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Home My WebLink AboutStaff Report 2805 City of Palo Alto (ID # 2805) City Council Staff Report Report Type: Informational Report Meeting Date: 4/30/2012 April 30, 2012 Page 1 of 1 (ID # 2805) Summary Title: Theater Feasibility Study and Aerial Site Map Title: Transmittal of June 2000 Palo Alto/ Stanford Performing Arts Initiative Programming and Financial Feasibility Study and Aerial Map of 27 University Ave and El Camino Park Site From: City Manager Lead Department: City Manager Pursuant to Council’s request on March 5, 2012, Staff is attaching the Palo Alto/Stanford University Performing Arts Initiative Program and Financial Feasibility Study prepared in 2000. In addition, Staff has prepared the attached 2006 site area maps including the adjacent El Camino Park and other surrounding areas providing context for the 27 University Project staff is currently exploring. Attachments: : Attachment A: Feasibility StudyTheaterJune2000 (PDF) : Attachment B: 2006 Aerial Site Map (PDF) Prepared By: Steve Emslie, Deputy City Manager Department Head: James Keene, City Manager City Manager Approval: ____________________________________ James Keene, City Manager Packet Pg. 7 THE PALO ALTO / STANFORD UNIVERSITY PERFORMIN G ARTS INITIATIVE PROGRAMMING AND FINANCIAL FEASIBLITY STUDY CONFIDENTIAL DRAFT Submitted to: The City of Palo Atto and Stanford University June 20, 2000 Prepared by: Auerbach + Associates, Inc. -Theatre Consultants B Squared Consutting -Arts Management Consuttants Donnell Consultants, Inc. -Theatre Cost Consuttants. Kirkegaard Associates -Acoustics Consuttants a Packet Pg. 8 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) PALO ALTO / STANFORD UNIVERSITY PERFORMING ARTS INITIATIVE TABLE OF CONTENTS I. INTRODUCTION 2. EXECUTIVE SUMMARY 3. NEEDS ASSESSMENT 4. RECOMMENDED FACILITIES 5. SITE ANALYSIS 6. PROGRAM OF SPACES 7. RELEASE SPACES 8. CONSTRUCTION BUDGET 9. OPERATIONS AND FINANCE A. Govemance and Management B. Utilization Assessment C. Financial Forecasting D. Funding Solutions 10. IMPLEMENTATION I I. APPENDIX Copyright This report shall not be copied, disclosed, distributed, in whole or in part, by or to any party, or used by any party in connection with any project other than the specific project for which it has been prepared without the express permission of the authors; Auerbach + Associates, Inc., B Squared Consultants, Donnell Consultants and Kirkegaard Associates. a Packet Pg. 9 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) INTRODUCTION This study for the City of Palo Alto and Stanford University is the result of a collaborative effort amongst a team of professionals and client participants conducted over an eight week period. Aueribach + Associates, Theatre Consultants, was engaged as the prime consultant for this project together with B squared consulting, Arts Management Consultants; Donnell Consultants Inc" Cost Consultants and Kirkegaard Associates, Acoustics Consultants. This team, having worked together over many years, brought together first hand experience that augmented the infomnation gathered from over 70 city and university participants to produce this study. The study presents a program of spaces in support of a program of functions and events together with an operating pro-fomna that detemnines the Palo Alto I Stanford University Performing Arrs Initiative. Auerbach + Associates and their colleagues have conducted this study independent of bias and infiuence taking all data at face value and making professional judgement as to our recommendations. The speed at which this study was conducted required close collaboration with a Management Committee representing the primary end users of the project. This committee was exceptionally responsive and infomnative. We sincerely thank them for their energy and effort. It is the opinion of the Study Team that the resultant program and feasibility study defines a project of complex proportions that is appropriate and feasible to pursue. To this end we hereby recommend the Palo Alto I Stanford University Performing Arts Initiative. a Packet Pg. 10 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) THE STUDY TEAM Auerbach + Associates. Inc. Theatre Consultant S. Leonard Auerbach. ASTC President Principal in Charge Project Director Steve Pollock. ASTC Vice President Programmer. editor Mike McMackin. ASTC Senior Associate Project Manager. programmer B squared consulting Arts Management Consultants Steven Bronfenbrenner Arts Management Pro-fomna Elena Bales Arts Management Donnell Consultants Inc. Theatre Cost Consultants Stewart Donnell. FRICS Principal In Charge Atholl Joffe. BSC Program Analysis Construction Budget Kirkegaard Associates Acoustics Consultants Lawrence Kirkegaard . Hon AlA Principal Acoustics Consultant THE MANAGEMENT COMMITTEE City of Palo Alto Leon Kaplan Director of Arts and Culture Richard James Deputy Director Community Services Stanford University David J. Nueman. FAIA University Architect Associate Vice Provost for Planning Edwin T. Callahan Chief Administrative Officer School of Humanities and Sciences Lois Wagner Director of Stanford Events TheatreWorks Randy Adams Executive Director STANFORD ASSOCIATED CONSULTANTS Raker Mathieson Ansbach Programming and Planning Claire Ansbach. IIDA. CID Principal Programming SWA Group John L. Wong Principal Site Planning a Packet Pg. 11 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Palo Alto/Stanford University Performing Arts Initiative -Interviewee List Stanford University Keith Baker -Assoc. Dean School of Humanities & Sciences George Barth Music Department Leonie Batkin -Stanford Management Department Dean Mac Beasley -School of Humanities and Sciences Cathy Blake -Department of Architecture and Planning Sgt. Nick Bruno -Stanford Police Edwin T. Callahan-Chief Administrative Office -School of Humanities and Sciences· Chris Chaffe -Music Department. CCRMA Mario Champagne. Professor and Chairman -Department of Music Chris R. Christofferson. Assistant Vice Provost for Facilities Albert Cohen -Music Department Jay Cross. Facilities Coordinator -School of Humanities and Sciences Mark Dalrymple -Music Department Larry Davidson. Manager -Event and Labor Services Ron Davies -Drama Department Margaret Ann Fidler. Assoc. Vice Provost for Administration -Office of Student Affairs Suzanne Field -Music Department Diane Franke -Dance Department John Gliechman -Stanford Parking & Transportation Vera Haugh -School of Humanities & Sciences. Human Resources Steve Hinton -Chair. Music Department Larry Horton -Director of Govemment and Community Relations Nanci Howe. Assistant Dean of Students -Director of Student Activities Tracy L. Ingebrigsten. Environmental Quality Engineer -Facilities Operations/Utilities Division Jay Kadis -Music Department. CCRMA Marty Laporte -Stanford Utilities Susan Law. Associate Program Manager -Parking and Transportation Services j. Karlo Lemon -Stanford Symphony William Mahrt -Music Department David Neuman -University Architect" Laura Osbom -Music Department Michael F. Ramsaur -Professor of Lighting Design and Chairman -Department of Drama Steve Sanyo-Music Department Bert Stubbs -Assistant Director, Engineering -Communication and Networking Services Jeff Wachtel -Provost's Office Lois Wagner, Director of Lively Arts and Stanford Events" Fred Weldy -Music Department Palo Alto Cultural Organizations Randy Adams. Managing Director -TheatreWorks" Peter Bliznick. Executive Director -Palo Alto Players Linda Craighead. Director -Palo Alto Art Center Rebecca Jaqua -Palo Alto Chamber Orchestra Tance Johnson. DanceVisions Robert Kelly. Artistic Director -TheatreWorks Diane Krauss -Zohco Dance Company Steve Mannshardt. Technical Director -TheatreWorks a Packet Pg. 12 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Kay Remsen. Music Coordinator -Palo Alto Unified School District David Sloss. Director -West Bay Opera William Whrtson -Palo Alto Chamber Orchestra Son Francisco Ballet Debra Bernard. Assistant to the Artistic Director Helgi Tomasson. Artistic Director Son Francisco Symphony James L. Caroll. Stage Manager Janice Glenn. Ticket Services Director Ron Goldman. Director of Education John Keiser. General Manager Nancy Mims. Director of Human Resources Robert Reed. Assistant Artistic Administrator Lori Richardson. Associate Director of Development Deena soulon. Director of Finance City of Polo Alto Ashok Aggarvvald. Director of Transportation Sandy Eakins. Palo Alto City Council Gary Fazzino. Palo Alto City Council Ed Gauff. Director Department of City Planning William Fellman. Real Property Division Richard James. Deputy Director of Community Services· Leon Kaplan. Director of Arts and Culture* Kent Steffens. Assistant Director of Engineering Bill Thielman. Department of City Planning Paul Zilsem. City Attorney's Office ·Member of the Management Team Please excuse any omissions or enrors in title or description. The Study Team has made every effort to record the names and positions of the participants. We thank everyone for their cooperation and willingness to participate. a Packet Pg. 13 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) EXECUTIVE SUMMARY The Study Team for the Palo Alto I Stanford University Performing Arts Initiative is pleased to present this program and feasibility study for proposed perfonming arts facilities. The purpose of the study is to detenmine the feasibility of a project. cooperative in nature. and specific in purpose to enrich the cultural opportunities for the immediate Palo Alto and Stanford University communities as well the region. Our findings are based on an assessment of campus and community perfonming arts entities both academic and professional. We first completed a Needs Analysis based on the objectives and desires identified by the leadership of various academic and civic organizations. A direction for this project was previously established by a cursory programming effort initiated by a joint understanding among certain Palo Alto and Stanford University leaders. Our findings point toward a feasible and compelling undertaking. The Study Team has worked independently and positively to develop recommendations that we feel are well founded and based on practical experience. infonmation made available by the study participants and an understanding of the potential for such a project in this region. More than seventy individuals participated in interviews and provided vital infonmation. We were asked to verify several early assumptions. Initial project concepts called for a major unified perfonming arts complex on a single site. serving numerous diverse constituencies. There was an intent to satisfy academic needs. to enrich culture on campus and the community. to meet the needs for facilities to support a professional theatre company. to provide an altemate venue for the San Francisco Symphony and to satisfy other dreams that were put forth. Some of these initial cues have proven to be extremely viable and essential. while others have not. The thought of a mega complex has not proven to be feasible for several reasons. Most significantly. there is no single site available that is able to accommodate the required facilities. In addition. the individual functions require clearly defined management of what prove to be discrete and incompatible operations. This has led us to recommend a tri-part structure of facilities and management on separate sites that can be collectively tenmed the