SCHOOL BOARD

REFERENDUM

PRE-PLANNING

PROGRAMMINGSCHEMATIC

DESIGN

DESIGN/

DEVELOPMENT

Nobody understands the entire planning process better than Wenger.

Careful planning and your continued involvement are absolutely essential to creating the facility you need. That’s why you should takeadvantage of our more than 60 years of accumulated experience and expertise to help you plan exactly the right facility. And puttingWenger on your team doesn’t cost you a dime.

The planning committeeis formed and goals aredefined. It’s extremelyimportant to make surethat teacher representa-tives from music, finearts, and athletics areincluded. Meeting theacoustical, rehearsal andperformance needs ofany new facility is acomplex mixture of science and art. And thebetter prepared the committee is to helpyour architects andacousticians, the betterable they will be to applytheir specific expertise.

This is the process ofdefining the activitiesand requirements of thespaces to be designed.This is by far the mostimportant phase for thecommittee and gatheringinput should beginimmediately. The longeryou wait, the more it willcost and the less likelyyou are to get what youneed. Compile your“wish list” for furnitureand equipment.

TIP: Anyone who’sever been through thenew constructionprocess will agree“you never get whatyou don’t ask for.”

This is the first chanceyou’ll have to see thearchitect’s diagram ofthe proposed facility. Besure it’s what you wantbecause it’s tough to getchanges made once youget past this phase.

TIP: Check out the“Rule of Thumb” pagein our Planning Guide(page 50) for guide-lines on how muchspace you’ll need.

Next, the architect creates blueprints: exactroom dimensions, ceilingheights, door and win-dow locations, and allelectrical, plumbing, andmechanical systems arefinalized. Inspect thesedocuments carefully. Allbidding and constructionwill be based on thisplan and future changeswill be extremely expensive.

TIP: Remember, thisis your facility and youought to be activelyinvolved in all phasesof the project.

Congratulations, the referendum has passed!Now the real workbegins. This opportunitymay only come alongonce in an educator’scareer and the decisionsyou make will have aprofound impact on students and faculty foryears to come.

CONSTRUCTION

DOCUMENTSBIDDING

CONSTRUCTION

EQUIPMENT

PURCHASESCHOOL

OPENING

Thousands of educators and school administrators have called on us to help design effective learning environments — fromconcept to completion. We invite you to learn from our experience, expertise and resources to help you make the most out ofevery construction dollar.

Before discussing theproject with the variouscontractors, the architectwill develop detailedconstruction documents.In this phase all of theproducts that are integrated with the construction process arespecified.

TIP: Double-check tomake sure that every-thing you asked for isincluded.

After a thorough reviewof bids submitted byelectricians, carpenters,and other subcontractors,the contract is awardedto one general contractor.

TIP: This is the stageto buy products thatwill be installed duringconstruction, includingstorage cabinets,acoustical products,and pre-engineeredmusic practice rooms.

This is the actual build-ing of the facility. Visitthe site as often as possible. After all, this is your final chance tomake sure everything is being built accordingto specifications. If anything doesn’t matchthe agreed-upon plan,discuss your concernswith the architect andadministration as soonas possible.

The furniture and equip-ment that you indicatedin the Programmingphase should be speci-fied, bid and purchasedto ensure that everythingis delivered prior to theopening of your facility.

TIP: Don’t buy yourmusic chairs from thesame people who sellyou lunch tables.

Congratulations! You’vemade it. You now have afacility where you canfeel truly proud torehearse and perform.

ONGOING NEEDS:

Your budget will go farther if you purchase long-lasting products. AtWenger, we have a strong tradition of designing and manufacturing themost durable, reliable and functionalproducts you can buy. Talk with yourWenger representative about how ourproducts can help you make the bestuse of your budget today, knowingyou’re supported by a company thatwill be there tomorrow.

GET US ON YOUR TEAM EARLY AND GET THE MOST OUT OF YOUR BUDGET.

Wenger has spent more than 60 years designing productsand helping thousands of educatorsand administrators get the mostout of their budgets for new construction, renovations, addi-tions, and improvements. In fact,no other company in the world hasspent more time with educators orstudied more facilities. We haveworked closely with architects andacousticians to make sure they have atrusted resource on the complex issuesthat arise in designing rehearsal and per-formance spaces. And we can collaboratewith your planning team — as much or aslittle as you feel necessary. All you have to doto get us involved is call. Our expertise is free.

