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<\/figure><\/li><\/ul><\/a><\/a><\/a><\/div><\/div><\/div>\n\n\n\nPHOTO CREDITS:<\/strong> Ron Blunt Photography<\/p>\n\n\n\n
GOODBYE 1970s<\/h4>\n\n\n\n
The 487-seat, 30,000-square-foot Terrace Theater is\nsmaller than other Kennedy Center theaters. However, it is one of the busier\nvenues and is known for its ability to accommodate experimental performances,\nfrom spoken word to live music. Opened in 1978, the Terrace Theater was a\nbicentennial gift to the center from Japan. By the early 2000s, the theater had\nbecome functionally obsolete with worn finishes, aging systems and inadequate\naccessibility in the steeply raked theater.<\/p>\n\n\n\n
The analysis of the existing space and redesign\nprocess began in 2010 and involved Building Information Modeling and physical models\nto reimagine the space and solve accessibility concerns. Because it was constructed\nin the middle 1970s, accessibility for disabled patrons was not on the designers\u2019\nradars. Observations by Kennedy Center leadership revealed patrons who were wheelchair-bound\nor had difficulty navigating the steep rake of the theater could not enjoy performances,\nwhich did not live up to the center\u2019s mission of inclusiveness.<\/p>\n\n\n\n
The renovated theater provides a new seating\nconfiguration that helps with sightlines and accessibility by expanding the\nrear of the theater, adding new cross-aisles and side boxes, as well as\ncreating a more gently sloped seating area at the front. More than twice the number\nof ADA-required accessible seats are now distributed throughout the theater.<\/p>\n\n\n\n
The accessibility improvements also offered the\nopportunity to enhance the hall\u2019s acoustical performance. After extensive analysis\nof the theater, the design team decided to alter the volume of the space by\nraising the ceiling level, which also improved the lighting positions. A new\ncirculation staircase and elevator were incorporated into areas that were\nformerly back-of-house spaces, creating a new lower lobby. The main lobby was\npushed back approximately 10 feet, which also altered the existing volume of\nspace.<\/p>\n\n\n\n
ACOUSTICAL COLLABORATION<\/h4>\n\n\n\n
Although generally regarded as having good acoustical\nproperties for certain performances, the Terrace Theater\u2019s acoustics were not\nalways optimal. The design team was required to maintain a high level of\nacoustical performance but altering fundamental aspects of the space introduced\nchallenges.<\/p>\n\n\n\n
In addition, during a previous renovation to the\nEisenhower Theater, which is located directly below the Terrace Theater, the design\nand construction team uncovered the original intention for the Terrace Theater,\nwhich added another challenge to the acoustics in the Terrace Theater.<\/p>\n\n\n\n
\u201cWhen Edward Durell Stone originally designed the\nfacility, the space where the Terrace Theater is located was intended to be a\ntheater in the round with a rotating stage,\u201d Mirvish says. \u201cSome of the\noriginal infrastructure was still in place\u2014all challenges the design team had\nto contend with to achieve the acoustical performance we desired.\u201d<\/p>\n\n\n\n
Some of the elements of the original design of the\nbuilding could not be altered. \u201cWe knew there was some acoustical transmission\nbetween the Eisenhower Theater and the Terrace Theater from the roof beams,\u201d\nMirvish adds. \u201cThe roof beams run continuous from the Terrace Theater space through\nthe fly tower of the Eisenhower Theater, which is on the same level as the\nTerrace Theater. The budget didn\u2019t allow for removal or separation of these\nitems.\u201d However, the team had made some acoustic isolation improvements in the\nprior renovation of the Eisenhower.<\/p>\n\n\n\n
To overcome many of the acoustical challenges, more\nthan 500 custom curved wood panels\u2014that symbolize soaring sound waves\u2014were\nplaced in the space with guidance from the design team and an acoustical\nconsultant. The panels help tune the acoustical properties of the space.<\/p>\n\n\n\n
\u201cAll the panels were created from around a dozen\ndifferent patterns,\u201d Mirvish explains. \u201cBy limiting the number of molds, we were\nable to decrease the cost and still provide the unique acoustical properties we\nneeded. The panels help us modulate reflection versus diffusion of the sound.\nIn the rear of the theater, we wanted more sound diffusion, so the curves of\nthe panels have greater amplitude; in the front, we wanted more direct\nreflection of the sound energy, so the panels become flatter at the forestage\narea. The wood panels give us the sound qualities we were looking for and\nbecame a part of the aesthetic of the design.\u201d<\/p>\n\n\n\n
Mirvish credits the success of this strategy to early\ncollaboration with the Kennedy Center, construction manager, acoustical\nconsultant, millworking contractor, as well as the design team\u2019s use of\ntechnology to model the acoustical properties of the space, which guided the\nwood panel design and placement. \u201cWe met with the contractor at the 35 percent\ndesign completion stage to begin discussions of the panels. Without the early collaboration,\nthe efficiencies of computer modeling and modern fabrication methods, the\ndesign could not have been built within the project budget,\u201d Mirvish states.\nThe center\u2019s own production crew installed the AV system and fabricated the\nchandeliers in the lobby.<\/p>\n\n\n\n