Palo Alto I Stanford University Perfonming Arts Initiative. FINDINGS The following statements summarize our findings and describe a picture of what the Study Team recommends as a feasible program and operating structure. • The Palo Alto I Stanford University Perfonming Arts Initiative presents a wonderful opportunity to achieve an enriched civic and campus cultural environment and to create a regional center for perfonming arts that serves the greater community. • Palo Alto has a rich cultural history. strong perfonming arts institutions in need of facilities. a disceming audience. and a regional location central to a significant population base. major established institutions and transportation systems. These elements contribute to both defining the need for new and enhanced cultural facilities and to creating a strong sense of confidence that the proposed cultural initiatives will achieve success. • The pursuit ofthis project is entirely feasible. A successful project would be supported by strategic capital. endowment and ongoing annual fundraising efforts and the development of a tri-part structure for facility and program management. Executive Summary Page I a Packet Pg. 14 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) • This project can be a catalyst for transfonrning the City of Palo Alto's traditional significant level of support for the arts to an even higher level by creating a home for TheatreWorks and making existing venues more accessible to other indigenous organizations. • TheatreWorks has eamed a fine reputation and has demonstrated its professional prominence to the point of warranting a dedicated resident facility. This is commensurate with other evolving and well established regional theatres throughout the country. • The nature of the perfonrning arts programs that the Study Team detenrnined to be feasible dictates three independent facilities and management structures. One will be purely academic and under the purview of the School ofthe Humanities and Sciences. A second can be a catalyst for bringing first class perfonrning arts presentations to the campus and community, including professional companies such as the San Francisco Symphony. This large-scale perfonrning arts facility demands a much broader management and operating entity than what is needed to support the existing programs of Stanford Lively Arts and Stanford Events. This enhanced structure must include services to both the professional and the academic arts communities. The third facility will reflect Palo Alto's commitment to support and enhance local professional and community based organizations, such as TheatreWorks. • The results of our findings suit a tri-part organization and conveniently relate to three specific buildings and sites. Site One is appropriate for major perfonrning arts venues at a central campus location. Site Two is a community based location closely related to the "main gate" and truly connected to the City of Palo Alto. The third facility is academically based focusing on meeting the needs of faculty and student programs. • The Study Team's assessment of facility utilization suggests that each proposed venue will be active and vibrant. Numerous opportunities exist for building beneficial connections between City and University programs through shared use of venues by perfonrners and audiences. • The assessment of the economic feasibility of ongoing programmatic and facility operations is based on the Study Team's detailed analysis of various elements of revenues and expenses. The financial operation of each of the three venues is forecast separately, thereby creating discrete business plans for each component ofthe Perfonrning Arts Initiative. This report includes detailed documentation of the financial analysis including identification of annual operating budgets and funding requirements. • Numerous opportunities for program growth and development were identified through the study process. First class perfonrnance and teaching facilities will have an immediate and lasting impact on the quality and scope of existing programs. The Study Team developed recommendations for identifying and analyzing other programmatic opportunities, the pursuit of which will further enhance the project's utilization rates and financial resources. • Both the "needs" and "wishes" relating to each project component have been weighed carefully. We have respected the interests of each entity we studied. In some cases we find it appropriate to meet only a portion of the "wish list" offered by an organization or academic department. For other groups, we have actually recommended more than the requested facilities. We believe the program we have presented is "balanced". Executive Summary Page 2 a Packet Pg. 15 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) CONCEPTS The following three concepts must be viewed as a singular endeavor that meets identified and critical needs in four contexts -Regional Cultural, Civic and Academic. The Stanford Perfomnin2 Arts Center The Stanford Perfomning Arts Center is conceived to provide the University and the local and regional communities with major facilities for the presentation of both a wide variety of professionally oriented events and perfomnances by accomplished University performing groups. • The Stanford Perfomning Arts Center would be comprised of three performance spaces. The primary space would be an 1,800 seat multi-purpose Music Theatre with first-class concert acoustics. This space would accommodate opera, ballet. lyric theatre and popular and symphonic music. The mid-sized space would be a 900 seat committed Concert Hall dedicated to fine music with conversion capabilities for dance and a variety of non-music presentations. The space that is the key to "unlocking the schedule" is a Forum Rehearsal Hall capable of supporting a variety of uses from orchestra and visiting company rehearsals to intimate new music performances, multi-media presentations and social functions. Full administrative offices for the managing organization and essential performance support facilities would be provided in the venue. • Public spaces of high quality yet non-elitist in character would carefully integrate this facility with the campus architecture. • This venue may be viewed as an enterprise unit at Stanford University. As such, it will be professionally managed with a strong component of carefully integrated academic access, particularly to the Concert Hall and the Forum IRehearsal Hall. • There would be no resident performing groups in this facility. It would function as a touring facility that is suitably equipped for campus produced events. • This entire facility most appropriately would be located at the intersection of Lasuen and Campus Loop Drives adjacent to the Alumni Center with an open plaza and a major entry axis to Museum Way. • At this location the Stanford Performing Arts Center would serve as the prime icon for the performing arts at Stanford University. The Palo Alto Theatre Center The Palo Alto Theatre Center is conceived around the concept of a resident professional theatre company. The appropriate proposed prime resident is TheatreWorks. Off-season access by other community based arts groups is essential to properly serve the broader Palo Alto arts community. • The Palo Alto Theatre Center would include an 800 seat proscenium theatre equipped with a high level oftechnical support. A 300 seat experimental studio theatre would also be included. • Full performance support facilities would be provided with basic administrative offices. These would include dressing and wamn-up rooms as well as rehearsal spaces and storage facilities Executive Summary Page 3 a Packet Pg. 16 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) • No production scenery or costume construction facilities are envisioned to be on this site. • The Palo Alto Theatre Center would be placed on Site Two on EI Camino Real. • The Palo Alto Theatre Center would be managed by TheatreWorks. The D@!Tla-Dance Center The Drama-Dance Center is envisioned to be the prime teaching and periorming venue supporting the drama and dance curriculum. This complex of spaces is comprised of the adaptive reuse of Roble Gym combined with appended new periormance and production facilities. The academic demand, together with a limited requirement for access to the major spaces by community organizations, fully justifies this part of the project as a central element of the Periorming Arts Initiative. • Roble Gym would be converted to house several dance studios, one being a recital studio. In addition it would be possible to house all faculty offices, seminar and classrooms, the dance dressing facilities and the costume production spaces in the facility • The new building would house the Drama-Dance Theatre, the Studio Theatre and the Periormance Lab. • The facility would include teaching spaces, acting classrooms and rehearsal spaces. • Full scenic production facilities, including scenery construction and paint shops, would service the theatres directly and also offer ideal teaching resources, • The Drama and Dance Departments would manage these spaces under the auspices of the School of the Humanities and Sciences. RELEASE SPACES With the realization ofthe proposed new facilities there will be certain spaces currently utilized by various periorming groups that will become available for use by other users. Modest renovations may be required to accommodate new and expanded uses. These spaces are considered vital to the overall health and success ofthe Periorming Arts Initiative. • The utilization calendar for Memorial Auditorium is likely to be almost completely released for new uses, with the exception of the radio station. Memorial Auditorium is seen as the prime venue for a major number of student activities periormance groups. This includes housing certain organization's offices and support activities in the building. • The roadblock to the full utilization of Memorial Auditorium is the lack acoustical isolation between the Auditorium and the Little Theatre. A realistic and relatively low cost solution is to use the stage as a new small rehearsal facility by building a box within a box construction. This rehearsal room would serve Student Activities groups quite well. The audience area of the Little Theatre could be easily converted into a multi media lecture hall with 250 seats. Executive Summary Page 4 a Packet Pg. 17 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) • Dinkelspiel AudH:orium is not considered a release space even though many ofthe rehearsals and some perfonmance activities scheduled in the venue will likely relocate to the Stanford Perfonming Arts Center. Continued and expanded use by the Music Department and Student Activities would fill up Dinkelspiel Auditorium's schedule. The quality ofthe space would require renovation to continue to function properly. • The Palo Alto Lucie Stem Community Theatre would become available to other community perfonmance groups with the departure ofTheatreWorks. The Lucie Stern Theatre has long needed significant upgrades that should be pursued aggressively in the context ofthis project COST OF CONSTRUCTION The cost of construction is based on the program of spaces for each of the venues described above. These costs are described on a per site basis and collectively as an overall cost. The costs are considered to be complete with the exclusion of the cost of land acquisition, the cost of