FOUR CRITICAL FACTORS.

The overall effectiveness of your facility will be largely determined bythe following four factors:

Acoustics — How well your rehearsal and performance facilities promotecritical listening is directly proportional to how effective it will be.

Floor Plan — An effective layout must successfully integrate adequate floor space, proper traffic flow and easy access to all areas.

Storage — This not only affects equipment and supplies, but alsoacoustics, traffic flow and security.

Equipment — The final step toward guaranteeing a successfulnew facility.

DON’T HESITATE TO TAKE ADVANTAGE OF OUR EXPERTISE.

Wenger is the only full-service, comprehensive product manufacturer that truly understands what you need beforeyou build and for the long run. We have the tools you needto help ensure that you build the best possible facility. Andwe work closely with the American Institute of ArchitectsContinuing Education System as a registered AIA/CESprovider as well as working directly with acousticians.

Building a new facility is challenging enough. Wengerprovides resources to ensure you make the right decisions

at the right time. Call your Wenger representative at 800-4WENGER (800-493-6437) for more information and a

copy of one of our Planning Guides (see back page).

P L A N N I N G P R O C E S S

“Breckenridge High School’s new music building was designed very well. The architectlooked at the outside beauty of the building andthe functionality of the inside. Wenger’s PlanningGuide helped members of the planning team explaintheir needs and state their case. These facilities aresecond to none in Texas.”

— Dr. Michael RyanDirector of Secondary Fine ArtsSan Antonio Independent School District

E A R L Y D E C I S I O N S

DECIDE EXACTLY WHAT YOU NEEDEARLY IN THE PROCESS. (REMEMBER,YOU CAN’T GET WHAT YOU DON’TASK FOR.)

Certain rehearsal and performance products willneed to be built into your design — or, at the veryleast, the design will need to accommodate them.Trying to retrofit that design is extremely difficult(and often prohibitively expensive). A good way todecide what you might need to build-in or build-around is to simply make a list of everything you’llwant and need to accomplish in each space.

WHAT DO YOU NEED FOR YOUR FINE ARTS DEPARTMENT?

A Fine Arts Department is a complex environmentwith a variety of areas, each requiring its owndynamics. From the sound isolation requiredfor practice rooms to the unique seatingarrangements needed for band, orchestra andchoir; from the specific heights of each ceilingto the exact shape of the walls; all of these deci-sions need to be made early in the process becausethey will affect your ultimate design.• How many individual practice rooms will you need to

handle rehearsal and private lessons?• What kind of acoustical challenges will you need to

overcome in your rehearsal rooms? If, for example, arehearsal room is too small and not acoustically treated,the sound energy will overwhelm the space.

WHAT DO YOU NEED FOR YOURPERFORMANCE AREAS?

Performance areas need to be versatile enoughto handle multiple uses — music,

theatre, school and communityevents — and must be designed

accordingly. They often mustaccommodate large, expensive

pieces of equipment and theymust be acoustically balanced.

It’s a complicated design task thatrequires expert assistance.

• How do you create functionalspace for a wide range of activities

and still have acoustics appropriate forany style of music as well as theatrical

performances?• What kind of performances will occur

in the space? How many of each? Howoften will the area need to be reconfig-

ured or adapted?

You can learn more about what questions to ask by making use of our Planning Guides

(see back page) and talking to your Wengerrepresentative. We have the depth of

experience to help you determine exactlywhat you need, where it should go, andhow you can make it an integral, effectivepart of your new design.

W E N G E R P R O D U C T S

ACOUSTICAL PANEL SYSTEMS

ACOUSTICAL DOORS

CEILING CLOUDS

DIVA® FULL STAGE ACOUSTICALSHELL

LEGACY® FULL-STAGE ACOUSTICAL SHELL

SOUND ISOLATED MUSIC PRACTICE ROOMS

STRATA® ORCHESTRA PIT FILLER

STUDIO® MAKEUP STATION

UPPER DECK AUDIENCESEATING® TIERED RISERS

VIRTUAL ACOUSTIC TECHNOLOGY(VAE™)

Sound-Isolated Practice Rooms with VAE™ technology

Diva® Full-Stage Acoustical Shells

Acoustical Panels and Ceiling Clouds

Diva® Full-Stage Acoustical Shell

Upper Deck Audience Seating® Tiered Risers

THINK ABOUT THE STORAGE YOU’LLNEED TODAY...AND TOMORROW.

