Reva and David Logan Center for the Arts by David S. Cordaro

REVA AND DAVID

LOGAN CENTER FOR THE ARTS

ABSTRACT

CLIENT

ARCHITECT & CONTRACTORS

DESIGN

PROTOCOLS

SERVICES & SCHEDULES

PROJECT DELIVERY

FINANCIAL & RISK MANAGEMENT

PROJECT RESOURCES

STORIES

INNOVATION

MEASURES OF SUCCESS

LESSONS LEARNED

OTHER

NORTH FACADE

ABSTRACT

Beauty in simplicity is what lead our group to the Reva and David Logan Center for the Arts in Chicago, IL, a project that is an excellent example of a building that would be a front-runner to future architectural projects and an inspiration to the gentrifying south-side suburbs of Chicago. Tod Williams Billie Tsien Architects (TWBTA) out of New York City completed this project in 2012 for the University of Chicago, housing a multitude of courses under a single department. The Logan Center for the Arts compiles a diverse range of programs into a unique building design and is certified LEED Gold. It has also won many other awards, including 2015 AIANY Architecture Merit Award, 2014 AL Light and Architecture Award, and 2013 ENR Midwest Best Award. Due to the challenges this project faced throughout the competition, design, and construction processes, as well as the success the building has achieved since completion, we determined this project fit the established criteria for an excellent building completed within the past five years.

HEIDI COLEMAN Director, University Theater and Undergraduate Studies

THEASTER GATES Director, Arts and Public Life, Office of the Provost

JULIA GIBBS Assistant Director, Film Studies Center

SHARLENE HOLLY Associate Dean of Students

JAMES LASTRA Associate Professor

LAURA LETINSKY Professor

DAVID LEVIN Director, David and Mary L. Gray Center for Arts and Inquiry

DAVID SCHUTTER Assistant Professor and Undergraduate Advisor

BARBARA SCHUBERT Senior Lecturer & Director, Conductor

DAVID WOLF Associate Director of Arts Technology and Digital Media

CLIENT

Many years before construction began, a team of professors and community members was established to begin the process of design. Initiating a design competition, many architecture firms across the country for this project. After proposals were submitted and the architect, Tod Williams Billie Tsien out of New York was chosen, the University quickly realized that the amount of program in parallel to the allocated budget would not work. From this, it was realized that the competition may not have necessarily been the best idea for the firm or client due to the lack of communication. This made it difficult for TWBTA to manage the high-quality and artistic sense of their building and the mundane budget. Some of the programs the spaces were to consist of were a wood shop, auditorium, poetry course space, artistâ&#x20AC;&#x2122;s studios, and spray booths. The building would contain visual arts, theatre, film, and music all under the same roof. Throughout the process, the University was governing the body in charge of erecting the building, while they wouldnâ&#x20AC;&#x2122;t be using the spaces themselves. This brought another element into the programmatic design. TWBTA had to think about the needs of the students and faculty that would be actually using the spaces, alongside the Universities demands. To do this, TWBTA spoke with several faculty who would be moving into the space to get their perspective on the needs. They also wanted to figure out how to get the using clients into different types of spaces, other than the programs they would typically be using.

â&#x20AC;&#x153;We see architecture

as an act of profound optimism. Its foundation lies in believing that it is possible to make places on the earth that can give a sense of grace to life - and believing that matters. It is what we have to give and it is what we leave behind.â&#x20AC;?