integration with utility systems, unidentified University and City overhead charges, and funding and financing costs often associated with such projects. Project Gross Area The total programmed areas for all three sites are: The Stanford Perfonming Arts Center Programmed areas Non-Programmed areas TOTAL The Palo Alto Theatre Center Drama-Dance Center Executive Summary Programmed areas Non-programmed areas TOTAL Programmed areas renovation Non-programmed areas renovation TOTAL Renovation Programmed areas/new const. Non-programmed areas/new const. TOTAL New Construction 131,175 gsf 39,650 gsf 170,825 gsf 67,135 gsf 29,950 gsf 97,185 gsf 32.315 gsf 7,700 gsf 40,015 gsf 52.195 gsf 26,200 gsf 78,995 gsf Page 5 a Packet Pg. 18 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Project Construction Cost Donnell Consultants Incorporated (DCI). as a member of the Auerbach + Associates Inc.'s project team. contributes the Program Analysis and Capital Cost Budget as a working document for consideration by the Client and Team. It includes several assumptions. all of which DCI has attempted to describe herein. for discussion with and possible modification by the Client and Team. DCI advises. following a careful analysis and pricing ofthe Auerbach + Associates Inc.'s program. coupled with Stanford/Palo Alto area construction market cost research. that the proposed University facilities program can be achieved for a Bid Cost of $101.650.000 for the Stanford Perfomning Arts Center and a Bid Cost of $41.800.000 for the Dance-Drama Center. These are projected in November 2002 bid dollars. all within certain conditions and criteria. The Palo Alto Theatre Center program can be achieved for a Construction Bid Cost of $45.850.000. all within certain conditions and criteria as documented. These budgets are exclusive of "soft costs", Executive Summary Page 6 a Packet Pg. 19 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) NEEDS ASSESSMENT INTRODUCTION This Needs Assessment is based on a review of local and regional performing arts organizations, the Stanford academic curriculum, student activities and perceived use potential of existing and proposed facilities. The Study Team believes that specific needs associated with existing performance activities programming and the needs associated with Stanford's academic programs have been clearly stated. These needs, if met, suggest the development of a new and expanded role for the performing arts in the Stanford and Palo Alto regional community. Implementation and planning of facilities meeting these needs would be the basis of a mission for a significant capital campaign. This is the "Initiative" and will require confirmation by the City of Palo Alto and Stanford University. The complexity of this task cannot be overestimated. Our findings are based upon program assessment sessions with campus entities, as well as an understanding of the regional, local and campus market for the performing arts that stems from over 25 years work in the Bay Area This understanding also acknowledges the academic mission of Stanford and the role of the arts on campus with respect to education and enrichment in a vital. liberal arts context. The Study Team believes that the fulfillment ofthe needs that we have identified and the facilities that serve these requirements may be met in a combination of venues that are academically appropriate, sensitive to the campus context, and inviting to the community at large. These facilities would be on several strategic sites. The flagship venue -the Stanford Performing Arts Center should be a significant first class. regional destination for performing arts audiences. Not all facilities should be sited on the campus proper. A venue in Palo Alto, with a close connection to Stanford, could be a bridge for the arts between university campus and the off campus Palo Alto community. Conceptually, the broad context offacility development establishing a performing arts fabric within the two linked communities should be strong. Palo Alto and Stanford. as a regional center, offer opportunities for the performing arts that are as yet unmet Existing performing arts institutions and programming entities should be accommodated by a diversity of facilities that the Study Team holds to be viable. A rich history in the arts, strong performing arts institutions in need offacilities, a disceming audience demographic, and a regional location central to major established institutions and transportation infrastructure make a strong case statement. All are in place. These elements substantiate the programming and planning of new performing arts facilities. The economic and social benefits ofthese facilities can substantial to their community. Stanford and Palo Alto provide fertile soil to support this synergy and successful development. PALO ALTO COMMUNITY PERFORMING ARTS The City of Palo Alto has a unique history of supporting the arts with the ultimate development of the Department of Cultural Affairs. The City of Palo Alto has limited facilities for the performing Needs Assessment page I a Packet Pg. 20 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) arts. Cultural organizations are challenged to gain access to performing venues, and the theatres that are available are often less than adequate for the types of productions offered by most groups. Cunrently there are several local performing arts groups including the Palo Alto Children's Theatre, The West Bay Opera, TheatreWorKs and Palo Alto Players vying for space, The main venue at the Lucie Stem Theatre is used solely by Theatre Works, the Palo Alto Players and West Bay Opera, In combination, these three groups occupy the theatre on a year-round basis, There is little if any opportunity for other organizations to gain access. Given the density of the theatre's schedule, TheatreWorKs is only able to offer two of its annual productions in this venue. The balance ofTheatreWorks season is offered at the Mountain View Performing Arts Center. The Children's Theatre benefits from the dedicated use of a venue at the Lucie Stem facility as well as from an outdoor performance space. This venue has the feel of a well-used, and appreciated, community facility. While significant upgrades may be desirable, the cunrent condition of the theatre meets the needs of the ongoing Children's Theatre program. The Palo Alto Players, West Bay Opera and the Children's Theatre maintain significant set construction facilities and nelated support space at the Lucie Stem facility. These shared spaces are in continual use as the organizations prepare for futune productions and support cunrent performance activities. Of particular note is the fact that the four primary users of the facilities at Lucie Stem Theatne (TheatneWorKs, Palo Alto Players, West Bay Opera and the Childnen's Theatne) pay no nent for the use of the venue. The City of Palo Alto maintains the facilities. User groups pay only limited fees for facility personnel and other such items. While the Lucie Stem Theatre has served the community well for the past fifty years, it does not provide the technical facilities and audience amenities demanded by today's production standands and the desires oftoday's audiences. While technical systems are maintained adequately, budget neductions in recent years have led to the development of defenred maintenance requirements. The venues have an overall feeling of being somewhat neglected and rundown. The Palo Alto Community Arts Center provides significant nesources for the performing and visual arts. This large and diverse facility offers teaching programs, exhibitions and a small performance space housed in the former City Council chambers. The Center is a vibrant center serving youth and adults on a year-round basis, The high level of demand for existing facilities creates an environment whene emerging and growing organizations are unable to thrive. In such an environment, there is little or no opportunity to create new programs that involve community artists and audiences, Given these conditions, the Swdy Team concludes that the City of Palo Alto would benefrt from the cneation of new performing arts facilities and from an ongoing investment in maintaining and improving existing venues. A first priority is to nelieve the scheduling limitations of the Lucie Stem Theatne. If this venue had more event capacity, new groups may gain access to performance opportunities and the cultural community can begin to grow in new directions. An equally important goal is to support the community's professional performing arts resources, Needs Assessment page 2 a Packet Pg. 21 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) TheatreWorks has grown to become a high quality and widely recognized regional theatre company. Given venue restrictions, however, TheatreWorks suffers from having to split its programming between the Lucie Stem Theatre and the Mountain View Performing Arts Center. If TheatreWorks had access to a dedicated facility where it could develop and expand its programming, the Company could both improve its artistic product and gain operational efficiencies. A commitment to improving and maintaining Lucie Stem Theatre and the Community Arts Center is also required. The creation of new venues in Palo Alto and on the Stanford University campus may cause existing facilities to seem less attractive to performing organizations and audiences alike. A modest investment in the public amenities and technical resources of these facilities can go a long way toward assuring their continued attractiveness and vitality. The Study Team also surveyed the performing arts facilities available to the Palo Alto Public Schools. The Palo Alto School District places a strong emphasis on the performing and visual arts as a vital component of public education. Palo Alto is the only public school district in Califomia with a Music Coordinator. This individual serves as both an advocate for arts programming and a coordinator for cunriculum development and facility use. Despite this high level of commitment. the District has only limited performance facilities. Few schools have anything more than a multi purpose room or gymnasium available for performance activities. Access to additional and performance space and support facilities would be of great value to District programs. Of particular relevance could be access to the Lucie Stem Theatre and other existing venues to fill the use capacity created by the transfer of existing programs to new facilities. Considering the overtaxed facilities at Lucie Stem, as well as the more pressing facility needs of the region's professional performing arts groups, it would seem that a new community based performance venue would be most appropriate in Palo Alto. By accommodating the schedule intensive needs of professional groups like TheotreWorks, the City's support of non-professional and emerging performing arts groups at Lucie Stem and other local venues would be enhanced by increased scheduling opportunities. (refer to section: ReJease Space) THEA TREWORKS TheatreWorks has established itself as a first rate professional regional theatre company. Over the past twenty years, it has evolved as many other regional theatres have across the United States. TheatreWorks started in meager surroundings and established itself in the Lucie Stem Theatre to the extent that it could, given the limited opportunity for residence on site and the associated constraints of a limited