Fisher Dachs Associates Brochure

Transcription

Fisher Dachs Associates
Theatre Planning and Design
New York
22 W.19th Street 6th Floor
New York, New York 10011
+1.212.691.3020
Seattle
3131 Western Avenue #316
Seattle, Washington 98121
+1.206.777.0127
United Kingdom
Office 6, Civic Hall
14/15 Rother Street
Stratford upon Avon
Warwickshire
CV37 6LU
+44.203.514.0460
Firm Profile
Fisher Dachs Associates is one of
the world’s leading theatre planning
and design consultants. Our mission
is to help our clients plan and design
successful projects in accordance
with real programmatic and
budgetary goals.
We collaborate actively with artistic
and managing directors, leaders of
cultural organizations, building
owners and architects so that the
rooms we jointly create are intimate,
dynamic, and technically superb
spaces for audiences and
performers alike.
We approach our projects with one
goal: to design a successful
room from the inside out. We pride
ourselves helping to create
memorable experiences for patrons
from the time they enter the space to
the time they exit at the end of the
show.
We also work hard to make theatres
function equally well for the artists
who work in the space, the technical
staff who keep it running smoothly,
and the management team that has
to operate it as a successful
business venture.
Founded by legendary Broadway
lighting designer Jules Fisher, and
under the direction of architect and
theatre planner Josh Dachs, FDA
has over 40 years’ experience in
providing guidance to over 600
performing arts projects. These
range from small repertory theatres
to major cultural centers worldwide.
The firm’s clients are commercial
and non-profit theatres, universities,
cities and cultural organizations.
They include important regional
repertory theatres like the Guthrie,
Shakespeare's Globe, Arena Stage
and Washington D.C. Shakespeare
theatres; multiple venues for
performing arts centers such as
Lincoln Center for the Performing
Arts; major venues such as Radio
City Music Hall in New York and the
Hollywood Bowl in Los Angeles; new
homes for symphonies in Nashville,
Omaha, and Oklahoma City;
innovative theatres for students at
Harvard, Yale, RPI and other
universities; and thriving
multipurpose venues such as Bass
Performance Hall and the
Schermerhorn Symphony Center.
FDA has completed international
assignments in Canada, Tokyo,
Singapore, Seoul, Cairo and Mexico
City and is currently working on
projects in Moscow, Dubai,
Colombia, Spain, and London.
Services
Overview
Innovators and Experts
Planning & Design Partners
Because performing arts buildings
are among the most complex and
difficult of building types, and
because performance requirements
are constantly changing, theatre
consulting has evolved into a highly
specialized profession addressing
the specific functional needs of
theatres as well as the aspirations of
their owners and operators, as well
as those of performing artists.
We help to plan and design:
- multipurpose theatres
- Broadway style roadhouses
- repertory theatres
- ballet and opera houses
- concert halls
- college and university theatres
- museum theatres
- auditoriums and arenas
- showrooms
- experimental theatres
- outdoor amphitheaters
- cruise ships
- renovation of historic theaters
- adaptive reuse of found space
- community theaters
As consultants to arts and cultural
organizations, owners and
architects, we often help review or
write comprehensive building
programs that fully meet the
requirements of the users.
Comprehensive Services
We collaborate with owners, artistic
and management staff, architects,
and users to help plan and design
auditoriums, front and back-of-house
layouts, lobbies and ticket offices,
control rooms, costume and set
shops and offices.
Our services include:
We use proprietary, state-of-the-art
CAD systems to render seating
plans that insure good sightlines,
access, ADA compliance, comfort,
and visual variety.
- Needs analysis and program
development to determine the
physical requirements of
perfor-mance, public and technical
support spaces as well as their
capital and operating costs
We are typically are the owners' and
architect's source on the best
performance lighting and stage
equipment. We design and specify
equipment based on our
understanding of production
requirements.
- Feasibility and planning studies to
assess community and
organizational needs and develop a
work plan leading to a buildable
project
- Facility planning and design, from
concept design through working
drawings of performance spaces,
rehearsal rooms, workshops, lobby
and box office areas
- Auditorium layout, including
sightline analysis, seating plans,
circulation and overall room design
- Design and specification of stage
equipment, including theatrical
lighting and lighting controls,
television studio lighting, manual and
motorized rigging systems, lifts and
winches
Services
Feasibility Studies, Needs Analysis, and Programming
Strategic Planning
Successful projects begin with
careful planning.
Before a design team is hired, land
is purchased, or renderings are
prepared, every Owner must come
to grips with some very important
questions and make a number of key
decisions:
Often we assemble and manage a
team of supplementary professionals
that include financial planners, cost
estimators, or acoustical consultants
to undertake a specific assignment.
We also have managed architectural
design competitions and more
traditional selection processes for
architects and acoustical
consultants.
Deliverables
- What do you hope to build?
- Who are you building it for?
- What activities does it need to
accommodate?
- How big does it need to be to
accommodate those activities?
- What is the business model under
which it will operate?
- How much will it cost to build and
to operate?
- How much land will you need?
Without the answers to these
questions, nothing can or should be
designed.