Underestimating storage needs — current and future —is a common mistake. That’s whyyou need to make sure you planfor enough space and choosestorage equipment that’s secureand durable.

Music equipment is expensive,prone to break, and often a target for theft or vandalism.Theatrical costumes can be fragileand are usually one-of-a-kind.Sheet music can take up a lot ofroom if not stored properly. Anddon’t forget athletic equipmentthat’s bulky, expensive and proneto mold and mildew.

STORAGE IS MUCHMORE THAN “LOCKERS”AND “CLOSETS”.

Storage isn’t simply a matter of“how much” either. Where it’slocated and how it’s accessed canhave an enormous impact on

how well your new facilities work for everyone. So asplanning begins, think about:• How do you make the best use of every available

space, including corners?• How can you use storage to

avoid congestion?• What can you do to save space

by creating high density storage?• How much portable storage

will you need? Where will thatstorage be located?

• Are the aesthetics of the newstorage areas compatible withthe rest of the design?

Storage — for instruments, sheetmusic, folios, athletic gear, costumes, and more — deservesyour attention from the beginningof the planning process. Turn toyour Wenger Planning Guide andyour Wenger expert to help youmake the right decisions.

TIP: When designing a musicsuite layout, keep in mind thatstorage rooms and offices makegreat sound buffers betweenrehearsal rooms.

S T O R A G E N E E D S

W E N G E R P R O D U C T S

ATHLETIC STORAGE

BOOKCASES

CHORAL AND BAND FOLIO CABINETS

CORNER STORAGE CABINET

CYMBAL STAND

INSTRUMENT STORAGE CABINETS

MOVE AND STORE CARTS

MUSIC LIBRARY SYSTEM

MUSIC SORTING RACK

PERCUSSION WORKSTATIONS

RACK ‘N ROLL® GARMENT RACK

STEREO CABINET

STEREO WORKSTATION

STRINGED INSTRUMENT RACKS

TEACHER WARDROBE CABINET

TUBA/SOUSAPHONE WALLBRACKET

Instrument Storage Cabinets

Music Library System

Rack ‘n Roll® Garment Rack Studio® Makeup Station

Gearboss® Athletic Storage Systems

Instrument Storage Cabinet Solid Door in Cherry finish

OUTFIT YOUR FACILITY WITH PRODUCTS THAT WILL LAST.

The final step — but certainly not one to put offuntil the final stages of construction — is choos-ing the right furniture and equipment for yournew facility. Furniture and equipment are nor-mally not included in the general buildingcontract. Advance planning will helpmake sure your budget will allow youto purchase what you need.

QUALITY DELIVERS LONG-TERM SAVINGSAND RESULTS.

You can save money by specifyinginexpensive equipment, but howwell will it stand up to day-to-daydemands? Sturdy, functional,well-designed equipment willperform better and reward youwith rock-solid reliability foryears to come.• Are your new chairs designed

specifically for music posture? This can help students produce a better tone and aids concentration.

• Can chairs be stacked for easier storage?• Are music stands sturdy enough to withstand heavy

use and abuse? Or do they wobble?• Did you know that well-engineered portable

risers not only allow for greater flexibility butalso don’t adversely affect acoustics like poured

concrete risers?

Before you make decisions about whatkind of equipment to specify, rememberthat Wenger has been designing andmanufacturing high quality furniture

and equipment for school programs forover 60 years. We can help you make

informed decisions about what youneed and suggest appropriatequantities for your program.

W E N G E R P R O D U C T S

ACOUSTIC SHIELD

BACKSTAGE® PORTABLE MAKEUP STATIONS

CONDUCTOR’S EQUIPMENT

FLIPFORMS®

MUSIC LAB WORKSTATIONS

MUSIC STANDS AND STANDLIGHTS

PIANO BENCHES AND ACCESSORIES

PORTABLE ACOUSTICAL SHELLS

PORTABLE AUDIENCE CHAIRS

PORTABLE STAGING AND PLATFORMS

POSTURE AND SPECIALTY CHAIRS

REHEARSAL RESOURCE CENTER

SEATED CHORAL AND BAND RISERS

STAGE BOXES

STANDING CHORAL RISERS

TACKBOARDS AND WHITEBOARDS

flipFORMS®

Conductor’s SystemGig® Stand FoldingMusic Stand Signature® Choral Risers

Electronic Music Workstation

Trouper® Seated Risersand Student Music Posture Chairs

“If you can get Nota chairs inthe band room they will havea great impact. I have been aband director for 15 years andeverything Wenger puts out

is well-built and wellthought out. The Notachair is no exception.”