performance calendar. Although Theatre Works now has its own production and administrative space oLJtside of Palo Alto, it is still a visitor wherever it performs. A vagabond for performance facilities, it now plays only two events in Lucie Stem and eight or more a t the Mountain View Center for the Performing Arts. We have seen other theatre companies throughoLJt the country develop similarly to TheatreWorks. The Berkeley Repertory theatre, the San Jose Rep, the Arena Stage in Washington, the Alley Theatre in Houston, the Trinity Square Repertory Company in Providence, the Long Wharf Theatre in New Haven -all have all developed from shoestring operations in makeshift venues. Each earned a reputation for excellence based on the company's consistent good work. Each ultimately have acquired their own resident facilities. Needs Assessment page 3 a Packet Pg. 22 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Theat!eWorks has arrived at the point where it needs a home. This would allow the company to direct its energy toward stabilizing a local base, attaining a regularized level of production excellence and lending notoriety to the Palo Alto and Stanford community that has helped the company grow and prosper at this significant time in the company's development CULTURE ON CAMPUS "Culture on campus" should not be separated from the concept of "culture in the community". While Stanford is a beautifully self-contained institution for higher leaming and research, and while most services essential to student life are available on campus, the City of Palo and the adjacency of the city to the campus "front door" presents a unique opportunity for mutual services. In the broad view of Palo Alto and the Stanford campus, most performing arts facilities are situated on the Stanford campus. The Lucie Stem facilities are the only primary local performance venues in Palo Alto proper. Programming of touring performing arts events and attractions within the regional community is primarily limited to the campus. This is largely achieved through the presenting efforts of Stanford Lively Arts and Stanford Events. As with most institutions, outside performing arts program offerings are limited to the extent that the university's existing facilities can support them. This is a function of both physical limitations as well as the exigencies of coordination with academic programs that utilize space that might be used for booked events. Culture on campus goes far beyond that ofthe professional presentations offered in Memorial Auditorium. The campus' appetite for cultural offerings is whetted with presentations by Stanford Music, Drama and Dance Departments, as well as dozens of Student Activities organizations. The range ofthese groups is broad, including social and politically based groups, as well as long established campus performing arts institutions like the Savoyards and Rams Head. Performance at Stanford, while not pre-or para-professional in nature, is an innate form of public expression on campus. It is not limited to groups or academic departments which are nominally "arts oriented". There is a richness of activity vying for facilities to perform in. The limited availability of venues for Lively Arts' professional presentations of community and departmental interest are lost opportunity for campus and local audiences. But the problem goes beyond limited access to existing overbooked facilities. The problem is that existing campus facilities are less than adequate in contemporary terms, and are insufficient to attract the quality of performance groups that Stanford and its regional audiences could support. Stanford's flagship venue -Memorial Auditorium -despite recent cosmetic and ADA improvements, cannot adequately support contemporary touring performing arts presentations. The irony is that the venue has considerable space onstage, but the proximity of the stage to Drama Department shops, theatre and backstage support facilities presents logistical problems for non-departmental users. Facilities cannot be used concurrently. This translates into a limited outside event booking calendar hampered by academic use. Existing conditions at Memorial Auditorium could only be improved with the potential move of the Drama Department to other facilities. Without solving these utilization logistics, the potential benefits of any future renovation to Memorial Auditorium would be questionable. Needs Assessment page 4 a Packet Pg. 23 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Stanford's other primary performance venue -Dinkelspiel Auditorium -is valuable to the campus only because of its size and its direct link to the Braun Music Center. Even so. Dinkelspiel is poorly suited for music performance. Its physical attributes and acoustical character make it an unfortunate performance space, and yet, it serves a multitude of music events -often to the detriment of the individual presentation. Most of the music performances presented at Dinkelspiel would be better served in a proper concert hall, leaving the existing auditorium for other less demanding public assembly functions. Historically, events at Stanford have for the most part, been introspective, focusing on the immediate campus community as its market. The Palo Alto community has been invited, but without significant outreach. The Study Team believes that appropriate, new performing arts facilities that are less introspective, featuring quality professional performing arts events and unique programming of interest would be welcomed by the community at large. A campus-based performing arts center's outreach to the greater Palo Alto community would only enhance the image and stature of the University in the region. This paradigm already exists in a variety of other levels at Stanford. And in a liberal arts setting at one of the nation's leading institution of higher leaming, should not the arts be a logical venue for community interface with the campus? Regionalism, with Stanford and Palo Alto at the hub, would make for a thriving performing arts center environment -and a center that welcomes students and area residents in a facility that they can call their own. STANFORD LIVELY ARTS Stanford Lively Arts is the primary on-campus presenting organization that brings performing arts activities to Stanford. Lively Arts presents in Memorial Auditorium, Dinkelspeil, Memorial Church and other campus spaces that may be available from time to time. The Lively Arts program is hamstrung by a lack of appropriate and available facilities, as noted earlier in this document. In reviewing the events that are produced by Lively Arts, it is also clear that there a tremendous number of " missed opportunities" that may be attributed to the lack of available facilities on campus. The Study Team believes that Stanford Lively Arts may be the logical choice as primary presenter for the proposed new performing arts facilities on campus. Lively Arts is well-established and strongly represented by Lois Wagner in the performing arts industry. The reputation of this institution should help to attract the type of quality events that will bring regional audiences -and success -to the Performing Arts Center. TOURING ORGANIZATIONS The success of the Performing Arts Center will rely on the quality of presentations that it attracts and successfully markets to its audiences. Notwithstanding the effectiveness of the Lively Arts program, identifying the Center as an alternate "away from home" venue for a major performing arts institution would be an invaluable marketing asset. While the reputation of a hall may be founded on its architectural and technical qualities, a hall's broader repute is a function of the Needs Assessment page 5 a Packet Pg. 24 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) success and the image of its programming and the association it makes with leading arts groups that play there. The San Francisco Symphony's interest in access to the Performing Arts Center and a venue of an appropriate size and quality to regularly perform "run out" concerts in the region is a great benefit The current indication that the Symphony could fulfi ll eight to ten non-weekend dates a year is especially beneficial. It would be a distinct asset to the community and it would enhance the perception of the Center. Yet, this modest level of utilization would have little impact on the primary scheduling of the venue. This type of relationship should be explored with other prominent performing arts institutions in the Bay Area. There may be other significant institutions with an interest in Stanford that could further enhance the institution's stature in a relationship similar to that modeled for the Symphony. Festival events during the year in addition to Stanford's Jazz Workshop are both possible and desirable. These programming opportunities are regularly offered at leading performing arts centers -on and off campus -during the year, especially over the summer months when modified academic schedules prevail. Such events offer significant benefits, bringing professional activity and recognition to the campus associated with or adjunct to existing academic programs. Yet. the limited term of Festival programming moderates the impact of professional activity on campus avoiding the disruption that might otherwise occur to liberal arts programs. From the perspective of Stanford's academic departments, the academic link could be most effective. A playwriting festival or summer institute could easily be held in connection with the Drama and English Departments. A dance festival could bring local and nationally recognized choreographers and companies, with performance programming accompanied by master classes and workshops for students. In the broadest perspective, festival programming could be a great asset to the campus and the greater Palo Alto community, increasing campus visitation, local tourism, increased revenue spin-off and an enhanced national profile for Stanford's academic departments that may benefrt from linkages with festival themes. STANFORD EVENTS Stanford Events is the adjunct to Stanford Lively Arts that brings lectures and non-performance events of interest to the academic community. As with Lively Arts, these events are presented in Memorial Auditorium and Dinkelspeil. While their technical requirements may be less intensive, Events programming suffers from similar scheduling issues with campus venues. The level of programming offered by Events may be appropriate at this time. Nevertheless, a similar case may be made with respect to booking in more appropriate venues than those which exist. This is especially true when Stanford has the opportunity to attract guests of stature and prominence. Although it has not been said as yet, the importance of the Performing Arts Center as Stanford's "public face" cannot be discounted. STUDENT ACTIVITIES Needs Assessment page 6 a Packet Pg. 25 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) The Student Activities at Stanford are extremely active with approximately 25 -30 perfonning student groups active on campus. The number of student oriented perfonnance activities vary in size and content from major presenter; such as the Savoyards, the T aiko Club and Rams Head and other music groups and ethnic perfonning troupes. Current conditions find these groups playing in available space that most closely suits their anticipated audience size. They .are accommodated in Memorial Auditorium, Dinkelspeil. the