Expert Knowledge
FDA staff are skilled, experienced
planners, and know how to conceive
and execute a planning process to
help you answer these questions, no
matter how complex the project. We
are adept at working with
multifaceted Owner groups that
involve board members, staff,
faculty, elected officials, artistic
leadership, performers and
musicians, and even audience
representatives. We tailor our work
plan specifically to each client.
A planning process can result in a
range of work products, including:
- Market Research
- Needs Assessment / Existing
Conditions Survey
- Survey of Existing/ Competing
Facilities
- Comparables / Benchmarking
Information
- Projected Utilization Profile
- Projected Operating Pro Forma
- Governance and Management
Plan
- Building Program (a detailed brief
for the project)
- Site Requirements
- Site Analysis
- Projected Construction Cost
- Projected Design and Construction
Schedule
- Case Statement / Description of
Project Objectives
The purpose of all of this work is to
ensure that the scope and financial
implications of your project are well
understood before a penny is spent
on design or construction. Put
simply, our role is to provide you the
information you need to make your
most important decisions.
Services
Performance Space Concept Development
Room Design
The central design challenge in any
building used for opera, drama,
dance or music is, of course, the
performance space itself. Carefully
considering the form, scale,
dimensions, and geometry of every
performance space we work on is
one of FDA's central tasks and most
important contributions.
At the outset of a project, FDA
develops initial concepts for each
performance space for the Owner
and team to use as a starting point
for discussion and development.
Usually these concept designs take
the form of sketches or CAD
drawings, and physical or
computer-based 3-D models that
help the Owner and designers
understand the sizes and volumes
required and begin to visualize the
performance spaces.
Philosophy
While each art form and every
project has its own special
requirements, there are qualities that
all successful spaces for live
performance share. We strive to
make performance spaces that:
For the Audience
- Provide excellent views from all
seats
- Bring everyone as close the
performers as possible
- Help everyone to feel the full
power of the performance vividly
- Remind the audience that this is a
live event, not a film, and that
they and the performers share
these moments together
- Help laughter, tears, and
applause spread naturally
through the house
- Make the performers appear to be
the largest and most important
things in the room
- Make the auditorium feel as small
as possible
- Eliminate distractions
For the Performer
- Make them feel that they are being
seen and heard splendidly
- Make them feel as though
the auditorium was designed
around them
- Make them feel that they can fill
the auditorium with their voices
and their presence
- Make them feel as though they
can reach out and touch the
audience, or hold them in the
palm of their hands
- Help them feel embraced by the
audience
- Help them feel that the house is
very small, and everyone
is very close
FDA's most significant contribution to
the design process is our ability to
help an architect to translate these
objectives into a built form. We help
Owners and Architects design
successful, powerful, inspiring
performance spaces.
Services
Backstage Planning and Layout
Backstage Planning and Layout
Areas of Interest
FDA works closely with our clients to
develop backstage layouts that
satisfy the functional and economic
demands of the intended user
groups. Our work takes the form of
concept diagrams, sketches of
proposed layouts, illustrations of
critical spaces, and review of the
architect's proposals. FDA works
tirelessly to ensure a backstage
layout that will be efficient and
economical to operate and will
provide an appropriate workplace for
the artists that will perform there.
We specifically focus on:
- General Backstage Arrangement
- Stage Door
- Dressing Rooms and Performer
Support Spaces
- Rehearsal Spaces
- Loading Dock and Receiving Area
- Production and Maintenance
Shops
- Storage Spaces
- Backstage Circulation and
Corridors
- Production Offices & Crew Areas
- Musicians' Facilities
Services
Seating and Sightline Analysis
One of the most important criteria
FDA considers when developing
initial design concepts for a
performance space are sightlines –
the views to the stage. The room
geometry, number of balconies,
seating layout, and sightline quality
are all interrelated and have to be
conceived of as a whole.
Technology
Over the past twenty years FDA has
developed exceptionally
sophisticated proprietary software
tools to speed the development
process and facilitate collaboration
with Architects, Acousticians and
Owners. We call this software
Extreme Sightlines©, because it
considers views from the most
extreme seats off to the side as well
as from the center of the room.
Extreme Sightlines© uses the
powerful numerical engine of Excel
and couples it directly into the
drafting tools of AutoCAD. Based on
detailed sightline criteria, acoustical
considerations, and code
parameters, the software outputs 2D
drawings or 3D models in real time
allowing dozens of alternatives to be
considered during the course of a
meeting with our collaborators.
We can manipulate various
parameters, such as:
-
adding or subtracting rows
changing the row depth
changing the number of balconies
changing the radius of any balcony
moving those balconies in relation
to the stage
and to each other
- changing the depth of the
orchestra pit
- changing the room width
- raising or lowering the proscenium
height or changing the width
- altering acoustical requirements,
such as balcony overhang
and aperture
These manipulations can be made
easily, with the software maintaining
applicable code compliance. This
tool -- unique in the industry -- has
greatly increased the speed at which
an initial room concept and shape
can be agreed upon and further
developed by a design team.
