January 25, 2011 Showtime

The Center for the Performing Arts

Special Edition Presented by Indiana University Health

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January 25, 2011

Congratulations to the city of Carmel on the grand opening of the spectacular new Palladium at the Center for the Performing Arts.

My colleagues and I share the community’s excitement about this magnificent facility and its potential to bring stellar performances to the residents of central Indiana and beyond. This is truly a new beginning for the performing arts in our community, and we’re proud to be a part of the celebration.

It’s also a new beginning for Clarian North Medical Center, which just this week became Indiana University Health North Hospital.

Our new name recognizes our unique partnership with one of the nation’s largest medical schools – Indiana University School of Medicine. This distinction is meaningful, offering our patients in Hamilton County access to highly skilled physicians, the most innovative treatments and the latest medical technology. For our area’s youngest residents, Riley Hospital for Children at Indiana University Health will continue to provide nationally recognized pediatric programs at what is now called Riley Hospital for Children at IU Health North Hospital.

We not only have a new sign out front, but a renewed commitment to provide the preeminent care and medical expertise patients have come to know and expect from our hospital since it opened in 2005. United with more than 20 hospitals across Indiana under one strong Indiana University Health identity, we also add to that pledge an assurance that patients are making the right choice for their healthcare. As evidence, IU Health, one of the nation’s leading health systems, has been named among “America’s Best Hospitals” by U.S.News & World Report for five consecutive years.

The associates at IU Health North Hospital – doctors, nurses, other medical professionals, volunteers and administrators – strive to do what it takes every day to ensure healthier lives and a healthier future for those we serve in Carmel and Hamilton County.

Best wishes in 2011,

Jonathan R. Goble, FACHE President & CEO Indiana University Health North Hospital

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1/19/11 2:22 PM

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America’s music Finding a creative heart for our city in the Heartland

By Jim Brainard Carmel Mayor

January 29 represents a monumental event in Carmel’s history as well as the entire Central Indiana region. On this day, the Palladium at the Center for the Performing Arts will celebrate its grand opening and the beginning of a cultural legacy right here in Carmel.

Brainard It is a dream that has become a reality and the most important thing about it, is that this is a shared dream, the dream of a community.

Feinstein

By Michael Feinstein Artistic Director What a wonderful opportunity we have here in Central Indiana to do something for people’s spirits, not just in Indiana, not just in the Midwest, but everywhere in America.

You see, I believe art and music is exactly what we need in our lives right now. We need to be balanced and in harmony. Our hearts need to be nourished, just as much as our stomachs and our pocketbooks.

And that’s why it’s so important that the arts are being developed as an integral part of our lives.

It’s also why it’s important that the Palladium, in the very heart of the country, is going to be the home not only to the Center for the Performing Arts, but also home for my organization and archive, the Foundation for the Preservation of the Great American Songbook. I come from the Midwest myself. Some of our greatest songwriters—Cole Porter and Hoagy Carmichael—also came from the Midwest, from right here in Indiana.

That’s why I don’t talk about the Great Tin Pan Alley Songbook, or the Great Broadway Songbook, but the Great American Songbook. The music that I love is not the property of any one place like New York or Los Angeles. It doesn’t belong to any elite group. It’s American music.

What is American music, you ask? It’s the music of Irving Berlin and Duke Ellington, George and Ira Gershwin and Rodgers and Hart, Jerome Kern, Johnny Mercer, Harry Warren, Cole Porter. And the more you know about the Great American Songbook, the more clearly you recognize that it encompasses everything in our tradition: blues, jazz, country, classical.

With the Palladium’s inaugural season, we hope to show you something about the breadth, and generosity, and inclusiveness of the Great American Songbook. Our vision for the programming of the Palladium is inclusive. We want to bring Indiana the best of every kind of music, dance and theater.

I’m tremendously excited to be a part of the Center for the Performing Arts. I’m looking forward to bringing you some of this priceless heritage of American song. January 2011 is only the beginning.

I’ll see you in the Palladium.

During the last decade, we have had the unique opportunity to build the city in which our children and grandchildren will grow up. The location where City Center now stands was a blighted area next to undeveloped land in the central core of Carmel. This allowed us to carefully plan a project that would impact our city greatly.

During my first mayoral campaign in 1995, a recurring question came up among citizens: “Where’s downtown Carmel?” It was this question that sparked the vision for Carmel City Center, a true downtown where citizens can gather together and feel like a part of their city, a place where people have walking access to many amenities and recreational activities. The Center for the Performing Arts at/as a part of City Center offers opportunities for cultural enrichment for Central Indiana residents and visitors to the region. The Palladium is intended to be a landmark in this community for hundreds of years, for its architectural style, exquisite construction and acoustical precision.

The construction of the Center for the Performing Arts was financed using tax increment financing (TIF), which is generated from tax revenue from new businesses that locate in the designated TIF district, so no residential tax dollars were used to develop City Center.

The Center for the Performing Arts will not only be a cultural center, but will bring us the added benefit of economic development as Carmel and Central Indiana compete with other cities around the globe for high paying jobs, corporate headquarters and economic opportunities. We have already seen millions invested in nearby properties, attracted companies to locate here and had residents move here to be near this vibrant City Center.