PRELIMINARY COURTYARD RENDERING

ARCHITECT & CONTRACTORS

TWBTA’s philosophy was described to us as a ‘personal philosophy’ they strive to with hold in the firm as a whole and strive for innovative, new, and a unique solution to a given problem. Although their philosophy was written a number of years ago, they still believe it even more deeply today. TWBTA puts great thought into each project they work on and focus on transcended solutions to the problems they are given. The firm, based out of New York City, is a small office made up of around 40 architects maximum at all times. Collectively TWBTA hasn’t moved or expanded their firm throughout their existing years but instead built off all the contributing architects throughout the years forming a stronger foundation within the studio to produce better work each year. The firm has a strict and rigorous set of qualities they look for when selecting future project and clients. TWBTA puts great thought into the future work they are to produce and only accept projects that they know they are going to be invested in, as well as a project they feel good about from the very beginning. Having a good relationship with the client is key when going through the interview process, and a project will be over-looked or turned down if the goals of the client and the firm do not match up. They have the privilege to be stricter when pursuing a client and project in this process and can look for those same goals within the client. When looking for a client that will be a good “match” for the firm or vice-versa, they look for a shared interest and expectations of; an unusual building, use of innovative materials, and special arrangements. If a client approaches the firm with a mindset focusing directly on a highly functional building as first priority and then design following as second, that client just isn’t the right match for them, as their main goals in the design phase are producing highly innovative new type of architecture that solves problems along the way.

BILLIE TSIEN

TOD WILLIAMS

When TWBTA came to choosing the associate architecture firm for the project in Chicago, TWBTA made it a priority to chose a firm within the area of Chicago and researched firms that had good design sensibility, good capacity of staff, and a firm that was familiar with the current concerns, situations, and intentions on the University. Holabird and Root Architects out of Chicago were chosen to be the local architect for the project. The main deciding factor that went into choosing the firm they did was due to the work they had previously completed on a nearby campus, and their attention to detail and ease of work with a prominent, out-of-town architect. The project studied was the McCormick Tribune Campus Center by OMA on the campus of Illinois Institute of Technology (IIT), which had similar attributes that TWBTA hoped to achieve. Other participants in the project include Ambrosino, DePinto & Schmieder Engineers (MEP), Severud Associates (Structural), David Mason Associates (Civil), Hargreaves Associates (Landscape), Renfro Design Group (Lighting), Kirkegaard Associates (Acoustics and A/V), Schuler Shook (Theater Design), Turner Construction, Steven Winter Associates (LEED Consultant), Axis Group (FaĂ§ade Consultant), Van Deusen & Associates (Elevator), and Full Aperature Systems (Film Projection), For larger projects, the TWBTA utilizes associate architects around them or a site-specific local architectural firm. This

While the firmâ&#x20AC;&#x2122;s namesakes are Tod Williams and Billie Tsien,

is helpful to them when it comes to code compliances,

they are not the sole architects working on the project. Other

understanding of climate, and an array of different state

members of their firm that participated on this project are:

and local codes. The associate architecture firm could also be

Philip Ryan, Felix Ade, Johnny Cho, Azadeh Rashidi, Brian

readily available for site visits whenever needed during the

Abell, Aaron Fox, Evan Ripley, Archana Kushe, Forrest Frazier,

project and is very important for these larger projects.

Annika Bowker, Aaron Korntreger, and Aurelie Paradiso.

EVENING RENDERING

DESIGN

The designers within Todd Williams Billie Tsien Architects are driven by a personal philosophy. Projects are chosen and given the OK for forward progress when there is a good relationship with the client and a strong belief in the work they are completing. Not only do these ideas benefit the firmâ&#x20AC;&#x2122;s sake, but the client as well, as a mutual agreement related to the goals of the building between the architect and client is a necessary factor. If there is a desire for the structure to just function, then the designers of Todd Williams Billie Tsien Architects agree they are not the correct choice of architects. Innovated spaces, materials, and high-end design are all part of the vision as well. Their process is rigorous and allows the desire to create unusual buildings as unique problem solving tools.