Three Dimensional Modeling
FDA also uses 3D models to
evaluate sightlines and manipulate
room geometry. The powerful
software tools we have developed
allow us to transform a few basic
sightline parameters directly into a
3D AutoCAD model with just a few
clicks of the mouse. Additional
software tools then allow us to "sit"
in the virtual seats we have created
and look around the room. This
technique allows us to identify and
fix potential problems as well as
giving the design team a firsthand
look inside the new theatre.
Multiple iterations of the model with
different parameters can be
generated quickly and efficiently.
These models allow the design team
to present easy to evaluate
illustrative renderings to
stakeholders and make informed
decisions quickly.
Some clients have used our 3D
model as a basis for fund-raising,
marketing, and ticket sales systems
allowing patrons or donors to see the
views from their seat well before the
first shovelful of dirt has been
overturned.
Services
Performance Lighting System Design and Specification
Services
Process & Deliverables
Our lighting staff provides the
following services, adaptable to your
project's needs:
During the planning phase of our
projects, FDA supplies the architect
and engineers with detailed
drawings and descriptions that
illustrate the integration of
architecturally sensitive lighting
positions, power requirements and
control system infrastructure that are
unique to the entertainment industry.
-
System Design
Architectural Integration
Equipment Budgets
Biddable Drawings and
Specifications
- Construction Administration
- Performance Lighting Design
FDA designs complete theatrical
lighting systems to meet the
demands of today's performing art
and entertainment projects. We
actively collaborate with our clients
to supply systems that meet their
current requirements and have the
flexibility to adapt to future
possibilities as technologies and
artistic visions evolve.
Skills
Our staff members bring extensive
backgrounds in theatrical,
entertainment and architectural
lighting while considering both
technical and aesthetic aspects of
theatrical lighting design.
We work closely with equipment
manufacturers to develop inventive
new products to meet project
specific requirements, and apply our
knowledge of the marketplace to
make creative use of existing
technologies. As an independent
and objective consultant, FDA
strives to ensure that lighting
systems meet the technical
requirements, budget guidelines and
manufacturer preferences of the
client.
Beginning with project feasibility
studies and extending through
design, FDA supplies continually
updated equipment budget
estimates as we work with the client,
architect, and engineers to develop
final equipment specifications. The
lighting specifications we provide
include not only dimming and control
systems, but also lighting fixture
inventories, equipment installation,
service contracts and warranty.
During construction, FDA regularly
reviews and coordinates the work of
others involved in the project to
ensure seamless integration of the
production lighting systems with the
architectural, structural and
mechanical systems. For complex
projects we offer on-site supervision
to assist local contractors in properly
installing the equipment we design
and specify.
For many projects our staff design
performance lighting fixture layouts
and establish lighting scenes for
events onstage. Designs include
orchestra lighting for recital and
concert halls, repertory light plots for
schools, museum theatres, cruise
ships and entertainment spaces, and
performance lighting for special
events, such as the Mostly Mozart
Festival at Lincoln Center's Avery
Fisher Hall.
Services
Stage Rigging and Machinery Design and Specification
Services
Our rigging and stage machinery
staff provide the following services,
adaptable to your project's needs:
-
System Design
Architectural Integration
Equipment Budgets
Biddable Drawings and
Specifications
- Construction Administration
FDA designs complete theatrical
rigging and stage machinery
systems to meet the demands of
today's performing art and
entertainment projects. We actively
collaborate with our clients to supply
systems that meet their current
requirements and have the flexibility
to adapt to future possibilities as
technologies and artistic visions
evolve.
As an independent and objective
consultant, FDA strives to ensure
that rigging and machinery systems
meet the technical requirements,
budget guidelines and manufacturer
preferences of the client.
Process and Deliverables
During the planning phase of our
projects, FDA supplies the architect
and engineers with detailed
drawings and descriptions that
illustrate the integration of manual or
motorized stage rigging systems,
orchestra shells, forestage
acoustical canopies, variable
acoustic drapery systems, orchestra
pit lifts, moveable seating systems,
and other specialized devices. FDA
provides engineers the information
they need regarding structural,
power, and control system
requirements that are unique to the
entertainment industry.
Skills
FDA has applied our experience and
innovative thinking to a number of
unique technical challenges: a
concert hall with 1,000 "permanent"
seats that disappear in 30 minutes to
create a flat floor event space; a
studio theatre with a retractable floor
that reveals an ice rink; underwater
lifts in an amphitheatre on a cruise
ship.
Our staff members bring extensive
backgrounds in rigging and stage
machinery for theatrical and
entertainment applications.
We work closely with equipment
manufacturers to develop inventive
new approaches to meet project
specific requirements, and apply our
knowledge of the marketplace to
make creative use of existing
technologies.
Beginning with project feasibility
studies and extending through
design, FDA supplies continually
updated equipment budget
estimates as we work with the client,
architect and engineers to develop
final equipment specifications.
During construction, FDA regularly
reviews and coordinates the work of
others involved in the project to
ensure seamless integration of the
rigging and stage machinery
systems with the architectural,
structural and mechanical systems.