People want to be in Carmel because it is a safe city with exceptional amenities: we have an outstanding educational system, a growing economy, the support of incredible local organizations, and now we will have several opportunities for cultural enrichment.Our community’s commitment to the arts is one of the reasons Carmel is garnering attention. The arts have inspired us for centuries. The arts uplift the spirit. They are good for the soul. Now, we will have a place to come together to enrich our lives and the lives of our children and grandchildren.

We are truly blessed to be living in a community that has the foresight, ability, and the will, to build an environment rich in cultural amenities that sets the stage for future growth and creates a landmark that will leave a legacy for generations to come.

LETTER FROM THE EDITOR

Now is the time

Nearly fifteen years in the making, to the Grand Opening events of this week, now is the time to celebrate the accomplishment. The Palladium as the centerpiece of the city’s performing arts complex, represents more than the hundreds of thousands of hours of craftsmanship and experience that built the hall. It symbolizes a statement that Carmel is ready to be a leader in the regional and national arts community, and demonstrates a commitment to Carmel’s future as it continues to grow and thrive economically, creatively, and in spirit.

The Palladium’s promise of regional appeal is balanced with the fact that this great Concert Hall will be local, as a home for our arts organizations, a place for music focused on cultural education, and a place where residents can see the benefit of the culture and commerce it will bring to our city.

Photo by Kelsey Floyd

Our leaders, years ago, saw that Carmel needed, and deserved, something special, interesting and positive to put it on the map. With exact master planning, extensive research, careful decision making and responsible funding, The Palladium will be for Carmel what Carnegie Hall is to New York City. We applaud the hiring of Michael Feinstein as Artistic Director and Steven Libman as Executive Director as an investment in our City’s and the Center’s future, as they will safely and surely navigate the Palladium to its rightful place among the greatest performance halls in the nation.

The foresight it took to make the Palladium a reality and the dedication from all involved parties is truly something special, and proves to us at Current Publishing that Carmel is ready to take center stage, more so now, than ever before.

- Margaret Sutherlin

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Creating an identity

The Palladium is, and was built to be, Carmel’s signature building

What’s in a name

The Palladium

After playing the first notes on the Palladium’s stage with Grammy-nominated artist Michael Feinstein, Mayor Jim Brainard addressed the crowd of about 600 and said “Why do we have to default to Chicago as the cultural center of the Midwest? We can do it right here.”

That statement summed up, as simply as possible, the reason behind what has been a long and complicated process in planning, designing and constructing The Center for the Performing Arts. Carmel started on this road more than 13 years ago but now, with the grand opening of the arts center’s signature component, the Palladium, the city has what Brainard and others have wanted for it for some time: an identity.

The city of Carmel was a different place 20 years ago. The population was significantly smaller, and it lacked the amenities it has today. Since that time, new developments have made Carmel citizens less dependent on Indianapolis for services and entertainment, but in May of 1997, the city announced plans for what is now known as The Center for the Performing Arts, a project intended to separate Carmel from other suburban communities and give it a greater personality.

Choosing a site was easy. The center would replace an old, abandoned Kroger building which many described as an eyesore. But the decision to construct arts venues was not a given.

Several possible facilities were mentioned for that location, including an arena which a minor league hockey franchise would call home. But Brainard said the Indianapolis area already had enough sports facilities.

“Our region has so many amenities to be able to offer the public,” he said. “What we didn’t have was a good music venue. We thought, ‘There’s a missing niche here for Carmel.’”

Willem Brans, vice president of New York-based Arts Consulting Group, has served as a consultant on this project since 1997, first with ARTEC Consultants, which conducted a utilization study to determine what type of arts venues were needed. The research, Brans said, found

Artist behind the camera Photography serves a practical function in construction.

Documenting progress and details, it allows project managers and workers to keep an eye on their work.

For Shiel Sexton construction project manager Doug Adams, photography on a construction site has a new and creative edge when he brings out his camera.

An amateur photographer, Adams initially picked up the camera as an art form when he had his first child, and for the Palladium, it was a project he didn’t want to miss capturing on film. Across the site, Adams brought his artistic eye to the photographs he created, capturing the faces of construction workers, the craftsmanship of the entire project, and intricacies of the process.

“A project like the Palladium doesn’t come around often, especially in your career. I knew from past experiences on

a need for an acoustically perfect venue in the region, and a1,600-seat concert hall could be utilized by local and nationally touring acts. The study also showed a need in the area for two smaller theaters.

“We didn’t want to go head on and compete for the Broadway shows with Clowes Hall and the Murat,” Brainard said. “At the same time, we identified 30 music groups that don’t have a place to play.”

One group seeking a permanent space was the Booth Tarkington Civic Theatre, which currently rents an undersized facility at Marian University. Civic will relocate to Carmel as the primary occupant of the 500-seat proscenium theater later this year, and many smaller, local groups will call a 200-seat studio theater home.

The primary, and most recognized part of the project, however, is the Palladium, which Brans said may be the greatest work of award-wining architect David Schwarz. Even before the kick-off of the Palladium’s inaugural season, Brans said the concert hall already had given Carmel a new identity and added prestige in the international arts community.

“There aren’t too many of these buildings being built, so when one opens, there’s worldwide interest in it,” Brans said, adding that he believes there are only about five to 10 halls near the Palladium’s caliber nationally. “The goal the mayor had from the beginning was to get great acoustics and I think people are going to be stunned when they hear how great this building sounds.”