Nitery and other lecture or ballroom spaces on campus. Significant established groups with campus traditions -Rams Head and Taiko, for instance -regularly gain access to existing major venues and will continue to do so. Interviews and discussions with Margaret Ann Fiedler and Nancy Howe, supplemented by meetings with representatives of at least 15 organizations, indicate that there is a great differentiation with regard to facilities needs. Most groups require little more than access to suitable perfonnance venues. Some, like Rams Head and Savoyards, have extensive inventories of costumes and equipment that need to be stored and maintained. In some cases, scenery construction and production support has been made available to established groups at Memorial Auditorium, or on an ad hac basis. The Study Team believes that the day to day needs of student organizations are best maintained in existing facilities, outside of the proposed new venues (although there may be Student Activities functions that might be appropriate to the new facilities). In the face of new facilities planning, a strong case may be made to secure existing release space for Student Activities functions. Our findings suggest a demand for approximately 15,000 square feet of space. As this has not been accounted for in the program for new spaces, the disposition of this area as release space for student use will depend upon Univer;ity policy and future utilization planning. (see the section: Released Spaces) ACADEMIC NEEDS Academic requirements for teaching and perfonnance space do not entirely focus on the need for dedicated departmental facilities. The complex analysis and definition of each department's needs, as well as the definition and assignment of space to curriculum is an interrelated process. For example, when investigating the needs (as opposed to pure wishes), of Drama-Dance and Music within the School of Humanities and Sciences, we found that neither one was free-standing. While each has a specific curriculum, all share functions or event dependence with one another. Furthennore, each department has function or event dependence on the larger perfonnance venues beyond the department's assignable teaching spaces. The Music Department enjoys the most recent and comprehensive teaching facilities among the perfonning arts departments with the Braun Music Center, supplemented by heavy use of Dinkelspeil Auditorium for orchestra rehear;als and perfonnances. The direct connection of Dinkelspeil to Braun is a great asset. as it allows use without the need for redundant large instrumentation. Significant program support facilities within Braun Music Center include the large rehear;al room and Campbell Recital Hall. Needs Assessment page 7 a Packet Pg. 26 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Considering the expansive nature of music today, the emphasis on "new works", and Stanford's important Center for Computer Research in Music and Acoustics ("CCRMA"), the demand for more appropriate music facilities is strong. The work of CCRMA on the Knoll is accommodated: however, the demonstration and performance of the product of the Knoll might be better accommodated in other spaces ranging from a large "forum/rehearsal space" to a concert hall environment with orchestra. The symphony orchestra at Stanford has yet to find an appropriate musical environment or home. Dinkelspeil is not an accommodating concert venue. The acoustics are simply inadequate. The process of rehearsal and performance with an audience should be enabled in the approprate environment with regularized acoustical response, tunable to the music being presented. This is best accomplished with access to a proper concert hall. The Study Team believes that the Music department should have carefully scheduled access to a new Forum/Rehearsal Hall and a 900 seat Concert Hall as basic accommodations to existing academic instruction and programming. This in no way detracts from the service ofthe existing Braun Music Center nor does it diminish the need for direct access to Dinkelspeil Auditorium on a day to day basis. Unlike Music, the Drama Department functions in the shared-use environment of the Memorial Auditorium building. As noted earlier in the Needs Assessment the downside of shared use and adjacency between facilities creates a scheduling burden that all parties must bear. The physical condition and limited scope offacilities are equally compelling issues to the Department. Drama stages its performances in the Little Theatre and the Prosser Studio. Production support and the bulk ofteaching conducted in various spaces in this building. This is all conducted in a context that stresses cunriculum and practicum as a process leading to the accomplishment of the theatre art and performance, rather than stressing a final product or production as its goal. Even so, leaming through process requires the support of proper facilities. The limitations of the Little Theatre and especially Prosser are an impediment to refining the process for Stanford's students and faculty. The space needs elicited by Drama reveal numbers driven by the process and development of multiple projects that are concurrently produced. The drama program is spread among its undergraduate majors, MFA directing and playwriting candidates and a PhD. program. With the practicum of drama as a live art, the inevitable result is a plethora of simultaneous performances in several venues clustered at the end of each academic quarter. Accommodating these projects suggests the need for a studio environment in a small venue requiring minimal technical requirements. A more fiexible and experimental environment to test the efforts ofthe MFA and PhD. directors and playwrights suggests a "black box" studio theatre that can be reconfigured to the needs ofthe production. Abbreviated scenery, creative lighting, sound and illusory effects may be easily accommodated in this studio. Larger productions that test the mettle of the Department cannot be presented in a limited studio atmosphere. The Little Theatre is essential to the program, yet this facility falls short of Drama's needs. A fully equipped 4S0-seat hybrid proscenium theatre would give the Drama Department a more substantial venue in which to process the broad range of craft and development inherent in the cunriculum. Such a space would offer a larger audience volume, providing the acting student with the space to project and reach out. It would provide directors with sufficient stage space to mount productions of reasonable scale and mise en scene, preparing graduate candidates for the Needs Assessment page 8 a Packet Pg. 27 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) professional theatre role that their MFA and PhD. aims toward. And it would enable scenic. lighting and sound designers to develop skills in a creative staging environment affording the physical realization of their theoretical work. This theatre is the venue for students to effect their craft. The Main Theatre would also serve the Dance Department (see below) and could also provide a suitable venue for other campus performance activities. Production support and instructional spaces for the technical theatre crafts requires scene and property shops. costume design and fabrication as well as lighting, sound and media labs. These functions are now being taught within the performance spaces of Memorial Auditorium, occupying valuable performance calendar time for the Drama Department and the community's erstwhile users and programmers of Memorial Auditorium. The Dance Department at Stanford is on a very dynamic track. exhibiting enrollment increases from approximately 1,000 students in 1988 to nearly 2,000 in 1999. Limited to one large performance studio now, and an inadequate, small space originally conceived as a Eurythmy room. Dance is straining for additional facilities and a venue in which to perform choreographed works before audiences. At present, the Department has had to use private studio space, as well as pay for after hours use of Roble facilities, just to meet scheduling needs. The schedule of classes and adjunct activities with student organizations such as Ballet Folklorico and Black Performing Arts further strains both limited schedule and the availability of formal and ad hoc practice facilities at the Roble Gym. Outreach is an important component of the Dance Department's mission. The ability to host festivals at Stanford, like the American College Dance Festival (with more than 40 colleges participating) would be possible if there were sufficient appropriate studios to meet the most basic needs of the Department's day to day operations. Dance's ability to "bridge the gap" to the community with programs cunrently involving hundreds of elementary school students in these facilities would benefrt from more basic space, as well. Clearly, the one and a half studios in Roble Gym do not meet the basic physical standards or the number of spaces that Dance requires to serve its existing curriculum and long-established Department philosophy. The Study Team perceives a need for additional studio space as well as adequate dressing and changing space for dancers preparatory to classes and staged events. The Department needs a greater quantity of facilities with improvements to basic quality. If Roble Gym is to remain the core facility upon which to build additional space, existing conditions must meet functional requirements allowing instruction and performance consistent with the strong traditions of dance and community service which characterize this thriving Department. Needs Assessment page 9 a Packet Pg. 28 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) RECOMMENDED FACILITIES INTRODUCTION The Study Team has collected information and proposals for new facilities from individual academic departments. administrative units. civic. and performing arts institution leadership throughout the Study process. Evaluated against the touchstone of our Needs Assessment. we have determined a program of facilities that we believe to be both required and appropriate for the City of Palo Alto and Stanford University. Our recommendations spring from a preliminary list of spaces developed by others prior to this Study. This list has evolved with our findings. Where possible. we have described options to be considered for the purpose of consolidation. Our recommendations have developed in concert with the Study Management Team. Facility recommendations have been tested with an understanding of prospective govemance and operating structures. management approaches. artistic support. audience potential and an appropriate "fit" with individual sites. both on and off campus. As directed. our recommendations have been prepared independent of capital cost considerations. Proposed new facilities are identified in three distinct parts related to identified project sites: The Palo Alto Theatre Center. the Stanford Performing Arts Center. and the Stanford Drama/Dance Center. While we have studied the potential feasibility of combining two or more of these entities on a single site. we have determined that existing and potential physical and operational constraints rule out this option. The facilities identified in the following narrative represent our understanding of the best working relationships among spaces and use of site in the context of the Needs Assessment outlined in this Study. THE PALO ALTO THEATRE CENTER The Theatre