Momentum - Volume 1 Issue 4

momentum VOLUME 1 Issue 4

Opening-night concert goers admire the allure of Philadelphia’s newest music venue.

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momentum

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VOLUME 1 Issue 4

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CONTENTS:

Classic The Show Must Go On....................... Page 4

Continuing Love. Live. Fillmore........................... Page 10

Contemporary PHILAIADELPHIA!..............................Page 22

The devastation of the Nikon at Jones Beach Theater after Hurricane Sandy.

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The Show Must Go On The eastern seaboard of the United States does not look back upon November 2012 with much fondness. Over the course of a week, Hurricane Sandy racked up $75 billion worth of damage, the second costliest hurricane in American history.

New Jersey and New York suffered the brunt of Sandy’s impact. On Long Island, the Nikon at Jones Beach Theater’s 60th anniversary season wrapped up with a flood that destroyed its stage and ravaged its pavilion. So when EwingCole got a call looking for help rebuilding it, the firm got to work right away—after all, the next concert season lurked just around the corner.

In 1929, master builder Robert Moses headed the creation of Jones Beach State Park, now New York’s most visited state park. In 1952, he added the Jones Beach Marine Theater, an 8,200-seat house designed for musical productions. Moses’ friend Guy Lombardo and his Orchestra were regular performers during the theater's early days. In 1998, the seating capacity expanded to 15,000, and in 2006, camera company Nikon acquired naming rights of the picturesque venue

on Zachs Bay. In its six decades of use, many hurricanes came and went, but none packed the carried a force equal to that of Sandy.

glove, in a very collaborative fashion, all with the goal of restoring the place's luster and opening on time.”

Immediately after the storm, the New York Office of Parks, Recreation, and Historic Preservation and operator Live Nation Entertainment prepared for an emergency restoration of the historic amphitheater. Live Nation’s contractor, the construction giant Skanska, needed a design-build partner. Fresh off the completion of MetLife Stadium, they reached out to their design-build teammate for that project, EwingCole.

Considering the damage Sandy inflicted, that presented no small task.

Ten feet of Atlantic Ocean saltwater surged through the bay and flooded the amphitheater. The stage, a wooden deck built in 1952 with a rotating steel mechanism beneath it, was totaled. The backstage dressing rooms and green rooms were inundated. The concession stands were littered with debris and remnants of destroyed equipment. The electrical system required an entire reassessment after saltwater damage.

“We began a fast and furious restoration, practically before the water had even receded,” recalls EwingCole principal Craig Schmitt.

“With only a five-month turnaround, we were one large team—EwingCole, Skanska, Live Nation—working hand in

“We needed several trips to the site to totally understand the amount of damage we were dealing with,” says EwingCole architect Greg Baron. “From there we prioritized what areas needed the most work and which items or equipment had the longest lead time.”

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The newly renovated Nikon at Jones Beach Theater bustles with activity six months after Hurricane Sandy.

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Once littered with debris, the concession area again accommodates a full house.

This walkway to the theater gives the venue that classic boardwalk feel.

Outdoor seating provides a reprieve from the excitement of a concert.

Naturally, the stage took top billing.

“We explored options for the stage reconstruction, taking into consideration the extent of existing steel corrosion, contamination of existing timber shoring, limited available time for fabricated assemblies, and limited local availability of materials in the wake of Sandy,” says EwingCole director of structural engineering Peter Welsh.

The stage lights reflect on the water providing a stunning visual experience.

The relocated electrical room, the fully rebuilt outdoor stage, restoration of the backstage area and concession stands, and mold remediation added up to a $20 million, fast-track reconstruction project. And with the entire team's diligence, it was completed in time for the first concert.

On May 31, the Nikon at Jones Beach Theater's 2013 concert season officially went live, with Rascal Flatts taking the stage just six months after Hurricane Sandy had submerged the venue.

Pitbull and Ke$ha performed to a soldout crowd the next night, and a full summer schedule including Bob Dylan, Phish, Wiz Khalifa, and Wilco went off without a hitch.