-Kevin Kane

projects, I was going to want to do a lot of my own documentation of it, or I’d regret it later,” said Adams.

When he’s working, he pays close attention to not just lighting and subject matter, but capturing the mood and story of a project, including the workers, whom he gives copies of the pictures he takes of them. Adams’s favorite thing he said, is watching something come together for the public.

Adams

“We can see and visualize it, but for a lot of people they don’t really know what they’re getting until it’s done. As a builder the best part is simply putting our project to use,” he said.

Villa Rotonda

The Palladium in Carmel is inspired both in its name and architecture by the 16 century architect Andrea Palladio. Originally named Andrea di Pietro della Gondola, Andrea became Palladio, a name given to him by Italian Renaissance humanist and writer, Giangiorgio Trissino, referencing the wisdom of the Greek goddess Athena. Palladio’s name was just only just the start of his interest in ancient Greek and Roman architecture and design however, and Palladio his unique principles set forth in his “Four Books of Architecture” are today widely recognized as influential and important in architectural history.

Palladio was born in Italy in 1508. In 1521 he was apprenticed to be a stonecutter for 6 years but after 3 broke the contract to move to Vicenza. Immediately following this he was admitted into the guild of masons and stonecutters. It was then he started a reconstruction of the Villa Cricoli near Vicenza, and took an interest in Greek and Roman art and architecture.

A Renaissance architect, Palladio was fascinated with systems and rules in design, not just aesthetically, but also for construction. It was his rules of symmetry, paying close attention to shape and proportion that helped establish his designs as lasting.

Carmel’s Palladium is architecturally based off of Palladio’s Villa Capra, La Rotonda in Vicenza, Italy. La Rotunda, known for its symmetrical design of identical temple front porches facing out from each side of the square building, was unique for that location because it provided similar views of the surrounding countryside. Carmel’s Palladium is similar to this in the sense that the square building’s four sides are alike in their appearance, creating the façade of a symmetrical exterior. They are shaped around the domed central space of the ‘single room’ concert hall, similar to La Rotonda’s central round salon. For this reason, the Palladium is named after the famous building and architect that inspired its design.

-Kelsey Floyd

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Creating

the Palladium It was a long process to reach the January 22, 2011 opening, with countless hours of design and man-power. From the initial groundbreaking in March 2007 there were plenty of challenges along the way to meet function and aesthetics, and stay on schedule. Here is a look at the Palladium from its early days to now.

In early 2007, the Palladium starts to take shape with the first walls and foundation, and the elevator shaft.

Concrete inspections helped make sure that the Palladium would last as long as it was designed to.

October 2008, the skeleton of the Palladium starts taking shape with steel and concrete.

In January 2010, the Palladium started showing signs of completion, with only a little bit more limestone to be placed.

Project Manager Mike Anderson inspects the Palladium in the summer of 2010.

Exterior work took several years and thousands of man hours to complete correctly throughout 2008 and 2009.

In May 2010, workers installed floor to ceiling scaffolding in the hall to finish painting, design work, plaster work and finishing touches before the January 2011 deadline.

Over two inches thick in some places, the plaster dome in the concert hall took skilled artisans and craftsman to complete.

Photo Credit: Doug Adams Photography, CSO Architects, Kelsey Floyd

indiana made, indiana material The design may have Greek and Roman influences, but the material is all Indiana.

Indiana limestone quarried and cut in Ellettsville, Ind. covers the entire exterior of the Palladium and took just over eight months to install, and roughly two months to cut and prepare for the Palladium.

“Indiana limestone is known as one of the

best products in the world,” said Brandon Bogan of CSO Architects. “It’s only appropriate that since we’re here in Indiana, the Palladium is uses the Indiana product.”

Covered in nearly 35,000 cubic feet, the limestone for the Palladium was cut into careful blocks and hoisted into midair before workers carefully installed them in 2009.

Craftsman cutting limestone to be used on the Palladium Doug Adams Photography

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Inside and Out

elegant walls

Classical Influences

Aerial view motif

Knabe’s design Color Photo by CW Photography

The interior and exterior design of the Palladium is especially particular, with details throughout meant to reflect the classical architecture of the building. Influences by Palladio and Robert Adams, two architects greatly inspired by Greek and Roman classical design, have been used to inspire the Palladium’s design to be not only timeless, but also suit the growing architecture in the community around it. Inside the Palladium the exterior’s elegant limestone and symmetry is carried throughout in careful detail.

Color might be one of the most immediate design details of the entire building. Shades of green, pinks and blues, grays and dark browns, and crisp clean whites all were used to decorate the hall. The colors chosen reflect a very particular neoclassical style created by Robert Adams, who characteristically used paint, rather than wood veneers or other coverings, to decorate his spaces in the 18th century.

Palladium architect David Schwarz said the reason for using paint as creatively and as it was, had to do with the design aesthetic of the space, but also to maintain the budget.

Italian stone chosen for the lobby floors, and even carpeting on the upper floors, has each of the colors in it, further enhancing the wall colors and designs in the space.

One of the subtle visual cues throughout the hall is the aerial image of the Palladium. The motif is used throughout, in specially created glass, stairs, lights, borders, railings and floor tiles and is meant to create uniformity and interesting details that interest visitors each time they come into the space.

The symmetry on the exterior with the “four fronts” also carried throughout the Palladium with the various lobbies, and rooms. Each space was carefully planned for entrances, windows, and even design in the floors.