ART STUDIOS

A decision was made to pursue The Logan Center on the

dividing sides of campus together. Even though it would

University of Chicago campus because Todd Williams Billie

be easier to do a two-story building, the architect and

Tsien were aware of the clientâ&#x20AC;&#x2122;s design and technology

client accepted the challenge. This decision conceived

familiarity. The University of Chicago initiated a competition

many difficulties but enabled an interesting design to take

where they won above a number of well-known architects.

place through the process of solving problems. An intense

It was important that the firm they selected understood

collaboration amongst the designers, consultants, and the

aesthetic and a complex program. Proposals were put

client allowed the visions to come to life. There were many

together, reviewed, and narrowed down. Later, five firms were

moments where the project was sent into a reevaluation

invited to participate in the competition, being Hans Hollein

series related to the program, budget, and shape. In the

of Vienna; Thom Mayneâ&#x20AC;&#x2122;s firm Morphosis of Santa Monica;

end the vision of bringing theatre, art, and music was never

Fumihiko Maki and Associates of Tokyo and Studio Daniel

lost. Together they all create a unique space and inspire the

Libeskind of New York. This process was unlike anything they

individuals who enter. The buildings purpose was to give a

had experienced.

space for those in the performing arts a space to be able to

excel in. It was to house the different curricular studies under

Design was important to the University of Chicago; they

one roof, while allowing each to be a beneficiary to each

wanted a piece of architecture that would make a statement. A

other verses being a hinder.

complicated program formed challenges, but would allow the collaboration of film, theatre, and art to be achieved. Through

As mentioned above, the need to try giving the south

the process of evaluating the program, Todd Williams Billie

campus a focal point was of high importance, so no matter

Tsien Architects were able to transform large and small spaces

where you are located on campus you will have a central

with specific needs, including demanding acoustics and an

point to look for when trying to way find. An issue that had

interplay of program into a world-class building.

been arising is that there is a separation of spaces on the campus between what they referred to as the old campus

Many would agree that the University of Chicagoâ&#x20AC;&#x2122;s campus

and the new campus. The old side of campus contained the

is broken. A wide strip, famously known as the Midway

original buildings that started the campus, and the new

Plaisance, divides the place, forming an unwanted

campus held the more contemporary architectural buildings.

disconnects to the two sides. Not only is this element of campus aesthetically displeasing, but it is unsafe as well.

They were looking for a way to bring both of these separated

From the beginning of the design process, there was an

sides of campus together to no longer have the different

aspiration to mend the brokenness. With a tower, observers

sides but create their new central and for the rest of campus

would recognize that something is happening on the other

to radiate out from the hub. The arts center was hoped to do

side of campus. The building would be occupied by a wide

more than just house the different studies, but to create an

range of individuals and used for diverse reasons, so an

atmosphere where lasting friendships could be made. The

iconic structure was necessary.

arts center did more than just this, but it also communicated out to the city, giving it not only something for the university

An agreement was made to design the program within a tower not only to create this icon but also bring the two

to utilize, but also different areas of Chicago.

VIEW OF COURTYARD FROM THE TOWER

The arts center was inspired by the low-lying, flat prairies of the Midwest, in contrast of the high-rise cityscape of downtown Chicago. The structure consists of largely glass and stone, using the low-lying plane of the base building as a stage for the high rising tower. A goal going into the design phase was to obtain the LEED silver certificate, by designing the structure of regional materials, such as stone and glass, the green roofing that is noticed on the top of the tower, and solar panels that are located on the top of the base structure to name just a few. Back in 2001 there had been discussions on expanding the different art disciplines on the campus. The different committees had obtained enough points for an argument to expand the arts disciplines and had started to set forth a competition in 2006 after the University had decided what the needs were of the new coming building, and what their focus would be. After one year of meeting with the different contestants, they had chosen the winning design of Tod Williams and Billie Tsien. With the design in play, the next phase was the funding. With the support of David Logan, his wife Reva, their children and grandchildren, they were able to give the University of Chicago a $35 million dollar donation. This was noted to be one of the largest cash donations to the arts in the city, while also being the largest donation to the university by a single donor.