We make field visits to assist local
contractors in properly installing the
equipment we design and specify.
You can count on FDA to provide
stage rigging and machinery that is
safe, state of the art, user friendly,
and completely appropriate for every
project.
Services
Acoustics & Noise Isolation
While FDA does not provide
acoustics or noise isolation design
services, much of our work involves
collaborating with acousticians on
many of our projects. We often
assist owners and architects in
selecting an acoustician.
Below is an alphabetical list of
acousticians that we have worked
with on previous projects:
Acentech Acoustics
Acoustic Dimensions
A·'ku·stiks
Artec Consultants
Arup Acoustics
Engineering Harmonics
Jaffe Holden Acoustics
Kirkegaard Associates
McKay Conant Hoover
Nagata Acoustics
Pelton Marsh Kinsella (PMK)
Pin Drop Acoustics
Robert Hansen Associates
Robert F. Mahoney & Associates
SAVI (Specialized Audio-Visual Inc)
Shen Milsom Wilke
Sound Space Design
Talaske
Threshold Acoustics
Jules Fisher
Founding Principal
In a celebrated career spanning
almost 40 years, Jules Fisher has lit
over 200 Broadway and
off-Broadway shows, as well as film,
ballet, opera, television, and
rock-and-roll concert tours. He has
received 18 Tony nominations and
won 8 Tony awards for Lighting
Design, a record in this category. His
most recent project, "Assassins",
(2004 Tony award) also won him the
Drama Desk and Outer Critic's Circle
awards. His previous Tony awards
were for "Bring in 'da Noise, Bring in
'da Funk," 1996; "Jelly's Last Jam,"
1992; "The Will Rogers Follies,"
1991; "Grand Hotel," 1990;
"Dancin'," 1978; "Ulysses in
Nighttown," 1973; and "Pippin,"
1972.
His other theatre credits include
"Ricky Jay on the Stem", "Elaine
Stritch at Liberty", "Jane Eyre," "The
Wild Party," "Marie Christine,"
"Ragtime," "Victor/Victoria," "Angels
in America: Millennium Approaches,"
and "Perestroika," "Death and the
Maiden," "Two Shakespearean
Actors," "La Cage Aux Folles,"
"Hair," "Jesus Christ Superstar,"
"Lenny," "No, No Nannette,"
"Chicago," "Butterflies are Free,"
"Beatlemania," and "American
Buffalo."
His credits as a producer include
"The Rink," the award-winning
"Lenny," "Bob Fosse's Dancin',"
"Rock N' Roll! The First 5,000
Years," "Elvis: An American
Musical," and "Dangerous Games."
He designed the lighting for Kevin
Kline's production of "Hamlet" for
WNET-TV, and lit productions of
"Porgy and Bess" and "A
Midsummer Night's Dream" at the
New York City Opera.
Mr. Fisher was production supervisor
for tours of the Rolling Stones, KISS,
David Bowie, as well as the rock
concert tour of "Tommy." His other
lighting design work has ranged from
Crosby Stills and Nash, Whitney
Houston, and the Simon and
Garfunkel concert in Central Park to
the Radio City Music Hall
presentation of The Teenage Mutant
Ninja Turtles; from the 1977
Academy Awards show to the
concert lighting for Barbra
Streisand's film "A Star is Born."
He lit the Quincy Jones "Reunion on
the Mall" concert for President
Clinton's inaugural, which was
nominated for an Emmy Award, as
well as "America's Millennium Live
All-Star Concert New Year's Eve
2000." He designed the lighting for
the theatre sequences in the
Academy Award-winning film version
of the Broadway musical "Chicago"
and is currently represented on
Broadway by Stephen Sondheim's
"Assassins" and Tony Kushner's
"Caroline or Change."
Mr. Fisher is a graduate of Carnegie
Institute of Technology. He and
lighting designer Peggy Eisenhauer
are partners in Third Eye Ltd, a firm
specializing in entertainment and
theatre lighting. He also serves as a
theatre consultant to architects and
performing arts groups, teaches at
The New School, lectures, and, in
his spare time, practices magic.
Joshua Dachs
Principal
Joshua Dachs is recognized as one
of the world's leading theatre
consultants. An architect and
theatrical lighting designer, he
directs FDA's consulting practice and
provides planning, programming and
design leadership. In over 25 years
of practice he has helped plan and
design hundreds of successful
projects, including many world-class
facilities. He actively participates in
room shaping, spatial organization,
and other major design issues in the
early stages of virtually all of FDA's
significant projects.
As a principal consultant to Lincoln
Center, Josh has been involved in
the renovation of the Vivian
Beaumont Theater for the Lincoln
Center Theater Company, the
renovation of Alice Tully Hall and the
expansion of the Juilliard School. He
has designed the acclaimed
temporary stage installation for the
Mostly Mozart Festival in Avery
Fisher Hall that has been used
annually each August since 2005.