Robert Adam: the Palladium’s interior design The Neoclassical architecture and design of Robert Adam inspired the look of the interior design of Carmel’s Center of the Performing Arts. The style was traditional in the upper and middle class homes of England in the 18th Century, providing a cleaner and more open look as compared to the preceding mathematically structured Georgian Style, and was highly influenced by the neoclassical movement. Known for its high windows, classical motifs, and pastel color themes, the Adam Style not only focused on the architecture of the room, but the balance and proportion of every element that would become an aspect of the finished space. Walls, ceilings, furniture, carpeting, fixtures and fittings were

Adam

Walter Knabe, president of Walter Knabe Studios, specializes in creating unique wall coverings, fabrics and art. With a studio now located in the Indiana Design Center, Knabe graduated with design degrees and in the 1970s moved to New York City where he studied with Andy Warhol. CreatKnabe ing wall coverings and fabrics for Trump Plaza, Chanel, Bloomingdales and the White House, Knabe’s latest project is the Palladium.

His wallpaper appears in the Donor Amenities Room at the Palladium. Knabe was chosen as the artist for this specific project because of his unique status as a designer. “With this particular project, it was to be custom, and there are very few other people in the country who can do that,” Knabe said.

In addition to wall coverings, Knabe creates fine art and fabrics. His studio has about 4,000 patterns archived, but the design for the Palladium was largely inspired by the building itself, rather than design from outside sources.

all designed as a uniform scheme. Color palettes were drawn from the newly affordable paint colors of pea green, lilac, sky blue, lemon yellow, bright pink, and red-brown terracotta. The Adam style aimed to simplify the Rococo and Baroque styles while drawing inspiration from the ruins of the classical world of Italy and Dalmatia. The Center for the Performing Arts shows its ties to the Adam Style in its color schemes, white trim, and glossy hardwood flooring, yet setting itself apart from the typically detailed wall and ceiling molding by the Palladium’s refined and cleaner version of the Adam Style.

“We wanted this to fit with the building; its architecture and the statement that the building itself makes. The pattern had to relate to the architecture.” Knabe said.

He says he wanted the wall covering to feel archival.

The Donor Amenities Room features the design in three colors: blue, green and a light brown. Knabe took the scale and caliber of the space into consideration when he created the design. “If you have the wrong scale, it can actually look silly, especially in a grand space like that.” Knabe said. He says the feel of the wall covering is important. “The tactile feel of the way we do our paper is very important. And, of course, it’s hand-printed.” Knabe said. “Being in Carmel now, I was very proud to be a part of it.”

-Kelsey Floyd

-Ellen Funke

Harmonies in sound and design

Renowned architect, David Schwarz, brought with him to Carmel not only an eye for design, but an understanding of the community and what would make the Palladium a true landmark for music, but also for architecture.

Why did you select Palladio as the key influence for the design of the building?

designed, so we had a fairly good idea of how they’d all work together.

What was particularly challenging in the interior design and exterior architecture of the building?

We spent an enormous amount of attention in detail and I think we really believe one of Schwarz the things that really provide the richness is to The interesting thing about the Palladium is provide a great many things for people to notice that it is truly a four-sided building and all the as they use and experience the building. We wanted a sides are fronts of some sort. We had to find a design sobuilding to unfold for the user over time. We want there lution that recognized every façade was a major façade. to be more and more for people to notice when they I think that the Villa Rotonda by Palladio is probably one come into the building. of the best examples of that in the world of this, and was a logical place to look. And it is also one of my favorite I think what we really wanted to do was take a very rigorbuildings in the world. ous attitude about the architecture. Most of our building there is more ability to play with the design, but in order When designing the Palladium, what were design elements for this one to be a success we had a set of very, very you looked at in the community? strict rules.

We looked carefully at Carmel itself and looked at the One of the most difficult things about the building was urban plan. We wanted to be quite sure that what we the functional requirements and in this particular design. did was just to reinforce all the wonderful work that had Concert halls are really a question of getting all the debeen done in trying to make a different kind of suburb sign and needs to fit: how can you fit two pounds of stuff than the ones that were usually made. in a one pound sack?

We are highly contextual architects. We felt that it was What for you was the most rewarding part of the experiimportant that his building be a true landmark though, ence? and not look like all the rest of the buildings in Carmel, so it would have a greater sense of importance. So we I think one of the things that challenges, but also is very tried to do something that reinforced all the work that rewarding about my projects, is to be able to spend had come before us, but added to the complexity and time in the community and get to know people in the interest in the visual language of Carmel. community and build something for the people in that community that hopefully they will love and treasure for The interior design of the Palladium is very particular. a long, long time and make a really positive addition to Why were certain elements chosen and why did you that community. I’m incredibly fortunate to get to know choose Robert Adams as the inspiration? some of the most marvelous people in the course of my job, and one of the The budget saddest things for was ample, but me is that once our tight and we buildings are finconcluded that ished those people in order to get tend to slip from the level of detail my life and we tend and ornament to move onto the we wanted, next project. I think the only matethough to become rial we could really intertwined in really afford was a community, get paint, and the to know the people Adams brothers and the forces that were amongst make it work, and the best users leave something of paint, so we behind that the city looked to them. can love is a special We have a lot of and unique opporexperience with tunity, and I am very concert halls and fortunate in that we used most regard. of those colors before, but just - Margaret Sutherlin not together, in Mayor Brainard and David Schwarz introduce Schwarz’s Notre Dame other halls we’d architecture students to the design of the Palladium

7 Navigating the logistics of design, construction It might have been David Schwarz’s design, but there were many hands involved in the creation of the Palladium.