Inevitably, there were differences that arose related to the overall interests for the building. Difficulties in communication across the departments was one of the causes. In order for anything with complex elements to succeed, a successful system of communication was necessary. With all of the different parties involved, this system began to fail. Because of the established primary decision makers, things were able to resolve in the end. Throughout the project, there were total cost issues. The

PROTOCOLS

University failed to incorporate certain aspects of the

The goals for the Logan Center for the Arts centered on

questions began to rise on the design side with the architect

collaboration. This goal reflected the decision making

and the side involving the client.

planning and decision making into the budget. From this

processes throughout the design development. In order to make rational decisions, maintaining the same goals,

The dynamic of the design team with the owner reintroduced

values, and tendencies were necessary. This meant that it

coordination and collaboration in a different way. There was

was important for the architect and owner to share the same

a consistent oversight to the project and its schedule. Key

‘views’.

people involved strove to avoid compromising the design and the building performance. They feared that this would

Tod Williams Billie Tsien Architects knew from the beginning

reduce the overall quality of the project and its outcomes.

stages of the project, that they would not submit a design

Through the dynamic decision making, solutions to the

proposal if their aspirations with the owner did not match.

issues were resolved.

As a high-end architecture firm, innovation, efficiency, and aesthetics play key roles. There was an understanding that if

Issues were settled through the constant pattern of

goals between parties did not link, decisions throughout the

documentation, observation, and communication. When

process of building the facility would be extremely difficult.

something arose, the appropriate individuals were notified and actions were able to follow accordingly. The architect and

There were two main decision makers; the university’s project

owner knew this would not be a one-time practice and that

team manager and the university architects. Along with these

there would be constant struggles. In the opening stages

two important groups, came subgroups. The project team

of the project an importance related to the end goal was

manager’s boss, Roy Boyd Black was one of those sub-parties

centralized. This constant outlook between the two parties

highly involved with the decisions taking place.

became the key to all of the problems and solidified them.

RENDERING VIEW FROM PROSCENIUM THEATER

SERVICES AND SCHEDULES A non-traditional approach was taken for the design services aspect. This meant the main source that drove the project was fundraising. Finding the money for an institutional project took a lot of networking and time in order to be successful. It required several interactions with donors and constant project promotions related to what it could be with their help. The architect put hours of energy into renderings, and drawings in order to show the donors what their visions were. Putting in the extra effort drove the projectâ&#x20AC;&#x2122;s success, and influenced the Logan family to be a primary donor for the project.

Several faculty and students involved with multiple student groups, and clubs on campus played a huge role in the schematic design phase of the project. The building is made up of several theaters, classrooms, lobbies, rehearsal spaces, studios, a cafĂŠ, gallery, and lecture spaces. Each space helped identify what was needed, and what was important for the mixed-use programs that would occupy each of the floors. Because of the different programs that occupy each level it was a difficult project to take on when it came to zoning. With the help from student groups and organizations, it became easier for the design team to assign programs to each space and identify key design elements within the areas. Staff offices impacted the program and its cost in a major way. Having enough staff offices was important for the mixed disciplines that were going to occupy the office wing of the building. The Logan Center for the Arts operates under the building manager, Greg Redenius who came into the project during the construction phase. He was very invested in the final programmatic decisions and the overall atmosphere of the spaces. Having the help from Greg, faculty, and students, the highly complicated programmatic floors turned out to be very successful. Mixed-use projects are harder to manage programmatically, and through the schematic design phases of this project it was important to keep in mind the different disciplines and how they would interact with one another. What drove the different programs on each floor was location, and the collaboration between students. The goal was for each discipline to be inspired by the opposing discipline in the neighboring rooms and share work with one another in hopes to build and learn.

1 AUDITORIUM 2 COURTYARD 3 RESTAURANT 4 FILM SCREENING ROOM 5 THEATER PERFORMANCE REHEARSAL 6 DANCE PERFORMANCE REHEARSAL 7 PERFORMANCE PENTHOUSE