Recent projects include the
Toronto's new Four Seasons Center
opera house, the home of the
Canadian Opera Company and the
National Ballet of Canada;
Schermerhorn Symphony Center
concert hall in Nashville; the New
Guthrie Theater in Minneapolis; the
Harman Center, a new theater for
the Shakespeare Theater Company
in Washington DC; and the Arsht
Center, Miami's new major complex
which includes an opera house and
a concert hall.
He continues to work with the Joyce
Theatre on planning for the
International Dance Center at the
World Trade Center site,
as well as the new Mariinsky Opera
House in St. Petersburg, the Tobin
Center for the Performing Arts in
San Antonio, the Smith Center now
under construction in Las Vegas, the
Cantos National Music Centre in
Calgary, and the Montreal
Symphony Center.
Among the other projects completed
under his leadership are the flexible
REDCAT Theatre at the Disney Hall
in Los Angeles, CA; the Hobby
Center for the Performing Arts in
Houston, TX; the Second Stage
Theatre in New York City, a new
opera house in Daegu, South Korea,
the New Jersey Performing Arts
Center in Newark, the acclaimed
Bass Performance Hall, Fort Worth,
TX, renovations of Radio City Music
Hall, the New Victory, and the Joyce
Theatre in New York City.
Josh is a published author, with two
recent articles on the risks of
building "neutral" theatre spaces
appearing in American Theatre
Magazine this year. The first of the
two will appear in Chinese language
in the May issue of Chinese Theatre
Magazine.
A graduate of the High School of
Music and Art in New York who
originally studied the violin, he holds
a Bachelor of Architecture degree
from Cornell University. Josh has led
a team of experts teaching a
professional development course on
theatre design at the Harvard
University Graduate School of
Design. He has been a guest critic at
SCIARC and UCLA schools of
architecture. He is a member of the
American Society of Theatre
Consultants (ASTC) and ISPA.
Josh's wife, Ako, is a stage and film
actress.
Bass Performance Hall
(Nancy Lee & Perry R. Bass Performance Hall)
Fort Worth, Texas
Client
Project Category
Architect
Arch. of Record
Completion Year
Acoustician
Building Size
Capacity
Performing Arts Fort Worth
Multipurpose Theatres
David M. Schwarz
HKS Architects
1998
180,000 s.f.
2,050 seats
This classical 2,000-seat, world-class, multipurpose hall on a relatively small
downtown site was designed for the Van Cliburn International Piano
Competition, Fort Worth Symphony, Opera, and Ballet. Spearheaded by the
vision of its donor, Edward Bass, the performance hall was collaboratively
designed by its architect, David M. Schwarz, acoustician, Paul Scarbrough, and
theatre consultants, FDA. The hall is an active presenter of major touring
events, including Broadway shows. Since its completion, it has won raves from
critics, conductors, and patrons alike. There is no sacrifice to quality in the
presentation of any performance type in this superb multiuse hall.
Recalling European concert halls of the 19th century, the main hall's four levels
contain orchestra, parterre, box tier, mezzanine, and balcony seats laid out to
give audiences a feeling of intimacy rarely found in large symphony halls. Bass
Hall flawlessly evokes the elegance and glamour that were so much a part of
concertgoing in the 19th century. Performing Arts Fort Worth Inc. and its
founder, entrepreneur Edward Bass, spirited the project along at every step.
France-Merrick Performing Arts Center
Hippodrome Theatre
Baltimore, Maryland
Client
Project Category
Architect
Completion Year
Acoustician
Capacity
Maryland Stadium Authority, Theatre Management Group
Renovation and Restoration
Hardy Holzman Pfeiffer
2002
JHS Acoustics
2,200 seats
After years of standing empty, this landmark 1914 Thomas Lamb theatre was
renovated as the centerpiece of a new downtown performing arts center, which
its proponents correctly envisioned would serve as a catalyst for the
revitalization of Baltimore's West Side.
The Hippodrome - with 2,200 seats - is principally a venue for Broadway tours.
Ornate side seating boxes, removed during its life as a movie theatre, were
reinstated. The existing stage was replaced with a new 100-feet wide and
50-feet deep stagehouse, new rigging and stage lighting systems, and an
80-foot high grid. Expanded lobbies and a special, designated VIP lobby, along
with additional rest rooms, were part of the project The Hippodrome now
presents.
FDA programmed support facilities, including new dressing rooms, a green
room, offices, and ancillary facilities, and designed and specified new stage
equipment and lighting systems.
Lincoln Center for the Performing Arts
Avery Fisher Hall - Mostly Mozart Festival
New York, New York
Client
Project Category
Completion Year
Acoustician
Capacity
Lincoln Center Redevelopment
Renovation and Restoration
2005
Jaffe Holden
2,750 seats
FDA is consulting on an ongoing basis with Lincoln Center and the New York
Philharmonic on the nature and scope of potential renovations to dramatically
improve Avery Fisher Hall at Lincoln Center.
The first of these changes, for the Mostly Mozart Festival, was unveiled in
August 2005 and repeated, to critical and popular acclaim, in 2006. A new
temporary stage installation designed specifically for the Festival places
audience members onstage, both on the sides and behind the musicians. The
transformation is remarkable. The orchestra has been moved 30' out into the
hall on a platform that extends over what are normally the first eleven rows of
seats. Where the stage used to be, and on both sides of the orchestra, there are
now 250 seats in tiered rows facing the conductor.