It was a miracle that we were able to get everything we needed The venue had long ago discontinued the rotating substructure, so it made the most sense to demolish it and fully rebuild the stage—with reinforced concrete, two layers of treated wood decking, and extra room underneath for drainage and access to the stage.

Even more sensible was the relocation of the electrical facility. “The original main electrical room was on the ground level, a mere two feet from the bay,” says Baron. “It was in the best interest to move the electrical room up to the second level.”

“It was a miracle that we were able to get everything we needed, considering so many places up and down the East Coast were going through the same thing,” Schmitt says.

“But five months after we started, the theater was up and running. They didn’t miss a single show.” 

The reconstructed stage can now prepare for a show quickly and effectively.

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Love.Live.

Fillmore.

In summer 1965, despite police warnings, the San Francisco Mime Troupe went ahead with a provocative performance in Lafayette Park, which got the Troupe and its manager arrested. To pay their legal fees, the manager, Bill Graham, organized a concert featuring local acts Jefferson Airplane and the Grateful Dead at an auditorium called the Fillmore.

Inspired by the benefit’s success, Graham threw more concerts. Lots of them, over the next few years, through San Francisco’s Summer of Love, launching the careers of the Airplane and the Dead, Janis Joplin, and Santana; simultaneously cementing his name and the Fillmore in the annals of live music.

Fifty years later, that spirit carries across the country into the Fillmore Philadelphia. The new Fillmore location found its home in a former metal foundry, and using their momentum from the Nikon project, the team at EwingCole transformed the run-down complex into an exciting venue that epitomized the spirit of Philadelphia.

Graham became rock & roll’s greatest impresario by adhering to a simple mission of connection: the spiritual

connection between the artist and the fan. In the new Fillmore, EwingCole’s team of interior designers and architects followed Graham’s spirit and sought to establish a connection between the city of Philadelphia and the Fillmore brand, which Live Nation Entertainment acquired in 2007.

Since then, Live Nation has opened several Fillmores—in Denver, in Detroit, in Miami. In the process, they’ve built a baseline that takes its cues from the original in San Francisco. Red curtains, crystal chandeliers, and an oakwood dancefloor in front of the stage are mandatory. At the same time, Live Nation has recognized a need to elevate the local identity—for that established brand to be uniquely embedded within the host city. In Philadelphia, that’s especially important.

“When you look at this place, you know where you are,” says Shannon Noon, EwingCole interior designer, on the team’s approach to designing the space.

“That was exactly our first task,” says Craig Schmitt, EwingCole principal. “We gathered some of the young architects and designers within the firm, had a charrette and asked, ‘what does it mean to you to be in Philadelphia?’” Many of their answers centered on Philadelphia’s iconography, like Ben Franklin and Betsy Ross, landmarks and pop culture, the city’s makeup as a city of neighborhoods.

“But something else we realized,” says Noon, “is that we all live here, we know this stuff already. We wondered what people who aren’t from here think

The two-story entrance is home to a giant "LIVE" sculpture, that provides a welcome photo op.

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The Foundry includes a selection of seating choices such as semi-private banquettes, clusters of upholstered lounge seating, and a variety of bar stools.

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This LED laden staircase features some of the buildings existing graffiti.

of when they think of Philly.” With a question of brotherly love, Noon put in a call for some sisterly advice. “My sister lives in New Orleans and works for an ad agency, so I had her ask the same question around the office, especially people who've never been to Philadelphia.”

Some of the responses were pretty predictable—lots of Rocky and cheesesteaks—but a lot of their ideas overlapped with EwingCole’s in-house observations, things like public art and a strong pride of place. One answer from both camps stood out: Philadelphia’s rough-edged, post-industrial feel. At the Fillmore’s new home, that required no assembly or fabrication.

The Ajax Metal Company opened its first of several buildings in 1893 in the working class riverfront neighborhood of Fishtown. From the complex, Ajax ran a number of operations including metal smelting and refining, a foundry with an electric furnace and air compressors, and warehousing. The manufacturing ceased in the 1950s, and after the warehouses closed in the late 20th Century, they became a haven for graffiti writers. In the case of the Fillmore, that wasn’t necessarily a bad thing.