EXTERIOR RENDERING

PROJECT DELIVERY The project delivery method used in this project was the traditional designbid build delivery. The reason why this was the chosen delivery method over others was because the contractor would become more heavily involved early on in the project. A strategy that the team used to ensure that the project had the highest quality was to design the building early on, and then the details were worked out. Both the contractor and the architect played important and very clear roles in the project due to the traditional delivery method. The architect was kept in control of the design decisions, while the project manager and contractor were involved in the speed and cost. It was important to everyone to find a balance between speed and cost; finding a middle ground with the general contractor to figure out the best schedule and implementing it successfully. One specific example of a contracted agreement was the material choice of the tower. In this project, the decision on the material purchasing was contracted out to Turner Construction due to its heavy impact on the cost of the project, and also heavily dependent on the assembly and time. Ultimately, it was decided that the buildingâ&#x20AC;&#x2122;s tower and basement were going to be concrete because of the high cost of steel at the time. The rest of the building above slab-on-grade was constructed out of steel. Digital information and documents in the firm are not typically done in BIM by the architects, but his project was the first use of BIM software by Tod Williams Billie Tsien. TWBTA typically begins projects in the design development phase in AutoCAD, and then progresses to Revit. When a project is done in this software, sub-contractors make the project more finalized and the 3D model becomes important when going out to bidding and presenting the project to the client.

FINANCIAL & RISK MANAGEMENT Tod Williams Billie Tsien Architects are not a local Chicago

having specifics for the state or city codes. They found that

firm, therefore a larger communication emphasis with the

the City of Chicago Building code followed many of the same

client and sub-parties was necessary. Holabird and Root, a

principles as the IBC, but had to be modified to the individual

local firm, was able to step in and help when they were called

needs of the city with it being so dense. Then there were the

upon, but responsibilities were largely up to TWBTA to inform

NFPA codes, which are specific fire codes unique to Chicago,

sub-contractors on what was going on and keep them up-

as well as the ADA. Clients always want the best bang for their

to-date with the progress and implications that arose. It was

buck, and they typically have a wish list that will exceed the

the contractors and their sub-contractors job to construct the

buck they have to give. This is where the architect and the

building, and liability would come back around on them if

client have to decide what are the important features, and

something was incorrectly done and they were conscious of it.

what is going to give to keep the project on budget and to code.

The overall risk management for this project was undertaken and foreseen by the Project Manager, Felix Ade. He was the

Each of the programs contained their own specific needs, and

one to ensure that all safety precautions were being followed,

separating them to not have one disrupt the other came at a

everyone was doing the work specified, and the project

cost such with the tower. The tower was the architectâ&#x20AC;&#x2122;s answer

was running smoothly. The project manager for this project

for the iconic image, and also a way to have the programs co-

executed these needs and was in constant communication

exist with one another. Going into this, the client knew what

with all parties to ensure that each of the services were

they were asking for and that it would come at a large price.

completed correctly while addressing these issues when they

They were not 100% sure if their budget could sustain their

arose.

wish list, so the initial budget had to be reconfigured several times. All involved in the design process understood that the

For the overall governance of the project, the first place to

budget had to be followed as tightly as possible, but there

start with making sure that the designs were up-to-code was

was some room for improvements.

the IBC, then from there they went to see if there were more

ROOF PHOTOVOLTAICS

PROJECT RESOURCES

Resources are always important to architects, as architects arenâ&#x20AC;&#x2122;t specialists in any one field. As architects have become knowledgeable in multiple fields over time, most architects arenâ&#x20AC;&#x2122;t experts at more than a couple designations. Utilizing resources is extremely important in developing a successful project. As with any project, the AIA was very important to this project, as they guided both the firm and clients through their use of contract documents as well as other document resources. They provided firms with a guidance and standard of design while providing the client a resource to turn to for inspiration. Beyond the AIA and their web of resources, community groups were extremely important to the completion of this project-specifically the University of Chicago community. They had a Project Team, which included multiple Professors and Deans, as well as an Advisory Committee, made up of quite a few professors and community leaders. As the building is a very creative space designed for creative people, high design was very important. While design has very different meanings to individuals, this project team was comprised of a well-represented crew of individuals that could all voice their opinion and the opinion of those they represent. These individuals were the strongest asset to the case, pulling all of their talents into one collaborative space. A building like the Logan Center, where departments are all mixed-up, is only successful if there is agreement, communication, and collaboration between all departments and individuals involved, and these alliances formed are what made the design process and current occupancy so successful.