From construction workers and craftsman, to ARTEC acoustician consultants, to Shiel Sexton Construction, it was CSO Architects Inc who Grand staircase helped to keep the integrity of the design, navigate cost, find creative solutions and help lead the way to the final product at the Palladium.

“Our role was to coordinate and add value to the schematics and design. It was Schwarz’s concept, but CSO works through the details like bidding materials and work, and keeping track of budget,” said Dan Moriarity, Principal at CSO. “Our stamp was on the final designs.”

Helping to develop the concept for the glass canopy rather than a wood one, and finding functional design solutions, like the decision to have air filtered in bottom to top for added quiet, were very important decisions that CSO had to help find.

“The creative tension was something we wanted,” said Moriarity. “That way we have the best possible solution. We can’t have a space that is just all design or all function, or have one voice stronger than the other; otherwise the best solution might not be necessarily found.”

CSO often times played mediator and manager, helping to navigate the acoustics and the design of the building, and creating back of house spaces.

“Because Steven Libman was hired quite later in the game, we really had to handle the back of the house without his input. We went to the Carmel Symphony and Indianapolis Symphony and talked to arts organizations to find out what the requirements of such a space were,” said Moriarity. “We had to anticipate certain things and really seek out input from the people using the spaces.”

One of the challenges for CSO was not necessarily the intricacies of the logistical process and coordinating, but also making sure the integrity of Schwarz’s design could be maintained on budget.

“We often had to take design decisions and options to the Carmel Redevelopment Commission, like a lower end, middle of the road, and high end options to help meet our budget,” said Moriarity. “The rigid proportions and discipline of the design really meant we had to stay on schedule and maintain a very high quality of work.”

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10

Form meets function:

The Palladium by the numbers

1,600 seats in the concert hall 126 million dollars is the total, final cost, of the Palladium

how acoustics and design created the Palladium

2 1/2 inch thick doors lead into the concert hall to keep out noise

The Palladium is a big structure. It’s natural that audience members won’t see all of the small features which bring life to the hall.

Those that they don’t see, however, they will most certainly hear.

2 1/2 inch thick plaster makes up the

Damian Doria, principle acoustic designer for the Palladium, and one of three partners from ARTEC Consultants, explained how many of the performance hall’s most important features work.

1 1/2 inches thick Brazilian Cherry

interior walls of the concert hall, not drywall wood was used for the stage floor

42 tons is the weight of the acoustic glass canopy above the stage

“The hall is basically a shoebox,” Doria said. “It’s long and narrow, as many of the great concert halls around the world are.”

65 STC rating of the elliptical dome in the concert hall means a helicopter could hover above the building, and couldn’t be heard from inside the hall

- Jordan Fischer The performance hall features multiple levels of seating, which creates numerous reflective ledges. According to Doria, these reflections help sound to envelop the audience, which is important for aural clarity. The seating terraces also provide space for rounded moldings which, while decorative, also serve an additional acoustic purpose. “We know that a certain amount of diffusion caused by bumpy surfaces really benefits a concert hall,” Doria said. “The moldings and flutes on columns help to diffuse the sound in a natural way. Otherwise, it might sound like a racquetball court.”

The hall’s domed roof, an oddity in modern concert halls, according to Doria, also helps to break up sound by virtue of ribbings around its circumference. Without these, the dome would form a “giant satellite dish,” which would focus sound directly down at the people under it.

7 exterior terraces on each side of the building

32 staircases, including staircases

2 grand

24 restrooms throughout the Palladium Returning to the Palladium’s seats, observant audience members will notice cylindrical grates at the base of each chair.

These grates allow a very small amount of air, 20 cubic feet per minute (roughly the output of a mid-sized air compressor), to flow naturally into the concert hall. This bottom-up method of ventilation mirrors European concert-hall design, and allows for ambient air to be pumped into the hall with fewer fans, which results in higher energy efficiency and lower noise pollution. Also designed to reduce outside noise are sound and light locks present on all entryways between the lobby and concert hall.

28 primary contractors from 6 central Indiana cities, 5 states, and 2 countries helped on the project

10 specialty consultants and contactors were consulted for the project 300,000 plus man-hours spent on construction

6,750 cubic yards of concrete were used in the construction process 6,000 pieces of steel for the construction of the Palladium 275 truckloads of steel to the construction site 15,000 pieces ( 35,000 cubic yards ) of Indiana limestone to cover the exterior 8,500 square feet of Italian stone pavers make up each lobby 100,000 pounds of heating and cooling ductwork 1,000,000 feet of power and

Additional compensation for reverberation can be made on an as-needed basis through the use of sliding curtains located behind seating along the walls of the hall. In the case of a small performance, the curtains will absorb sound much in the way a full audience would naturally do. The curtains are operated electronically, and are stored inside compartments in the walls of the hall when not in use.

lighting wire The most noticeable acoustic feature of the hall may be the four glass canopies located above the stage, which weigh in at 92,000 lbs. Each canopy operates independently, allowing panes of glass set at precise angles to be moved up and down to suit the acoustic needs of different ensembles.