“We left a lot of the patina on walls as-is, including some of the existing graffiti,” says Noon. “The building really carries a lot of the gritty industrial Philly vibe.”

The complex’s industrial bones proved its greatest asset. A smokestack running from the ground floor through the roof provides the strongest connection to the building’s history, with a raw, rusted steel finish and a flickering light inside that mimics a working furnace. And since the existing roof needed to be replaced and raised, much of the metal and timber were salvaged and reused.

The original smokestack used by the Ajax Metal Company was left in place to personify Philadelphia’s gritty industrial vibe.

On the outside of the building, the sign reading “The Ajax Metal Co.” has been restored in its original terra cotta pediment. With a perch prominently facing adjacent I-95, it’s complemented by a new sign reading “The Fillmore” and a marquee

announcing upcoming shows.

Back down on the street level, concertgoers arrive at the box office via a street that’s closed to automobiles during shows. They enter through a two-story, unconditioned brick and concrete area where a giant electric sculpture, a take on Robert Indiana’s “LOVE” which reads “LIVE” (as in live music), provides a warm welcome and a photo op.

This transitions into Ajax Hall, the venue’s central meeting place named for the old metal company. Ajax Hall bears the industrial ambiance through rough-hewn walls and salvaged fire doors incorporated into the hall’s central bar. In the front of the room, a fully-restored 1968 Volkswagen microbus painted in psychedelic colors with the likenesses of Jimi Hendrix and John Lennon opens up

as the Fillmore’s merchandise stand.

And serving as the room’s backdrop, its pièce de résistance: the “Fillmore Flag.” The 22-foot creation merges

“We left a lot of the patina on walls as-is, including some of the existing graffiti. The building really carries a lot of the gritty industrial Philly vibe.”

450 of the Fillmore’s classic concert posters, colored and wheatpasted in an arrangement to form the 13-star, Betsy Ross flag from colonial Philadelphia.

A steel staircase, accented by rotating LED lights, leads guests up to the mezzanine level with VIP seating for the main concert hall, and a large, separate bar. The Circle Bar, named for the room’s enormous chandelier of concentric circles—and a subtle reference to the portholes of the smokestack, most visible in this room—doubles as its own standalone performance space. Called the Foundry, another nod to the location’s industrial past, the room comfortably fits 400 when separated.

“The venue within a venue is a new concept Live Nation’s embraced,” Schmitt notes. “A younger band could come through the Foundry on their first tour, and a year or two later, come back and play the Fillmore’s main stage.”

Ajax Hall is the central meeting place of the Fillmore, offering attendees one of its six large bars.

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The “Fillmore Flag” is composed of 450 of the Fillmore’s classic concert posters arranged to form the 13-star Betsy Ross flag design.

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At the rear of the auditorium there is a 55-foot bar where fans can enjoy a range of local craft beers and gourmet menu while still watching the show.

The main stage, of course, is the main attraction. With a capacity of 2,500, it’s in the main auditorium that “The Fillmore” is most pronounced. Live Nation hired audio pros the Clair Brothers from nearby Manheim, PA, a team whose track record includes U2’s sound-intensive tour setup, to program the sound. The signature red floor-toceiling curtains reveal the remnants of graffiti on the walls. Open sightlines and added viewing platforms ensure that no attendee will suffer from obstructions.

Likewise, guests won’t miss the four crystal chandeliers overhead, especially with the reflection and refraction of stage lights. The stage lights also highlight the DayGlo murals that accent the bars on either side of the room. At the rear of the auditorium, a 55-foot bar provides ample room for concert-goers to sample their favorite beverage while

“We were charged with eliminating two of the biggest pet peeves at concerts: standing in line too long at a bar, and waiting for the bathroom. ” still being able to view the show. The backdrop to this bar features a custom wood slat-wall with six-foot tall extruded letters spelling “THE FILLMORE” and a die wall made of riveted plate steel that recalls the nearby Ben Franklin Bridge.

The bars, six total in the venue, go far beyond the typical Coors Light and

hot dog concession stand. Featuring a menu from chef Wolfgang Puck, a bar with local craft beers and small batch cocktails, the Fillmore’s bars could hang with any of the nearby bars that have fueled Fishtown’s artist renaissance.