GREG REDENIUS Director of Operations Logan Center for the Arts

STORIES

Meeting with Greg Redenius, the Director of Operations at the Logan Center, he shared with us quite a few short stories about the project, whether it was during construction or post-occupancy, this guy knows a lot about the building. Having played music his whole life, be it in Drum Corps or with Symphonies, Greg has a personal interest and investment in the education and work of the students in the Logan Center. Being a percussionist, the task came up that someone needed to create spaces for all of the percussion instruments to be stored. Timpani, cymbals, snare, tom toms, a marimba, vibraphone, chimes, mallets, sticks. This wide array of instruments had to be stored in a little room adjacent to a performance space in the tower with the added difficulty of dealing with heating and ventilation pipes in the space, creating an ever-changing and less-than-perfect climate to store instruments. Being a percussionist, he was able to custom-build storage units to house each of the instruments, and placed these instruments in advantageous micro-climates within the room, providing the best possible storage solution. Not only was this advantageous in the sense that the instruments were placed in a good home, but it saved the University nearly $10,000 from having to hire-out someone to design and build custom shelving units for the instruments, and presumably ones that wouldn’t provide an adequate environment. Greg also plays a large role in set-up and tear-down for events. He knows patrons by name and knows exactly where they prefer to sit. If they have a disability, he is aware and places individuals in their “favorite” seat so they are most comfortable. He knows which beverage is paired best with what type of food, and which room that meal would be best served in. It’s nice to see a building as large as this one have it’s own personal staff. The community it creates within the space makes the large spaces and slight disconnect from campus feel so minuscule. Staffers like Greg are what keep organizations like this thriving, as familiar patrons continually return to experience the student work, learn, and meet old friends.

PRELIMINARY COURTYARD RENDERING

INNOVATION

Throughout the design process the ideas were innovative. New solutions were considered in order to create effective outcomes. The team focused on what it meant to associate the services within the Logan Center for the Arts to the overarching design. Program was the driving force, and from that followed the results. Once an understanding of the program was grasped, the idea of placing these spaces into a tower was established. With the specific arrangement of zones scattered throughout the program, an integration of departments was conceived. It was important that a highly collaborative atmosphere was present. Students and faculty members travel to this building across campus. This basis supported the notion for a tower structure. It would allow multiple disciplines to find inspiration and new ideas from one another and connect the two ends of campus.

Together, the architects, designers, and the owner pushed beyond the expected. They processed through ambitious and risky ideas. Because of the strong desire to be innovative, aesthetics were introduced in a new way. Venues were created that prompted artistic response and became a key element. As you move throughout the building, your eyes catch and respond to these successes. This way the building not only becomes collaborative, but inspiring in itself. Each month there are multiple events that occur at the Logan Center for the Arts. The events carry a wide range of description, including; concerts, gallery shows, conferences, recitals, festivals, etc. Not only are the people enrolled at the University of Chicago able to attend, but the public is as well. The eleven story facility is able to transform into a place where students, faculty, community members, and partners can learn and interact with the innovative space. These events create the potential for the building to become the ‘hub’ for the campus and the city. A ‘mixing bowl’ was the term used to describe the building full of collaboration. This place was meant to be a place where visual artists, musicians, sculptors, dancers, actors, and filmmakers could all interact. While they have specific differences, there seem to be several areas of overlap within these disciplines. New ideas for technology and visuals would be produced and easily communicated. Through the act of inviting users from all over, a greater potential for success and exploration is deemed. Tod Williams Billie Tsien Architects were able to take the functionality of the building as the driving force for the design and met the user needs. They took the complex program and all of its difficulties and articulated groundbreaking design. The Logan Center for the Arts not only became a demonstration for what it means to think ‘new’ but a profound aesthetic facility as well. It is the largest place on campus where the promotion of interdisciplinary art making is being promoted. There is a connection with the building performance, program, and user that offers conditions unlike most buildings. From the beginning, the owners encouraged this idea and were willing to venture through the challenging process. This is where the innovation for the project occurred.