Center will provide a home for TheaterWorks. Palo Alto's professional resident theatre company. Facilities are planned to accommodate full-time residency in-season. with the potential for use by undetermined community performance groups. The function and nature of the Palo Alto Theatre Center takes its cues from interviews with TheatreWorks and an assessment of their production requirements as seen at the Mountain View Center for the Performing Arts. The Palo Alto Theatre Center is envisioned to house an 800 seat main stage. a 300 seat studio and performance support spaces including rehearsal and dressing areas. All venues are envisioned to be fully equipped: this is anticipated to be a tumkey project. This should permit TheatreWorks as well as community-based users to have immediate production access and capability. The following narrative describes the key elements of the Palo Alto Theatre Center. THE MAIN STAGE The main stage is an 800 seat proscenium theatre with a fully equipped legitimate stage. The audience volume is envisioned to have a lower orchestra area. a terraced parterre, balcony and side boxes. Intimacy is critical: viewing distances should not exceed 65 feet. Recommended Facilities Page I a Packet Pg. 29 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) This should assure a clear view of facial expressions and a direct relationship between the actor's movements and the spoken wone. The perfonmance environment is envisioned to be comfortable, with exposed technology. The interior should have an abundance of theatrical lighting positions with total access. A tension wire grid over two thines of the audience is recommended. The stage should have an extended apron and orchestra pit with a mechanized lift that serves stage, orchestra pit and trap room levels. There should be interconnection and circulation directly to the trap room. The orchestra pit should accommodate 35 musicians. The stage should have a proscenium with a variable opening from 35 to 44 feet wide and from 26 to 30 feet high. The stage should be 100 feet wide and 40 feet deep with a rear projection bay of 20 feet deep by 40 feet wide and 30 feet high. The stage should be fully rigged, with approximately 50 counterweighted line sets and a wonking grid height of 75 feet. A counterweight pit would allow for full batten/arbor travel. Power would be provided on the grid for chain hoists and motorized elements. Fly galleries should be provided stage right and left with a connecting upstage gallery. Two loading galleries are to be provided. The grid deck should be sized to accommodate random rigging loads from rope line rigging and hoist rigging systems. A full complement oftheatrical draperies would be provided including a main curtain masking, travelers, cyclorama and projection sheet. The stage floor would be fully trapped with a resilient floor suitable for dance, yet capable of sustaining scenic loads. The stage floor would laid over a 12 inch cavity connecting the trap room and the counterweight pit allowing the use of tumtables and slip stages to be motorized from the counterweight pit. Power would be provided in the counterweight pit for these production-specific elements. The perfonmance lighting system should be a fully netwonked dimmer per circuit system with approximately 500 distributed circuits. Lighting positions should have circuits distributed throughout the auditorium tension grid, catwalks, control and followspot booths, side boom and tonmentor positions, onstage walls, gallery and grid and the trap room. A distributed netwonk of data taps and nodes would be at every position for random control of the dimming system and the address of automated lighting elements. In addition, switched power would distributed throughout and controlled by the lighting netwonk. A dimmer room would be located for easy access and short wire runs. T ransfonmers should be located adjacent to the dimmer room. A full complement of theatrical lighting instruments would be provided with appropriate accessories. Sound systems would include sound reinforcement. effects, archival recording, playback and acoustical surround/spatial room enhancement. A full production intercommunications system should be provided for paging. production monitoring, production intercom and Recommended Facilities Page 2 a Packet Pg. 30 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) production video communications. Loudspeaker locations would be a combination of fixed and randomly located positions for special effects. Microphone and loudspeaker receptacles would be located throughout the theatre and stage. A portable house mix position would be provided with a dedicated sound control booth at the rear of the auditorium. An amplifier room would be strategically located to optimize circuitry. Care must be taken to develop a technical infrastructure of theatrical support elements such as power, data, electrical conduit, cable tray, cat 5 and optical fiber distribution, with direct access to and from critical technical locations including the loading dock. STUDIO THEATRE The Studio Theatre is envisioned to be a flexible space with approximately 300 seats in its end stage configuration. The seating would be modular and be able to be assembled in a variety of configurations from arena to thnust. A seating riser system would be fully demountable, allowing a large flat floor space to be created. The key to the success of this space is its adaptability and access to technical areas. Flexibility and adaptability might best be secured by use of a full tension wire grid ceiling and sunrounding technical gallery. The grid height should be 22 feet with the sunrounding gallery at 14 feet. The clear interior height should be 30 feet. A unistnut or tube steel grid to support rigging elements through the tension grid would be provided above the grid at an accessible height. This would allow random location of pick points for hanging scenic elements. The lighting system would be a dimmer per circuit network controlled system as for the main stage. The network would be interconnected. The system is estimated to have approximately 192 circuits including house lighting. The audio system would primarily be an effects playback system with reinforcement capabilities. There would be complete production monitoring and intercommunications as described for the main stage. Draperies would include minimal masking and a sunround of blacks and a cyclorama. The stage floor would be a resiliently mounted utility floor suitable for both dance and scenic loads. PUBLIC SPACES Public spaces should offer audience amenities commensurate with new, comparable perfomning arts venues in the Bay Area. Comfort and hospitality must be measured by accommodations including adequate toilets (2-3x code for women), complete ADA and Title 24 accessibility, lounge and concession areas, ample circulation, good visibility to the exterior and prominence. The lobby area must also be able to provide limited gallery and exhibit functions. A VIP lounge for special social functions, board meetings and donor activities should be provided. Recommended Facilities Page 3 a Packet Pg. 31 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) An exterior public plaza or courtyard may be landscaped to allow intemnission gathering outside. as well as passenger drop-off and a small outdoor festival space. SERVICE AND LOADING Service and loading directly to backstage receiving is essential. This area should be isolated from public areas and perfomner dressing. wamnup and rehearsal. The loading dock should be large enough for two semi-trailer trucks and have separate vehicle access for routine deliveries and trash collection. The loading area should also have an enclosed "yard" for exterior assembly and takedown scenery elements. Parking should be provided for six automobiles. OTHER SUPPORT SPACES A full compliment of dressing rooms. wardrobe. technical and management offices. storage. maintenance and other service areas would be accommodated. Recommended Facilities Page 4 a Packet Pg. 32 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) THE STANFORD PERFORMING ARTS CENTER The Stanford Perfonnning Arts Center is anticipated as a regional center for campus-produced events and touring activities. Our findings suggest a level of utilization and a prospective calendar of events that suggest a Center with an 1800 seat multi-purpose Music Theatre with concert acoustics and a 900 seat Concert Hall that may be adapted for stage presentations. A rehearsal/perfonnnance space -the Forum -would accommodate full stage rehearsals, parties and banquets. and infonnnal perfonnnances such as electronic music and solo recitals. The Center would house sufficient technical and perfonnner support facilities to accommodate all programs and administrative functions. SPAC should be a significant building on the Stanford campus with a strong public presence. A sense of quality and comfort should be afforded in the public areas and audience chambers of the two major halls. The Center should be welcoming, with prominent siting on the campus that attracts the general public and the student population. Despite its size and mass, the texture and design of the Center should emphasize its human scale and avoid a feeling of grandeur or elitism. A casual elegance and fonnnality should make the Center inviting to all potential patrons. The program of activities suggests that this is a professionally managed facility with all essential support spaces. THE MUSIC THEATRE The Music Theatre is envisioned to be an 1800 seat, mUlti-purpose perfonnnance hall. The Music Theatre should be designed with natural concert acoustics as a prime criterion. The symphonic function, however, should not compromise its ability to present a wide variety of other "legitimate" and non-music events. These might include touring opera, dance and ballet, theatre, popular entertainment, etc. The fiexibility of this venue is paramount and the need to rapidly change between stage configurations (e.g" concerts to legitimate stage) is essential. The audience environment is seen to have approximately I 100 seats on an orchestra and parterre level, 350 seats on the first balcony and boxes, and 250 seats on the upper balcony and boxes. Viewing distances must be controlled to provide a sense of intimacy and to maintain visual/acoustical tempo. No seat should be more than 125 feet from the stage so that there is no sound delay to visual cues onstage. The room should have a high interior volume with shaping that supports natural acoustics. The sightlines should allow audiences in the parterre and balcony levels to enjoy a significant view of other audience areas in front of the proscenium, providing a sense of community and integration of seating areas within the room. There should clear view of the orchestra pit and the pit conductor. Symphonic events and natural acoustics will be supported through the use of an orchestra enclosure onstage, as well as an acoustical eyebrow or canopy over the forestage in the audience chamber. To provide sufficient acoustic support, the shell must be a massive structure. We recommend that a major portion ofthe enclosure be of unitized construction, moving as a unit to its storage position on an air-bearing system into an up- Recommended Facilities Page 5 a Packet Pg. 33 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) stage "garage". These elements require adjustability, access. and must contain