A temporary canopy is suspended above the new orchestra location to provide
acoustical reflections to help the musicians hear themselves, and visually
reduces the height of the room. A new ring of silk-shaded lighting pendants and
a bold red Brazilian bloodwood floor give the stage a warm gentle glow.
Hobby Center for the Performing Arts
Houston, Texas
Client
Project Category
Architect
Arch. of Record
Completion Year
Acoustician
Building Size
Houston Music Hall Foundation
Performing Arts Centers
Robert A.M. Stern
Morris Architects
2002
248,000 s.f.
This major multipurpose center includes the 2,650-seat Sarofim Hall and the
500-seat Zilkha Hall. It is the largest venue in Texas for Broadway tours.
Designed primarily for musical theatre, Sarofim Hall also serves as the resident
home of Houston's 30-year-old musical theatre group, "Theatre Under the
Stars".
Zilkha Hall seats 350 on the orchestra level and 150 on the mezzanine, a perfect
size for smaller events. Because the Center is a presenter of major touring
attractions, the large stage and commodious backstage areas have
state-of-the-art technology and are "user friendly," for large and small
productions and presenters.
The building's interiors have been designed by Robert A.M. Stern and Morris
Architects to ensure that patrons enjoy the Center from the moment they arrive.
Amenities include a restaurant, private dining and reception rooms, a piano bar,
ample restrooms, and seating that offers adequate leg room for even the tallest
Texan. The complex also houses the Humphreys School of Musical Theatre,
administrative offices, and rehearsal studios.
Partial List of Projects
Adrienne Arsht Center for the Performing Arts
Miami, FL
Pelli Clark Pelli
Maui Arts & Cultural Center
Kahalui, HI
John Hara & Associates
Fort Worth, TX
David M. Schwarz
New Jersey Performing Arts Center
Newark, NJ
Barton Myers
Broward Center for the Performing Arts
Fort Lauderdale, FL
Benjamin Thompson & Associates
Oklahoma City Civic Center
Thelma Gaylord Performing Arts Theatre
Oklahoma City, OK
Polshek Partnership
Bushnell Center for the Performing Arts
The Maxwell and Ruth Belding Theater
Hartford, CT
Wilson Butler Architects
Philharmonic Center for the Arts
Frances Pew Hayes Hall
Naples, FL
Aubrey Architects
Calgary Center for the Performing Arts
Expansion
Calgary, Canada
Bing Thom Architects
Rensselaer Polytechnic Institute
EMPAC Experimental Media Performing Arts
Center
Troy, NY
Nicholas Grimshaw & Partners
Clay Center for Arts and Sciences
Maier Foundation Hall
Charleston, WV
Calloway Johnson Moore West
Rochester PAC (unbuilt)
Rochester, NY
Moshe Safdie and Associates
Hippodrome Theatre
Baltimore, MD
Santa Monica College
The Eli and Edythe Broad Stage
Santa Monica, CA
Renzo Zecchetto
Houston, TX
Robert A.M. Stern
Smith Center for the Performing Arts
Reynolds Hall
Las Vegas, NV
David.M.Schwarz Architects
Hult Center for the Performing Arts
Eugene, OR
Hardy Holzman Pfeiffer Associates
Jefferson Parish Performing Arts Center
New Orleans, LA
Wisznia Archiects
Long Center for the Performing Arts
(Joe and Teresa Long Center for the Performing
Arts)
Austin, TX
Zeidler Roberts Partnership
St. Catharines Performing Arts Center
St. Catharines, Canada
Diamond Scmidtt Architects
SUNY Potsdam
Performing Arts Center
Potsdam, NY
Pfeiffer Partners
Times Union Performing Arts Center
Jacksonville, FL
Rothman Rothman Heineman
Performing Arts Centers - continued
Tobin Center for the Performing Arts
San Antonio, TX
LMN Architects
University of North Texas
Lucille “Lupe” Murchison Performing Arts Center
Denton, TX
University of Wisconsin at Green Bay
Weidner Center for the Performing Arts
Green Bay, WI
Beckley/Myers Architects, Inc.
Western Connecticut University
Visual and Performing Arts Center
Danbury, CT
Holzman Moss Bottino
Concert Halls
Knight Concert Hall
Miami, FL
Pelli Clark Pelli
C. W. Post College, Long Island University
Tilles Concert Theatre
Greenvale, NY
Mitchell/Giurgola
Chicago Orchestra Hall
Symphony Center
Chicago, IL
SOM Architects
Denver Center for the Performing Arts
Boettcher Concert Hall
Denver, CO
Boettcher Concert Hall Renovation
Denver, CO
Diamond and Schmitt Architects
Eastman School of Music
Kodak Theater Renovation
Rochester, NY
Chaintreuil Jensen Stark
Holland Performing Arts Center
Omaha, NE
Polshek & Partners
Alice Tully Hall
New York, NY
Diller Scofidio + Renfro in collaboration with
FXFOWLE Architects
New York, NY
Avery Fisher Stage Renovation
New York, NY
John Burgee
Montreal Cultural Complex Competition (unbuilt)
Montreal, Canada
Nomade
Montreal Symphony Center
Montreal, Canada
Diamond + Schmitt Architects
Padua Concert Hall Competition (unbuilt)
Padua, Italy
Isozaki
EMPAC Concert Hall
Troy, NY
Laura Turner Concert Hall
Nashville, TN
David M. Schwarz Architectural Services
Stanford University Performing Arts Center
Bing Concert Hall
Palo Alto, CA
Ennead Architects
Texas A&M University Performing Arts Center
Corpus Christi, TX
Hardy Holzman Pfeiffer Assoc.