— Alan FowlerBand Director, East Side High

School, Covington, GA

Nota™ MusicPosture Chair

F U R N I S H I N G S

Wenger Acoustic PrimerThis is an ideal resource to helpyou understand how acousticswork within a space so you canachieve the best possible soundquality.

Wenger Acoustic Problemsand Solutions GuideYour complete guide to under-standing all you can do to create a facility that best enhances music teaching and learning.

Wenger Elementary MusicPlanning GuideWhat you need to know if you’replanning space for beginning students.

Wenger Athletic FacilityPlanning GuideA “best practices” guide forachieving greater efficiencies within the athletic equipment facility.

Wenger Planning GuideEverything you need to understandthe new construction process andwhat you can do to most effectivelyorganize your objectives to makesure your new music facility is thebest it can be.

©2006 Wenger CorporationPrinted in the U.S.A. LT0190A

WENGER CORPORATION555 Park Drive, P.O. Box 448Owatonna, MN 55060-0448

UNITED STATESPhone: 800.4WENGER (800.493.6437)Fax: 507.455.4258Customer Service: 800.887.7145

CANADA (Dufferin Liberty Center)219 Dufferin, Suite 117CToronto, Ontario M6K 3J1Phone: 800.268.0148Fax: 416.754.3996

EUROPEPhone: +31 26 376 0500wenger-europe.com

CHINAPhone: 0086-10-84972502Fax: 008610-84972575

WORLDWIDEPhone: 507.455.4100Fax: 507.444.0685

WEBSITEwengercorp.com

Wenger works with the American Institute of ArchitectsContinuing Education Systemas a registered AIA/CES provider

Wenger Acoustic PrimerThis is an ideal resource to helpyou understand how acousticswork within a space so you canachieve the best possible soundquality.

Wenger Acoustic Problemsand Solutions GuideYour complete guide to under-standing all you can do to create a facility that best enhances music teaching and learning.

Wenger Elementary MusicPlanning GuideWhat you need to know if you’replanning space for beginning students.

Wenger Athletic FacilityPlanning GuideA “best practices” guide forachieving greater efficiencies within the athletic equipment facility.

1. Rooms that are too small (i.e. based on standard classroom square footage recom-mendations). Music and performing artsrequire additional cubic volume per student.

2. Ceilings that are too low. Standard heightceilings can have disastrous effects onacoustics and your hearing.

3. Not enough storage. Plan realistically fortoday’s storage needs and tomorrow’s.

4. Poor traffic flow. Students need to enterand exit within minutes — often with largeinstruments. Keep congestion to a minimum.

5. Acoustics not taken into consideration.Wall shape, ceiling height, sound absorptionand diffusion panels and dozens of other factors all need special consideration.

6. Poorly designed floor plan. Loud perform-ance rooms that back up to each other caneasily allow distracting sound leakage.

THE MOST COMMON HOW TO AVOID THEM:

NEW CONSTRUCTION/

RENOVATION MISTAKES:Wenger Planning GuideEverything you need to understandthe new construction process andwhat you can do to most effectivelyorganize your objectives to makesure your new music facility is thebest it can be.

THE MOST COMMON HOW TO AVOID THEM: CALL FOR YOUR FREE COPY

NEW CONSTRUCTION/

RENOVATION MISTAKES:

1. Rooms that are too small (i.e. based on standard classroom square footage recom-mendations). Music and performing artsrequire additional cubic volume per student.

2. Ceilings that are too low. Standard heightceilings can have disastrous effects onacoustics and your hearing.

3. Not enough storage. Plan realistically fortoday’s storage needs and tomorrow’s.

4. Poor traffic flow. Students need to enterand exit within minutes — often with largeinstruments. Keep congestion to a minimum.

5. Acoustics not taken into consideration.Wall shape, ceiling height, sound absorptionand diffusion panels and dozens of other factors all need special consideration.

6. Poorly designed floor plan. Loud perform-ance rooms that back up to each other caneasily allow distracting sound leakage.