ sets, composed of “clusters,” or groups of speakers capable of powerful and long-range sound, and is managed via the Dante protocol, the de facto standard for digital audio management.
Scenotechnics
We also designed the new scenotechnical system, updated to improve efficiency and safety, as well as to achieve greater versatility: consisting of grids, movable hoists, balconies, manual rigging, backdrops, and screens, it thus meets the ambitious needs of the Carani.
The design of the overhead mechanics was conceived to offer maximum flexibility. Each stage rigging can be adapted for both lighting and scene lifting, depending on the requirements of the performance, thanks to its connection to the Production Lighting Boxes (PLB) on the balconies.
An Infrastructure for Multimedia and Scenotechnical Systems
To ensure adequate signal distribution, we built an advanced infrastructure that covers stage, balconies, grids, proscenium, orchestra pit, dressing rooms, and auditorium. This comprises a network based on copper and fiber optics, managed via the main protocols for the transmission and management of digital multimedia signals (Dante, sACN, RDM, and QLAN, etc.) for the distribution of audio, video, control, and lighting.
The heart of the system resides in the central racks in the mezzanine, which house patch panels and active equipment. From there, the infrastructure connects to SCB (Sound & Communication Boxes) and PLB (Production Lighting Boxes), providing end-users with an intuitive interface and flexible signal management. All technologies are discreetly integrated, preserving the theater’s aesthetic.
To minimize latency in video transmission, crucial for theatrical productions, we implemented a 12G-SDI broadcast infrastructure that ensures perfect synchronization between the orchestra, actors, stage director, and technicians.
The Carani Theater Foundation
It was established on January 27, 2020, with the aim, after a decade of closure, to acquire ownership of the theater and then donate it to the City of Sassuolo, once it has been suitably renovated. Below a comment by Ms. Claudia Borelli, President of the Carani Theater Foundation ETS.
CB – The Carani Theater has been the heart of cultural life in Sassuolo for decades, and we could not “resign ourselves” to losing this highly symbolic place of our cultural and social growth. The Foundation started from here: it has embraced the legacy of the Carani with the goal of making it the center of our community again. The choices made during the renovation phase have gone in the same direction: creating a space suitable for today while also being able to improve and adapt to future technologies.
Was it difficult to navigate through the design choices and partners?
CB – After a long search, we chose Decima 1948 and Cavea Engineering, who handled the plant and multimedia aspects: we were convinced by the dynamic vision of the proposed project, which is based on service rather than on individual materials, and which is not only focused on the present but also strongly oriented towards the future. We needed people who could listen to our ideas and turn them into actionable plans.
Was the renovation phase busy?
CB – It certainly was; the theater has been completely renewed in its structures and stage systems, without compromising its identity, including its aesthetic aspect. Decima 1948 and Cavea Engineering have been up to the task of engaging with all the different professionals involved, all with different skills and backgrounds, from site management to theater technicians, from marketing to the Foundation’s team.
https://fondazione.teatrocarani.it/la
In brief
Christmas 1930 – inauguration of the Teatro Carani, built on commission from Mario and Eugenio Carani with designs by Zeno Carani; the innovative use of reinforced concrete, an opening dome, three entrances on the main central roads, and over 1600 seats make it grand and innovative.
1966 – After years of success, the municipality becomes involved in the programming with the aim of establishing a high-level season.
1970s – International productions are hosted, with art exhibitions in the Foyer.
1980s – There is a decline in public interest, which rebounds in the 2000s.
2014 – The theater is declared unsafe.
2020 – The Teatro Carani Foundation is established to acquire the theater, oversee its restoration, and donate it to the municipality; the members are private individuals and local companies.
2022 – Work begins.
March 2, 2024 – Inauguration of the Teatro Carani.
Of course, we wish to thank Decima 1948 for giving us the opportunity to propose an unconventional vision of the infrastructure of a theater for this project.
We also thank the Teatro Carani Foundation for believing in our proposal and for their unusually keen attention to the structural and technical aspects of a theater.
Finally, we extend our thoughts to the designers of Enerplan – an engineering company – and Archea of Sassuolo – an architecture firm – for their dedication to turning an idea into reality.
ALTRI PROGETTI