10,000 feet of piping for all plumbing

700 feet is the distance from the power plant that serves the Palladium

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Photos by Kelsey Floyd

The transformation from wall to exhibit space takes place under the supervision of Doris Anne Sadler and Lisa Lobdell, and will feature information about performers and composers in the Great American Songbook.

The new archive space for the records, reel to reel film & recordings, and thousands of pieces of sheet music and artifacts.

Education is a very important componenet of the mission of the foundation and there will be study space available to students and researchers.

The new office space will allow the foundation to continue to grow and develop.

The Michael Feinstein Foundation: Preserving American Musical Heritage

Bringing not only his music and talents, Artistic Director for the Center for the Performing Arts, Michael Feinstein is also bringing with him a passion for American musical heritage and preservation the Great American Songbook.

and Broadway all were sources of the Songbook, and now at risk of being forgotten or mistakenly thrown away, The Foundation seeks to educate and explain why the music is important.

A performer as much as he is a musical historian, Feinstein’s nonprofit organization, The Michael Feinstein Foundation, seeks not only to rescue and preserve the music of the Great American Songbook, but also to get the music in the hands of the public through education and performance.

The music of the Great American Songbook is unique in that the influences are simply put, American. This is American music without other influences in the art form and was a kind of music that had not been heard before and influenced songwriters and musicians across the globe.

The Great American Songbook covers American music made roughly from the 1920s to 1960s, though the era is flexible. What some now think of as old standards, once were the lively, popular music played across America.

Singers like Ella Fitzgerald, Rosemary Clooney, Frank Sinatra and Bing Crosby, as well as composers like Frank Loesser, the Ira and George Gershwin, and Irving Berlin are typically associated with the Songbook. Jazz, swing

The Michael Feinstein Foundation, although only a few years old, will finally have a residence to preserve and display artifacts collected, and also use the space for educational programming for children and adults alike at the Palladium. The very top floor of the Palladium will be the new home for another important part of the Center for the Performing Arts.

12

On stage The other half of the Center for the Performing Arts

The Center for the Performing Arts is not just the Palladium and not just about music, but about performance as a whole.

In addition to the concert hall, two theaters, a large 500 seat proscenium theater and smaller 250 seat black box theater, will open in the spring and summer of 2011, making way for a variety of theatrical productions.

“The theaters are really unique spaces that had to be built for a variety of different purposes,” said President and Senior Principal Designer for Pedcor Design Group, Stephen Sturtz. “There are a lot of types of performances happening here, from plays and dances and such, and we really had to anticipate down the road what might be performed here.

The one thing is that by having these spaces, different groups can come perform and it really expands the flexibility of the Performing Arts Center.”

THE TARKINGTON

Along the way, the planners had to spend quite a bit of time taking into account the variety of performances, and what that meant for the space. Moreover, they had to spend much time considering what made for the most effective design possible according to Sturtz and project manager and architect Laurence Armstrong.

While the Studio theater opens this spring, the 500 seat proscenium theater opens several months later in the summer.

One of the most interesting aspects of the theaters according to Sturtz and Armstrong is that, like the Palladium, the acoustics in the new theater will be tuned by ARTEC acousticians.

Tragedy and comedy are prominent themes in theater and carried out in the exterior design.

“I’ve so enjoyed getting to work with ARTEC,” said Sturtz.

“Their experience is so broad and really it’s been an educational experience for me during the process. It doesn’t happen often that you get to work with the caliber of these consultants.”

Because the Palladium is a concert hall designed specifically for music, its acoustic needs are a bit different, but nevertheless, the Tarkington and Studio will also be tuned and tested for their acoustics. Architect and project manager Armstrong said that the space was especially being paid attention to because of the electronic and amplification requirements.

Carefully making sure there would be no electronic interference was key, as was as keeping outside noise and sounds out of the theater space.

“We had to really think about the technology of the theater,” said Armstrong. “We had to minimize thinks and keep systems discreet and keep outside noise to a minimum.”

For the Studio theater, Sturtz said one of the biggest challenges with the space was the degree of flexibility and the ease with which the theater needed to change. Black box theaters are typically characterized by their intimacy, flexibility for performances, and extraordinarily plain design so as to not detract from the performance. This particular space also has windows, an uncommon trait for many black box theaters. Moreover he said black box theaters are not commonly built in any non-academic setting, making it a bit tougher to consider design and function.

The unique challenges of creating the Studio were not without its moments however. “I really enjoyed creating the Studio as much as, if not more, than the Tarkington, just because I had to learn so much about it,” said Sturtz.

Designers worked closely with limestone manufacturers to create reliefs of musicians and actors in the exterior design of the Tarkington and the Studio. All carved from limestone, sculptors created models from models and then later, their designs were translated and cut into the stone.

While designing the exterior, architects and designers were careful to make sure that the theaters complemented the Palladian design of the Palladium and used similar neo-classical design and materials.

THE STUDIO

13

Resident Companies in the Center for the Performing Arts

Booth Tarkington Civic Theatre Commonly referred to simply as the Civic Theatre, the Booth Tarkington Civic Theatre will move from its current location on Marian University’s campus to the Center for the Performing Arts this summer.

Executive Directors Judy Fitzgerald, Don Farrell, Cynthia Collins

ACTORS THEATRE OF INDIANA The goal of the Actors Theatre of Indiana is to advance theater and musical theater through its performances and programs. ATI provides guidance and musical training for young artists.