additional adjustable acoustical elements such as hanging reflectors and concert and theatrical lighting. The concert configuration is not complete with the orchestra enclosure alone. Good on stage communication between the musicians requires an orchestra and chorus riser system that must be integrated with the enclosure, yet easily and quickly set up and removed. We would initially recommend a riser system integral with a major up-stage lift. This would enable the risers to withdraw within the lift as it raises above the floor and then retract again to provide a flat stage floor. This would be in the up-stage thirc of the stage area enabling the down-stage area to be trapped. The entire change-over from concert to legitimate stage should not take more than one hour. An orchestra pit sized for 65 musicians would be provided on a mechanized lift. The lift would be able to raise to severa levels including the stage, audience seating, orchestra play positions, trap room level and seat wagon storage. The orchestra pit would have a modest overhang under the stage apron and would be wheelchair accessible at the orchestra play position. There would be variable acoustic panels located within the pit to provide control of the pit environment for various ensemble configurations. Seating would be provide on the lift at audience level to provide approximately 100 seats when there is no need for a pit or extended stage apron The stage should have a proscenium opening adjustable from 50 feet to 60 feet wide and be adjustable from 34 feet to 45 feet high. The stage should be 120 feet wide and 50 feet deep with a 30 feet by 60 feet up-stage orchestra enclosure storage bay. The grid should be 90 feet high, enabling scenery to be flown in situ, clearing all acoustical elements when the orchestra enclosure is in place. The stage should be equipped with a full counterweight rigging system of approximately 55 linesets with compensated arbors and future accommodation of a motorized assist system. There would be full power and control circuitry at the grid for the random application of chain hoists with remote control. The grid would be sized structurally to adequately accommodate the heaviest oftouring scenery loads. The performance lighting system should be a fully networked dimmer per circuit system with approximately 800 distributed circuits. Ughting positions should be provided with dimmed circuits distributed throughout the auditorium ceiling, the concert enclosure and canopy, catwalks, control and follows pot booths, side boom and house torm positions, onstage walls, galleries, at the grid and in the trap room. A distributed network of data taps and nodes would be at every position for random control of the dimming system and the address of automated lighting elements. In addition, switched power would distributed throughout and controlled by the lighting network. A dimmer room would be carefully located for easy access and short wire runs. Transformers should be located adjacent to the dimmer room. A full complement of theatrical lighting instruments would be provided with appropriate accessories. Theatrical draperies would include a motorized decorative main curtain that would operate in bi-part, straight lift and opera tab configurations. A full compliment of black masking Recommended Facilities Page 6 a Packet Pg. 34 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) curtains. black travelers. a speaker's curtain. a scrim. cyclorama and scenic projection sheet would be provided. Sound systems would include sound reinforcement. effects. archival recording and playback. A full multi-channel production intercommunications system should be provided for paging. production monitoring. production intercom and production video communications. Loudspeaker locations would be a combination fixed and randomly located for special effects. Microphone and loudspeaker receptacles would be located throughout the theatre and stage. A portable house mix position would be provided with a dedicated sound control booth in the auditorium. An amplifier room would be strategically located to optimize circuitry. Motion picture presentation should be accommodated with a projection booth sized for major film fonmats. The audio system should include provisions for THX and Dolby multi track surround sound. The sunround loudspeakers must be integrated into the architecture of the room. A fiown projection screen with surtable masking should be provided. THE CONCERT HALL The Concert Hall should be a uniquely fiexible space designed for excellent concert acoustics. yet should be capable of presenting a variety of non-musical events requiring diverse acoustical and staging requirements. This venue should prove to be the most heavily used in the project. With 900 seats. it would serve Lively Arts and Stanford Events programs as well as a mu~itude of campus activrties including the academic perfonmance requirements of the Music Department. It is essential that the Concert Hall be able to serve synrphonic events to the highest level while being adaptable to present non-music events readily without excessive changeover times. The hall would be configured in a traditional rectangular concert "shoe box" shape. There would be approximately 600 seats in the orchestra and parterre levels and wrth 200 seats on a shallow balcony and box level continuing with on-stage boxes and a 100 seat choral section wrapping the back of the stage. The onstage side galleries would be segmented architectural elements. with the abilrty to move to the side approximately 20 feet creating wing space for staging non-music events. The ceiling would be articulated. allowing overhead rigging of lightweight scenic elements and theatrical lighting to be utilized. A cyclorama. scenic drop or archrtectural wall panels would close off the upstage choral seats when necessary. One part of the up stage choral seating would be sized to accommodate a future installation of a pipe organ. The built-in fiexibility would allow this hall to serve as a dance venue. and should accommodate light opera. drama or multi-media presentations wrthout a full fiy loft. Above the articulated ceiling would be a limrted number (appnoximately twenty) motorized line shaft battens of 1000 lb. capacrty for hanging scenic elements. projection screens or the like. These would be remote-controlled. Recommended Facilities Page 7 a Packet Pg. 35 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) The stage floor would be a resiliently mounted hardwood floor capable of accommodating dance presentations, while sustaining the rigors of scenery loads. The floor would have a lift similar to the Music Theatre, deploying orchestra risers quickly and effectively. There would be an orchestra lift creating a pit sized for approximately 50 musicians and enabling the rapid change in the size of the stage creating a smaller perfonmance area for small ensembles. The perfonmance lighting system should be a fully networked dimmer per circuit system with approximately 450 distributed circuits. Lighting positions should have circuits distributed throughout the concert hall ceiling, catwalks, followspot booths, side boom and onstage positions. A distributed network of data taps and nodes would be at every position for random control of the dimming system and the address of automated lighting elements. In addition, switched power would distributed throughout and controlled by the lighting network. There would be a dedicated concert lighting configuration that would not be affected by non-music events. To facilitate rapid accommodation of modest production level presentation lighting we recommend a sizeable complement of automated luminaires. Sound systems would include sound reinforcement, narration, effects, archival recording and playback. A full, multi-channel production intercommunications system should be provided for paging, production monitoring, production intercom and production video communications. Loudspeaker locations would be a combination fixed and randomly located for special effects. Microphone and loudspeaker receptacles would be located throughout the theatre and stage. A portable house mix position would be provided with a dedicated sound control booth at the rear of the auditorium. An amplifier room would be strategically located to optimize circuitry. Most important would be an infrastructure of data and signal distribution that would provide easy access and set up of multi media and digital music events. This would round out the capabilities of this hall to service the CCRMA academic program with little expense. FORUM / REHEARSAL HALL A rehearsal hall has been programmed to accommodate rehearsal functions without encumbering perfonmance venues with this reduced revenue function. The rehearsal hall will save valuable booking time for the Perfonming arts Center's two stages and would be an additional revenue source for the project. The traditional rehearsal in typical venues has found many other uses than simply serving as a rehearsal space. With modest additional cost and planning, it is possible to create a space that would not only suffice as a rehearsal space, but would be utilized as a party/reception venue, an infonmal perfonmance space, a recording space and an excellent digital music perfonmance studio. The relationship of this space to the two major perfonmance halls and public areas is critical. The Forum/Rehearsal Hall should be approximately 55 feet by 70 feet with a clear ceiling height of 45 feet. A technical gallery at approximately 14 feet above the floor would provide surrounding access for lighting, audio and other support functions. This gallery can integrated into the wall system and be coincident with the control booth level. A simple Recommended Facilities Page 8 a Packet Pg. 36 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) unistrut and pipe grid for lighting and fastening of draperies and other decorative elements would be provided. Altematively a tension wire grid could be considered for ease of access. Variable acoustic control draperies would provide adjustability and visual transfonmation of the space. A resilient hardwood floor is essential. PUBLIC SPACES Public spaces include lobby and circulation areas as well as typical patron amenities such as restrooms and concessions. The planning ofthe public spaces for SPAC has much to do with the orientation ofthe major perfonmance elements on the site and the need to provide "connectivity". We envision a common space that links the Music Theatre the Concert Hall and the Forum/Rehearsal Hall. Public access to these venues through a common lobby at several different levels is essential to the management of the Center. We feel that the common circulation to these spaces at the primary lobby level is essential while patron control between the spaces can be designed using subtle level changes, entry orientation and architectural identity for each space. Upper level or Balcony lobbies should not be interconnected and should be dedicated to each space. Interconnection should not be a driver to control floor elevations within the individual spaces. The lobby of the Center can also serve a multitude of social functions not related to a specific perfonmance such as parties and banquets. For that reason adjacent catering service facilities are planned to serve the lobbies and the Forum / Rehearsal Hall as well. The public spaces should have proper audience amenities suitable for