They’re also easily accessible. “We were charged with eliminating two of the biggest pet peeves at concerts: standing in line too long at a bar, and waiting for the bathroom,” says Noon.

To that end, the six bars are distributed throughout the facility, with large bathrooms on each floor.

Six months in, the Fillmore Philadelphia has made its mark. National acts Slayer, Metric, A$AP Ferg, and Father John Misty have performed to sellout crowds.

So have hometown heroes Dr. Dog, G. Love and Special Sauce, and The Roots’ Questlove, whose DJ residency in the

Foundry has been a recurring smash hit.

His bandmate, rapper Black Thought, told American Way (American Airlines’ inflight magazine), “I really enjoy that venue. It’s fresh. It’s nicely designed. It has a really good sound. So on a free evening in Philly, I may go and catch a show at the Fillmore.”

Opening night, October 1st, 2015, came with its own sense of high praise.

International stars and local legends Daryl Hall and John Oates christened the Fillmore with a sellout inaugural concert. Lucky attendees went home with a souvenir from someone who knows a bit of the Fillmore story.

Bonnie Maclean, former wife of the late Bill Graham, designed lots of the Fillmore’s famous posters of the late 1960s before relocating to Bucks County, PA, where she’s kept an art

studio since 1972. For the occasion of a new, local Fillmore, she designed a collectible poster of the Hall & Oates gig, and was on hand to sign them opening night.

“For me to work on something in my backyard—on a place where I'll actually want to go—it's a great experience to have a hand in something that exists for fun,” says the interior designer Noon.

Schmitt, an architect known more for his work on stadiums, agrees. “Whether you're at a sporting event or a concert, it's about entertainment,” he says. In a music venue, the setting is perhaps even more tangible, where things like stage lights and sound are not only tactile, but crucial to the experience.

“We create the stage,” says Schmitt.

“The lighting, the look, the feel, the intimacy—this all contributes to the memory of the event.”

With a full schedule into the foreseeable future, the Fillmore is creating memories by the thousands.

“A lot of our younger architects and designers didn’t know we did this kind of work,” Schmitt says of his pleasantly surprised staff. “And now, this venue has become an institution, and it’s created a special connection to the city that we are very proud of.” 

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The main stage, with its signature crystal chandeliers, is the main attraction.

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PHILAIAD

DELPHIA! Julia Louis-Dreyfus? On paper, having an Emmy-winning actress as AIA Convention 2016’s opening day keynote speaker might seem a little strange.

However, when you consider the nontraditional characters she’s created— Elaine Benes from the NBC hit series Seinfeld and Selina Meyer from the HBO series Veep —perhaps she’s just the sort of risk-taker who best fits the bill. This month, when the architecture and design community come together for the industry’s most exciting annual event in Philadelphia, Louis-Dreyfus and EwingCole will help welcome them to a city that looks a little different than it did 16 years ago, the last time AIA came to town.

Over a dozen cranes dot the city’s growing skyline, while on the ground, the birthplace of America is experiencing a renaissance and vibrancy once thought lost.

Philadelphia’s rich architectural heritage continues adding layers, and with over 50 years of hometown experience, EwingCole has had a front row seat—not to mention a hand in the city’s shifting shape.

EwingCole's influence can be felt in projects ranging from the historic landmark Rohm & Haas and Citizens Bank Park to the Family Court and the Fillmore Philadelphia.

“Seeing a city that embraces both its history and its future potential will resonate with most architects,” says Bob McConnell, EwingCole’s Director of Architecture. “This is really a tremendous opportunity for Philadelphia. Architects from around the country will not only come to learn and expand their professional knowledge at the Convention Center, but to also experience the rich variety of urban spaces, parks, neighborhoods, and urban experiences Philadelphia has to offer.”

For the firm itself, there’s an inherent level of pride in representing the convention’s host city. “EwingCole has a lot of qualities that resonate with AIA audiences,” says Dan Meza, EwingCole architect. “We have a lot of history in the region, full-service abilities and long-lasting relationships, and the types of projects we do—healthcare, sports, academic, cultural, etc.—really reflect a cross-section of regional business and Philadelphia itself.”