Associate Artistic Director Cynthia Collins says the move to the Center for the Performing Arts will be a big change for ATI, but the accomplishment of a long-term goal. “A permanent home in Carmel is what we have been working toward since we arrived here in 2005 from New York City.

It means even more stability in a community where we have been very active despite not having a theatre facility in which to present our productions,” Collins said. “Every time I walk into the theatre, I can say that we have accomplished a major goal and we are here to stay. Our patrons will be able to enjoy a lovely venue.”

A permanent home for ATI will allow the company to expand. “We are taking the next step for our company as the professional equity theatre company in Carmel: season subscriptions, new patrons and a state of the art facility will equal the caliber of talent and high quality entertainment this company has produced in the past.” Collins said. She says the feasibility of the move is largely due to the support of loyal patrons. “This theatre space represents a mission, a dream and an accomplishment and every time I perform in that theatre, I will be reminded of that. Many loyal people have helped us get to this point.”

Collins said. ATI will be the resident professional theatre company at the Center for the Performing Arts.

-Ellen Funke

The Civic Theatre is the largest of over 70 Indiana community theatres and enjoys its status as the longest continuously operating community theatre in the United States.

The Civic Theatre will open its 2011-2012 season in the new, 500-seat state-of-the-art Tarkington Theatre located at the Center for the Performing Arts. The Civic Theatre will also have access to extensive rehearsal space, classrooms and the 200-seat Studio Theater that will allow the Civic Theatre to produce more intimate performances.

Executive director Cheri Dick says the Civic Theatre’s location in the Center for the Performing Arts will allow the theatre to serve its mission more fully and with a sense of stability. “As arts budgets are cut at schools across the state, we continue to provide a creative educational outlet for students and adults. Beyond the sophistication of the performance space at the Tarkington Theatre, the classroom and administrative space the Civic Theatre will occupy are great additions to developing programs.” Dick said. The Civic Theatre will perform its season at the Center in addition to a Broadway concert series, and programming for children. Dick says the move to the Center will allow the Civic Theatre to grow. “A permanent home at the Center for the Performing Arts will allow our professional staff to devel-

op deep roots in a growing community. As the Principle Resident Theatre Company of the Tarkington Theatre, Civic will have the opportunity to share our offerings – on both sides of the footlights - with the Carmel community, connecting new performers and new audiences with the magic of theatre.” Dick said.

-Ellen Funke

CARMEL SYMPHONY ORCHESTRA Carmel Symphony Orchestra has spent the past decade preparing for the moment when they would have a permanent location to call home, and now with the opening of the Palladium in sight, they have a space to perform that is beyond what they could have envisioned.

When an orchestra doesn’t have a home, it’s hard for the audience to focus in on going to a certain venue,” said Alan Davis, President and CEO of the Carmel Symphony Orchestra. “Having a permanent home is a really essential part of that whole equation. I anticipate it will impact us by increasing our audiences tremendously. It’s a huge increase in audience size for us, and then of course, moving into an acoustically wonderful environment such as the Palladium will help us grow artistically.”

More room to perform, practice and make music is what the symphony has longed for and now, in an environment dedicated to music and the performing arts, Davis is certain the symphony can take on different kinds of pieces and really create in the new environment. Acoustically perfect, the Palladium will allow the symphony to try out things they haven’t been able to before.

“I so look forward to sitting in my seat in the Palladium and listening to David Bowden, our artistic director, give the downbeat for that first piece of music and hearing the orchestra that I have worked for during the past

Carmel Symphony Orchestra conductor David Bowden

11 years, and watched it grow and expand. I think that would be the same for a lot of our audience members that have been there for years listening to the CSO grow and change. Sitting in this wonderful facility is a dream come true, and is going to be one of those once in a lifetime opportunities.”

-Kelsey Floyd

14

Resident Companies in the Center for the Performing Arts

The Central Indiana Dance Ensemble The Central Indiana Dance Ensemble is a non-profit organization focused on giving dance performances to the Central Indiana Community, and providing training to young dancers. CIDE gives dancers opportunities to perform at a regional level with other pre-professional and professional dancers.

Suzann DeLay, the Artistic Director for CIDE and studio owner of the Central Indiana Academy of Dance said the move to the Center for the Performing Arts would forever impact the organization.

“Moving into a permanent home will allow us to set [performance dates] a full season in advance. Without a home theater, we are dependent on the school theaters and their scheduling. As an 11 year old, Carmel based ballet company,

we are looking forward to having a permanent home in Carmel in the Center for the Performing Arts,” said DeLay. “We plan to use the Studio Theater this year and hope to stage a larger production in The Tarkington in the spring of 2012.”

As a company that places a focus on providing exceptional quality of dance and broadening the exposure and appreciation of dance, DeLay said she is “excited to bring classical and contemporary ballet to the new state of the art facility. It is a great opportunity for our dancers to perform in world class, beautiful professional facilities right here in Carmel.”

-Kelsey Floyd

Carmel Repertory Theatre The Carmel Repertory Theatre is a non-profit company that promotes self-expression through music, theatre, and dance. They seek to develop, engage, and challenge audiences and volunteers through theater education and performance.