Jacoby Symphony Hall
Jacksonville, FL
University of Michigan
Hill Auditorium
Ann Arbor, MI
Quinn Evans
University of Wisconsin at Madison
School of Music
Madison, WI
Holzman Moss Bottino Architecture
Minnesota Orchestra Hall
Minneapolis, MN
Concert Halls - continued
Zaryadye Project
Philharmonic Hall (unbuilt)
Moscow, Russian Federation
Foster and Partners
Architect
Acoustician
Completion Year
2015
Calgary Center for the Performing Arts Expansion
Calgary, Canada
Client
Architect
Acoustician
Completion Year
Calgary Center for the Performing Arts
Bing Thom Architects
Artec Consultants
2014
Tobin Center for the Performing Arts
San Antonio, Texas
Client
Capacity
Architect
Acoustician
Completion Year
Bexar County Performing Arts Center Foundation
1,750 seats
LMN Architects
Akustiks
2014
SUNY Potsdam
Performing Arts Center
Potsdam, New York
Client
Capacity
Architect
Completion Year
Building Size
SUNY Potsdam
350 seats
Pfeiffer Partners
2013
92,000 s.f.
Visual and Performing Arts Center
Danbury, Connecticut
Client
Architect
Completion Year
Holzman Moss Bottino
2013
Reynolds Hall
Las Vegas, Nevada
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
2,050 seats
David.M.Schwarz Architects
Akustiks
2012
233,000 s.f.
Jefferson Parish Performing Arts Center
New Orleans, Louisiana
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
The Parish of Jefferson
1,050 seats
Wisznia Archiects
BAI
2011
85,000 s.f.
EMPAC Experimental Media Performing Arts Center
Troy, New York
Client
Architect
Acoustician
Completion Year
Building Size
Kirkegaard & Associates
2008
203,000 s.f.
The Eli and Edythe Broad Stage
Santa Monica, California
Client
Capacity
Architect
Acoustician
Completion Year
500 seats
Renzo Zecchetto
2008
Long Center for the Performing Arts
(Joe and Teresa Long Center for the Performing Arts)
Austin, Texas
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
Arts Center Stage
2,400 seats
Zeidler Roberts Partnership
2007
235,000 s.f.
Miami, Florida
Client
Architect
Acoustician
Completion Year
Building Size
Miami-Dade County
Pelli Clark Pelli
Artec
2006
570,000 s.f.
Rochester PAC (unbuilt)
Rochester, New York
Client
Capacity
Architect
Completion Year
Broadway League
2,800 seats
Moshe Safdie and Associates
2006
Clay Center for Arts and Sciences
Maier Foundation Hall
Charleston, West Virginia
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
The Clay Center
1,883 seats
Calloway Johnson Moore West
2003
227,000 s.f.
Hippodrome Theatre
Baltimore, Maryland
Client
Capacity
Architect
Acoustician
Completion Year
Maryland Stadium Authority, Theatre Management Group
2,200 seats
JHS Acoustics
2002
Houston, Texas
Client
Architect
Acoustician
Completion Year
Building Size
Houston Music Hall Foundation
Robert A.M. Stern
2002
248,000 s.f.
Bushnell Center for the Performing Arts
The Maxwell and Ruth Belding Theater
Hartford, Connecticut
Client
Capacity
Architect
Acoustician
Completion Year
The Bushnell Theatre
907 seats
Wilson Butler Architects
2001
Oklahoma City Civic Center
Thelma Gaylord Performing Arts Theatre
Oklahoma City, Oklahoma
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
City of Oklahoma City
2,500 seats
Polshek Partnership
2001
240,000 s.f.
University of North Texas
Lucille “Lupe” Murchison Performing Arts Center
Denton, Texas
Client
Architect
Acoustician
Completion Year
Building Size
University of North Texas at Denton
1999
72,500 s.f.
Fort Worth, Texas
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
Performing Arts Fort Worth
2,050 seats
David M. Schwarz
1998
180,000 s.f.
Newark, New Jersey
Client
Architect
Acoustician
Completion Year
Building Size
Barton Myers
Artec
1997
250,000 s.f.
Jacksonville, Florida
Client
Architect
Acoustician
Completion Year
Building Size
City of Jacksonville
1997
295,000 s.f.