“BEWARE, TH

HE STAIRS ARE ALWAYS MOVING” ANDY PAZCOS: LOGAN CENTER FOR THE ARTS, 10TH FLOOR STAIRWELL, OIL ON LINEN, 24X48’’, 2015

VIEW FROM ROOFTOP DECK

MEASURES OF SUCCESS

The schematic design from the start of the project was to create a vertical tower that could be seen from a distance to provide a beacon to the other side of campus and a low lying horizontal structure that can relate to that of the low lying prairies of the Midwest. With these two contrasting ideas being designed along one another, there was a lot of thought put into how they can complement each other. The University of Chicago community understood the need for the mixed arts, containing technology, creative expression, and research. There was a rising need for these programs not only in the university, but also in the city and the Logan Center for the Arts surpassed expectations. The project was not only to be able to be appreciated from that of those inhabiting the space, but for that of the contributors. The largest of that being of the Logan family, for the whole driving force of their donation is their fascination and appreciation of the art world. A goal from the beginning was to obtain a LEED Gold certification was achieved, as the Loganâ&#x20AC;&#x2122;s held sustainable design at high priority. The firm in itself was probably one of the prouder parties of the project. Not only was this their first tower design, but they had to work with the implications of each of the programs that coexisted within the space. Their proudest accomplishment was the implementation of the three-bay staircase in the tower, as this sculptural element is a place that occupants want to stay, and isnâ&#x20AC;&#x2122;t only a means of escape. This building has been marked as their go-to for future tower projects from its success in not only the structural and functional sense, but in atmosphere it gives off to the users of the space. From a design standpoint, the building represents excellent practice from its special qualities, the aura it gives off, the aesthetics, and on top of that it gives the university and community a focal point in order to reestablish oneâ&#x20AC;&#x2122;s self from the surroundings. As our design team stated to us they found it to be successful in the sense of the programs, the functional space, and the contrast of the low lying building in relation to the past to the tower looking to the future.

MAIN STAGE

LESSONS LEARNED

This building, although a major success in the eyes of architectural critics, the University, as well as its occupants, does have a few flaws. Some are programmatic errors that can’t necessarily be fixed while others are small errors that are in the process of/have already been addressed. Like every project, the art of drawing and the translation of that drawing into a constructed form takes finessing and complete understanding by all participants, and it’s impossible to have a ‘perfect’ building. After the completion of the project, different departments had either unanticipated growth or changing pains. Areas of major concern from the client that they wish they had addressed better was to include more offices for certain departments, including the Department of Music, who currently has offices and rehearsal space scattered across campus. More programmatically improved spaces for professors and a more clear plan for growth is something also craved in the building, as there is no clear route of expansion (if any). Smaller issues that had arisen after construction are mainly sound issues. In the Proscenium Theater, the west sliding door has a large gap when closed, which transmits sound into the hallway, but even more problematic transmits sound from the hallway inward into the theater. Because of this, scheduling shows is very particular, as another production can’t take place when this stage is in use. Another issue is in the tower. A room on the 5th floor that contains percussion and amplifier equipment doesn’t have ample sound insulation in the walls and in the door, which causes the loud noises to leak out and disrupt class in the adjacent Circular Performance Studio. This instance is so bad that professors that have class in the CPS Theater request that the percussion room not be occupied when class is scheduled, leading the university to work with TWBTA to address and correct the problem.

OTHER

Special thanks to the following individuals for making this project possible: PROFESSOR: Cal Lewis, FAIA TOD WILLIAMS BILLIE TSIEN ARCHITECTS Felix Ade Octavia Giovannini-Torelli DAVID AND REVA LOGAN CENTER FOR THE ARTS Bill Michel Greg Redenius PHOTOGRAPHY SOURCES: Tod Williams Billie Tsien Architects : www.twbta.com World Architecture News: www.worldarchitecturenews.com Andy Pazcos: www.andypazcos.com

NICOLE BECKER DAVID CORDARO BETHANIE JONES BECCA STEPHENSON KALEB THOMAS