As a self-identified “gypsy” company, one who has become accustomed to moving from venue to venue, Larry Creviston with the CRT said moving into a real home meant real opportunities for the theatre group.

“Now that our new home is about to open, we will have to step up to the challenge. We will have to work harder to bring the level of our productions up to what will be expected. We have always, in my opinion, produced wonderful theatre. We have produced some exciting and memorable shows. However we were limited by the venues and their shortcom-

ings. With the Tarkington and the Studio Theatre, we and the other resident companies will need to take it to a higher level,” said Creviston.

And while the challenge to produce even more extraordinary and elaborate productions is a great one, it is one Creviston is certain the Carmel Repertory Theatre is ready for. Being able to grow into their new location and also have the added benefit of a space that allows them more freedom is something the company is looking forward to.

“It will afford us the ability to have the kind of flexibility to produce many different kinds of shows. We will be able to improve our quality and now our audiences will not have to chase us all over the city to find out where we are performing. We gypsies have found a new home one we can settle into and begin the process of growing with the city.”

-Kelsey Floyd

Gregory Hancock Dance Theatre The Gregory Hancock Dance Theatre is a contemporary dance company, but performs in a wide variety of dance styles, combining modern dance, ballet, ethnic dance forms and theatre to create a unique sense of drama. Supported by the City of Carmel, Regional Arts Partners and the Christel DeHaan Family Foundation, GHDT is a professional form of dance dedicated to the exploration and presentation of thought-provoking issues. The company is committed to dealing with relevant social, political, cultural and spiritual issues.

GHDT has created a repertoire of 100 pieces and also presents full-length ballets, and also provides numerous training and performance opportunities for youth through The Academy of Gregory Hancock Dance Theatre. Artistic Director Gregory Hancock says the company’s permanent home will further define it as

a part of the community.

“GHDT will be the only full-time, professional arts organization at the new center. GHDT will have opportunities to reach new audiences and share its unique style of dance theatre with the community,” Hancock said. “The Tarkington Theatre will offer our company a beautifully sized dance space with state of the art backstage and front of house support.

The design of the theatre will allow for a more intimate performance experience for our audiences and will allow our audiences to grow with increased exposure in Carmel and Hamilton County.”

The company’s 2011-2012 season scheduled for performance in the Tarkington Theatre is already generating excitement and great anticipation for performers to give their best performances yet.

-Ellen Funke

INDIANA WIND SYMPHONY The Indiana Wind Symphony is one of Indiana’s premiere adult concert bands.

Since its founding in 1997, the IWS has performed the full spectrum of music for wind ensemble, ranging from traditional concert band fare, to symphonic transcriptions, to the music of contemporary composers.

Music director Charles Conrad says the move to the Center for the Performing Arts will help with an establishment of an audience base which has previously been impossible because of the inconsistency of the ensemble’s concert venues.

“This will be the most noticeable difference for our audience - they now know where we are going to be performing, and the Palladium box office will give a consistent location for ticket purchases.

The Palladium will be a wonderful facility, both in which to attend a concert as an audience member and as a concert venue. The acoustics are marvelous, and we will know what to expect from performance to performance.” Conrad said.

Losing the carefully planned details of re-

hearsals to poor acoustics are something Conrad and members of the symphony can be frustrating in some performance spaces, and everyone is looking forward for the opportunity to hear music as it is intended in their new location.

The IWS makes effort to showcase music as a lifetime pursuit. Members range in age from around 25 to around 80. The ensemble is made up of about 70 members, and includes professional musicians, music educators and serious vocational musicians. “Carmel in particular and Indiana in general have fine school music programs, and we see part of our role as making the connection to the history and to the potential future of concert band performance.” Conrad said.

-Ellen Funke

COMMUNITY DAY

SATURDAY, JANUARY 22

A LANDMARK FOR LISTENING. A GIFT FOR THE COMMUNITY. Celebrate Grand Opening Week at the Palladium January 22-30, 2011 It’s only January, but this is the event of the year! Join us for a fun, festive weeklong celebration as we raise the curtain on our inaugural season at the Palladium and an exciting new era for the arts in Indiana.

Join us for “Take Center Stage” featuring local music and dance groups performing live from the Palladium stage.

1– 6 pm

SPONSORED BY

OPEN HOUSE

SUNDAY, JANUARY 23 11 am – 6 pm It’s

a fun-filled day of free events including performances by the Gregory Hancock Dance Theatre, the New World Youth Orchestra, the CSO String Quartet, Indiana University Jazz Group and Purdue University Glee Club. Don’t forget to take a free tour of the Palladium too!

GRAND OPENING GALA

SATURDAY, JANUARY 29 5 pm – 2 am Featuring a concert starring Michael Feinstein, Dionne Warwick, Chris Botti, Neil Sedaka, Cheyenne Jackson and the CSO, plus an elegant dinner and late night party in which we transform the Palladium into a pulsating night club with live jazz, cabaret and even karaoke.

SPONSORED BY

Go to TheCenterForThePerformingArts.org or call 317.843.3800 for details.

SEASON PRESENTED BY

INAUGURAL CONCERT

SUNDAY, JANUARY 30 3 pm Buy your tickets now to the stunning first concert of the Palladium’s season! Featuring leading-edge chamber music artists including the Chamber Music Society of Lincoln Center, the Miró Quartet and Lynn Harrell.

Special thanks to our volunteer leadership!

SPONSORED BY

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