For Sophie Buttiens, of the firm’s New York office, the convention presents a unique and personal experience.

“As a member of the EwingCole New York family, I am very excited to visit Philadelphia and attend my first AIA conference,” she says. “I look forward to reconnecting with the first city I called home and see the growth that's happened since I relocated to New York in 2012. I hear Philadelphia has become even more bike-friendly, Dilworth Park is completely reinvigorated, and my alma mater, Temple University, has a new campus library under construction.”

And as a member of EwingCole’s Healthcare team, Buttiens is delighted that one project in particular will have lots of new eyes on it. “As a national company with three locations, the convention is a great opportunity to promote the work we do all over the world,” she says. “[But] I look forward to showcasing St. Christopher's for its beautiful yet playful design.” 

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Philadelphia, playing host to this year’s AIA National Convention, provides attendees with a unique opportunity to experience the diverse architecture that is a foundation of the city’s atmosphere and culture. For visitors who are not familiar with the city of brotherly love, below is a map of some of our favorite local structures that you don’t want to miss.

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 PSFS Building 1200 Market Street

 T he Franklin Institute 222 N. 20th Street

 P avilion & Children’s Discovery Garden at Sister Cities Park 210 N. 18th Street

N orman Fisher House 197 East Mill Road, Hatboro, PA

 S ingh Center for Nanotechnology at University of Pennsylvania 3205 Walnut Street

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 The Divine Lorraine 699 N. Broad Street

 T he Hale Building 1326-1328 Chestnut Street

M erchants’ Exchange Building 143 S. 3rd Street

 Second Bank of the United States 420 Chestnut Street

 T he Willow Street Steam Generation Plant 9th & Willow Street

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ST. CHRISTOPHER’S PEDIATRIC CRITICAL CARE TOWER St. Christopher’s Center for the Urban Child 160 East Erie Avenue | Philadelphia, PA 19134 Thursday, May 19, 2:45–4:45 PM. With the opening of the Pediatric Critical Care Tower, the decidedly new look of St. Christopher’s Hospital for Children in North Philadelphia has a new focal point. The four-story, 135,000 square foot space provides a new main entrance for the campus, and it features both added security and streamlined check-in.

This latest expansion of the St. Chris campus builds on an award-winning relationship. Interior Design magazine awarded the hospital’s EwingColedesigned Center for the Urban Child its 2015 Best of Year for Small Healthcare.

Bob McConnell Director of Architecture

Collectively, the Tower and the Center represent an innovative design approach that not only tailors to the best clinical experience for children, but also represents the evolving landscape of healthcare design—how clinical processes inform the space, and not the other way around.

EwingCole architect Leslie Kipps will lead a tour of the St. Christopher’s facility that will highlight these processes and the factors behind them.

DREXEL UNIVERSITY’S DASKALAKIS ATHLETIC CENTER Drexel University Daskalakis Athletic Center 3301 Market Street | Philadelphia, PA 19104 Friday, May 20, 3:30–5:30 PM. Drexel University is dramatically remaking Philadelphia’s University City neighborhood. Emerging from a sleepy orange brick past, Drexel has recently added buildings by César Pelli, Robert A.M. Stern, and Erdy McHenry that put a 21st Century face on a powerhouse institution. But it’s a gym—a collaboration between Sasaki Associates and EwingCole—where one can best see Drexel’s transformation.

Dan Meza Architect

Situated on Philadelphia’s primary east-west axis, the 85,000 square foot expansion of the Daskalakis Athletic Center enlivened a dead but highly visible stretch of Market Street. With Sasaki as the design architect and interior designer and EwingCole as associate architect, as well as structural, mechanical, plumbing, electrical, and life safety engineers of record, the rec center opened in 2010 and provided Drexel with a well-used multipurpose gymnasium that meets critical sustainability measures.

EwingCole principal Don Jones will lead a tour of the Drexel rec center, with special focus on how it’s transformed the university campus, and a peek into its sustainable features like daylight controls that save roughly 50% on electricity and a 36,000-gallon rainwater harvesting system. 

Sophie Buttiens Architect