In addition, deployable fabric drapes and retractable\nbanners are acoustical solutions that also accommodate the many styles of performances\nin the Terrace Theater.<\/p>\n\n\n\n
EFFICIENCY IS KEY<\/h4>\n\n\n\n
Prior to the renovation, the Terrace Theater\u2019s lobby was\nmodest and lacked a strong connection to the theater. The design team opted to\ngut the lobby and transform it with curved walls and an open staircase. A new\nelevator to the lower level of the theater accommodates people with\ndisabilities, and the restrooms were reconfigured for better accessibility. The\nlobby is punctuated by a striking glass sculpture by famed American sculptor\nDale Chihuly.<\/p>\n\n\n\n
Although no specific green-building certification was\npursued, Quinn Evans implements sustainable features in all designs as a matter\nof best practices. Minneapolis-based Forest Stewardship Council-certified wood\nwas specified wherever possible. Energy-efficient LED lighting was implemented\nto reduce energy consumption and reduce heating gains. Specific areas have color-tunable\nlighting to enhance the mood of the space for performances. Energy efficiency\nalso was considered in the HVAC systems by reducing the intake of outside air by\nas much as 79 percent. The theater also has experienced a 46 percent reduction\nin water use despite a 25 percent increase in the number of water closets.<\/p>\n\n\n\n
The renovation also features upgrades to help the crew\noperate the space more efficiently. \u201cBecause this is a smaller venue, it\u2019s run\nby a small crew that had to run all over to operate the space during\nperformances,\u201d Mirvish remarks. The space now features one lighting position\nfrom a catwalk and box booms, reconfiguration of the technical booths, and a\nnew audiovisual system that has enhanced operations and made the theater more\nefficient and safer to operate by a small crew.<\/p>\n\n\n\n
The renovation, which was completed in 2018, brings a\nvisual richness to the theater that it lacked previously. \u201cThe theater finishes\nwere quite dated and cold and were in need of updating,\u201d Mirvish recalls. The new\ncolor palette of deep purple fabrics and vibrant red curtains gives the theater\na modern feel while being pleasant to the eye, and the medium-toned wood\nacoustical paneling brings a warmth that was missing.<\/p>\n\n\n\n
One of the most exciting aspects of the project for\nMirvish was seeing the finished product and having it perform the way the design\nteam intended. The project has received rave reviews from patrons and\nperformers who were familiar with the space prior to the renovation, as well as\nmedia outlets, like The<\/em> Washington Post <\/em>and Classical Voice North<\/em> America<\/em>. All are amazed at how wonderful\nthe space looks and sounds after the renovation.<\/p>\n\n\n\n
The renovation of the Terrace Theater breathes new\nlife into one of the busier venues at the John F. Kennedy Center for the Performing\nArts. With the accessibility modifications and a fresh visual appearance, it\nwill continue to be an exciting venue in which to see a performance for many\nyears to come.<\/p>\n\n\n\n
Retrofit\nTeam<\/h2>\n\n\n\n
METAMORPHOSIS AWARD WINNER and ARCHITECT: <\/strong>Quinn Evans<\/a>, Washington, D.C.<\/p>\n\n\n\n
GENERAL CONTRACTOR: <\/strong>Rand Construction Corp.<\/a>, Alexandria, Va.<\/p>\n\n\n\n
MEP ENGINEER: <\/strong>Mueller Associates Inc.<\/a>, Baltimore<\/p>\n\n\n\n
STRUCTURAL ENGINEER: <\/strong>McMullan & Associates Inc.<\/a>, Reston, <\/strong>Va.<\/p>\n\n\n\n
FIRE PROTECTION, LIFE SAFETY, CODE, SECURITY CONSULTANT: <\/strong>GHD Inc.<\/a>, Chantilly, Va.<\/p>\n\n\n\n
ACOUSTICAL CONSULTANT: <\/strong>JaffeHolden, Norwalk<\/a>, Conn.<\/p>\n\n\n\n
MILLWORKING\nCONTRACTOR:<\/strong> <\/strong>Architectural\nWoodwork Industries, <\/strong>Philadelphia, (215)\n546-6645<\/strong><\/p>\n\n\n\n
THEATER CONSULTANT: <\/strong>Schuler<\/a> <\/a><\/strong>Shook<\/a>, Chicago<\/p>\n\n\n\n
LIGHTING DESIGN: <\/strong>Gary Steffy Lighting Design Inc.<\/a>, Ann Arbor, Mich.<\/p>\n\n\n\n
COST ESTIMATING: <\/strong>Venue<\/a>, St. Petersburg, Fla.<\/p>\n\n\n\n
Materials<\/h2>\n\n\n\n
WOOD PANELS:<\/strong> <\/strong>Quartered Figured\nEnglish Sycamore on Veneer Core Plywood<\/p>\n\n\n\n
FIXED SEATING: <\/strong>Allegro by Irwin Seating Co.<\/a><\/p>\n\n\n\n
CUSTOM CARPET: <\/strong>Wool-nylon Blend Axminster from Bloomsburg Carpet<\/a><\/p>\n\n\n\n
HOUSE LIGHTING: <\/strong>Kurt Versen<\/a>; LF Illumination LLC<\/a>; Winona<\/a>; and ETC<\/a><\/p>\n\n\n\n
WALLCOVERING: <\/strong>Knoll<\/a><\/p>\n\n\n\n
STONE:<\/strong> <\/strong>Blanco Tulum\nGranite<\/p>\n\n\n\n
TILE: <\/strong>Capriccio by Ann Sacks<\/a><\/p>\n\n\n\n
CEILING: <\/strong>Custom Glass Fiber-reinforced Gypsum\/Plaster; Decoustics<\/a>; and Ecophon<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"
Since the John F. Kennedy Center for the Performing Arts opened in Washington, D.C., in 1971, it has been in a state of evolution. Designed by famed Architect Edward Durell Stone and constructed between 1964 and 1971, the project was the culmination of Eleanor Roosevelt\u2019s idea in the early 1930s to create a national cultural<\/p>\n","protected":false},"author":101,"featured_media":55878,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[32532,214],"tags":[622,3878,32582,32182,32584,32583],"ppma_author":[48799],"jetpack_publicize_connections":[],"yoast_head":"\n
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