Kahalui, Hawaii
Client
Capacity
Architect
Acoustician
Completion Year
1,200 seats
John Hara & Associates
1994
University of Wisconsin at Green Bay
Weidner Center for the Performing Arts
Green Bay, Wisconsin
Client
Architect
Acoustician
Completion Year
The University of Wisconsin
Beckley/Myers Architects, Inc.
1992
Broward Center for the Performing Arts
Fort Lauderdale, Florida
Client
Architect
Acoustician
Completion Year
Building Size
PAC Authority
Benjamin Thompson & Associates
1991
200,000 s.f.
Frances Pew Hayes Hall
Naples, Florida
Client
Architect
Acoustician
Completion Year
Building Size
Aubrey Architects
Robert Tanner
1989
90,275 s.f.
Hult Center for the Performing Arts
Eugene, Oregon
Client
Architect
Acoustician
Completion Year
Building Size
City of Eugene, Oregon
1982
120,000 s.f.
Concert Halls
Boettcher Concert Hall Renovation
Denver, Colorado
Client
Capacity
Architect
Acoustician
Completion Year
1,800 seats
Diamond and Schmitt Architects
Akustiks
2018
University of Wisconsin at Madison
School of Music
Madison, Wisconsin
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
University of Wisconsin
800 seats
Holzman Moss Bottino Architecture
TALASKE
2016
57,000 s.f.
Architect
Acoustician
Completion Year
2015
Montreal Symphony Center
Montreal, Canada
Capacity
Architect
Acoustician
Completion Year
1,900 seats
Diamond + Schmitt Architects
SoundSpace Design
2012
Stanford University Performing Arts Center
Bing Concert Hall
Palo Alto, California
Client
Capacity
Architect
Acoustician
Completion Year
Stanford University
844 seats
Ennead Architects
Nagata Acoustics
2012
Concert Halls
Eastman School of Music
Kodak Theater Renovation
Rochester, New York
Client
Capacity
Architect
Acoustician
Completion Year
University of Rochester
2,250 seats
Chaintreuil Jensen Stark
Akustiks
2009
Alice Tully Hall
New York, New York
Client
Capacity
Architect
Acoustician
Completion Year
Lincoln Center Development Project
1,087 seats
Diller Scofidio + Renfro in collaboration with FXFOWLE Architects
Jaffe Holden
2009
EMPAC Concert Hall
Troy, New York
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
1,200 seats
2008
220,000 s.f.
Zaryadye Project
Philharmonic Hall (unbuilt)
Moscow, Russian Federation
Client
Capacity
Architect
Acoustician
Completion Year
ST Development
1,900 seats
Foster and Partners
Nagata Acoustics
2008
Padua Concert Hall Competition (unbuilt)
Padua, Italy
Capacity
Architect
Acoustician
Completion Year
1,400 seats
Isozaki
Sound Space Design
2007
Concert Halls
Knight Concert Hall
Miami, Florida
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
Miami-Dade County
2,200 seats
Pelli Clark Pelli
Artec
2006
570,000 s.f.
Laura Turner Concert Hall
Nashville, Tennessee
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
The Nashville Symphony
1,860 seats
David M. Schwarz Architectural Services
Akustiks
2006
197,000 s.f.
Holland Performing Arts Center
Omaha, Nebraska
Client
Capacity
Architect
Acoustician
Completion Year
Omaha Performing Arts Society
2,000 seats
Polshek & Partners
2005
New York, New York
Client
Capacity
Acoustician
Completion Year
Lincoln Center Redevelopment
2,750 seats
Jaffe Holden
2005
Texas A&M University Performing Arts Center
Corpus Christi, Texas
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
Texas A&M University System
1,500 seats
Hardy Holzman Pfeiffer Assoc.
2005
55,000 s.f.
Concert Halls
Hill Auditorium
Ann Arbor, Michigan
Client
Capacity
Architect
Acoustician
Completion Year
3,538 seats
Quinn Evans
2004
Montreal Cultural Complex Competition (unbuilt)
Montreal, Canada
Architect
Completion Year
Nomade
2001
Chicago Orchestra Hall
Symphony Center
Chicago, Illinois
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
Chicago Symphony Orchestra
2,522 seats
SOM Architects
1997
350,000 s.f.
Jacoby Symphony Hall
Jacksonville, Florida
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
City of Jacksonville
1,800 seats
1997
295,000 s.f.
Concert Halls
Avery Fisher Stage Renovation
New York, New York
Client
Capacity
Architect
Acoustician
Completion Year
2,738 seats
John Burgee
Artec
1992
C. W. Post College, Long Island University
Tilles Concert Theatre
Greenvale, New York
Client
Capacity
Architect
Completion Year
Long Island University
3,000 seats
Mitchell/Giurgola
1982
Boettcher Concert Hall
Denver, Colorado
Client
Capacity
Architect
Acoustician
Completion Year
2,750 seats
JHS Acoustics
1978
Minnesota Orchestra Hall
Minneapolis, Minnesota
Client
Capacity
Architect
Acoustician
Completion Year
Building Size
Minnesota Orchestral Assoiation
2,450 seats
Cyril Harris
1974
90,000 s.f.

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