comfort and hospitality. Adequate toilets, ADAlTitie 24 accessibility, lounging, concession areas, circulation, and prominence are essential. The lobby area must be able to provide limited gallery and exhibit functions. A Founder's Room for special social functions and donor activities should be provided. An exterior public plaza oriented toward the corner of the site may be landscaped to allow intenmission gathering outside. A passenger drop-off curb cut and perhaps a weather protected porte-cochere should be provided on Lasuen Drive. SERVICE AND LOADING Service and loading directly to a backstage receiving area is essential. This area should be isolated from public function and be kept clear from perfonmer support areas. Service vehicle access should be from Campus Drive. The loading dock should be large enough for three semi-trailer trucks and have separate vehicle access for routine deliveries and trash collection. The loading area should have parking space for eight to ten staff and perfonmer VIP automobiles. There should be a receiving and loading node that connects the main perfonmance spaces as well as storage and touring company case storage. University policy for trash collection and or compactor access needs to be accommodated. Recommended Facilities Page 9 a Packet Pg. 37 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) OTHER SUPPORT SPACES A full compliment of dressing rooms, wardrobe, instnument storage. technical and management offices. storage, maintenance and other service areas would be accommodated. These spaces should be grouped with regard to specific function and oriented to service each performance space. Performer and musician amenities beyond dressing and locker spaces should include a performer's lounge with a vending area and musicians' warm-up rooms. The fact that all events would tour into the Center either from the road or for other Campus regions requires touring company facilities. These include visiting company manager's office, case storage, security and the capability to control interior backstage circulation between perfomnance spaces. Separate green rooms are essential. ADMINISTRATIVE OFFICES Essential offices for the management and operating staff of the Center must be included. These are in addition to box office, house management and technical offices. The full administrative function of the Center should occur on site. This would include offices for the directorship through to publicity and marketing. It assumed that no Student activities offices are included in SPAC and would be housed elsewhere. MISCELLENEOUS EQUIPMENT Recommended Facilities Page 10 a Packet Pg. 38 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) DRAMA IDANCE CENTER The academic mission of the drama and dance departments can easily be met with a joint use of renovated space in the Roble Gym and a new addition that houses primary perfonmance and teaching spaces. The economy of building this part of the project as an adaptive reuse of the Roble Gym makes sense and should represent approximate a 40% savings of the cost of construction for the program spaces included in that part of the project. The character of the Roble building along with the presence of existing dance facilities on site poses a unique opportunity to develop a unique and exciting project on a part of the campus that is well integrated with student life. The nature of the required Drama/Dance spaces lends themselves to a design character with minimal finishes and exposed production technology. This entire facility can be viewed as a laboratory for the perfonming arts rather than as a highly finished cluster of perfonmance spaces. The addition of a new linked structure to Roble is envisioned to house Drama's new perfonmance spaces, a scene shop and other production support facilities. It is critical that the new construction be connected to Roble, either by linked connectors or as a direct addition in the same architectural character. Considering the historic nature of Roble and the required mass of the new construction, a semi-detached approach may prove to be the most cost-effective avenue. ROBLE The conversion of the Roble Gym into a vital drama and dance facility should concentrate on the conversion of large volume spaces into four dance studios. Low volume spaces lend themselves to conversion into faculty offices, classrooms, seminar rooms, dance dressing rooms and costume design and construction shops. Two large dance studios would be built in the existing gymnasium. These would require a demising wall specifically constructed to achieve acoustic isolation between the two. New. acoustically isolated and resiliently mounted hardwood dance floors. mirrors and barres should be provided. A portable sound playback system would be provided as well. The existing large dance studio would be reoriented. closing off the balcony and placing a telescoping seating system accommodating 150 at the opposite end. A pipe grid would be provided to accommodate lighting with a modest control system and a perfonmance playback sound system. Mirrors. portable dance barres and a resiliently mounted hardwood dance floor would be provided. Loose equipment would include draperies. blackout curtains. black walk-along drapes and cyclorama at the "stage end" of the room. With the balcony closed off and the tiered seating demolished , a medium dance studio could be created. This space would be equipped with mirrors. penmanent dance barres and a resiliently mounted handwood dance floor. Complete acoustic isolation from the large perfonmance studio will be essential for this closely adjacent space to accommodate concurrent use. Recommended Facilities Page " a Packet Pg. 39 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) The fro nt of Roble would be converted into facu~ offices and classrooms. The rear of the building would house dressing and support for the dance studios, costume fabrication shops and design offices, and the AN multi-media teaching facilrties. DRAMA /DANCE -NEW CONSTRUCTION New construction for the Drama/Dance Center would house the Drama/Dance Theatre, the Studio Theatre, the Perfonmance Lab, drama classrooms, rehearsal rooms, dressing rooms, scene shop and production support. DRAMA -DANCE THEATRE The Drama Dance Theatre is envisioned to be a 450 seat hybrid proscenium theatre with an extended apron serving as a shallow thrust or an orchestra pit sized for 25 musicians. The seating would be arranged in a lower orchestra area and an upper orchestra/partenre that wraps around to side galleries. A crossaisle at an elevation coincident with the stage will allow perfonmer circulation to the thrust through the audience or wheelchair access from the audience to the stage. The extended apron would be a modular platfonm construction that, with manual removal of lower orchestra seats, may be variably configured to provide a thrust stage in various fonms and levels. When removed, the apron would expose the orchestra pit. The stage would be 40 feet deep by 100 feet wide with a proscenium opening that is 36 feet wide by 30 feet high. The apron would be 14 feet deep. There would be a 15 foot deep scenic projection bay. The stage house would be fully rigged with approximately 50 line sets to a grid of height of 65 feet. There would be a counterweight prt at the rigging wall to enable full travel of the battens/arbors. Fly galleries stage right and left would be connected by an upstage gallery. Two loading galleries would be provided. The working grid deck would be sized to accommodate random rigging loads. A full complennent oftheatrical draperies would be provided including a main curtain masking, travelers, cyclorama and projection sheet. The stage floor would be fully trapped with a resiliently mounted floor and trap system surtable for dance, yet capable of handling scenic loads. Trap modules would be similar to the thrust/apron modules for continurty of scenic construction. The surrounding stage floor would be over a 12 inch cavity connecting the trap room and the counterweight pit allowing turntables and slip stages to be motorized from the counterweight pit. Power would be provided in the counterweight prt for this future production equipment. The perfonmance lighting system should be a fully networked dimmer per circuit system wrth approximately 450 distributed circuits. Lighting posrtions should have circuits distributed throughout the auditorium tension grid, catwalks, control and followspot booths, side boom and tonm positions, onstage walls, gallery and grid and the trap room. A distributed network of data taps and nodes would be at every position for random control of the dimming system and the address of automated lighting elements. In addition, swrtched power would distributed throughout and controlled by the lighting network. Recommended Facilrties Page 12 a Packet Pg. 40 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) A dimmer room would be located for easy access and short wire runs. Transformers should be located adjacent to the dimmer room. A full complement of theatrical lighting instruments would be provided with appropriate accessories. Sound systems would include sound reinforcement. effects. archival recording. and playback. A full multi-channel production intercommunications system should be provided for paging. production monitoring. production intercom and production video communications. Loudspeaker locations would be a combination fixed and randomly located for special effects. Microphone and loudspeaker receptacles would be located throughout the theatre and stage. A portable house mix position would be provide with a dedicated sound control booth at the rear of the auditorium. An amplifier room would be strategically located to optimize circuitry. Care must be taken to develop a technical infrastructure of theatrical support elements such as power. data. electrical conduit, cable tray. cat 5 and fiber optic distribution with direct access to and from critical technical locations including the loading dock. STUDIO THEATRE The Studio Theatre is envisioned to be an end stage space with approximately I 50 seats. This informal studio is a workhorse for senior and graduate projects where. minimal production values are required. The key to the success of this space will be its ease of use and access to technical areas. A stage that is 32 foot deep and 65 feet wide. with no architectural proscenium opening only an architectural portal panel system -would allow maximum flexibility and a variable end stage opening. Technical aspects of the room would include a series of overhead lighting catwalks and a "dead hung" pipe system for fastening scenic elements and draperies. The clear interior height should be 30 feet. An additional unistrut grid for rigging elements other than on the pipes would be provided as well. This would allow random location of pick points for hanging three dimensional scenic elements. The lighting system would be a dimmer per circuit network controlled system similar to that on the Main Stage. The network would be interconnected. The system is estimated to have approximately 192 circuits including house lighting. The audio system would primarily be an effects playback system with reinforcement capabilities. There would be complete production monitoring and intercommunications as described for the main stage. Draperies would include minimal masking and a surround of blacks and a cyclorama The stage flo or would be a resiliently mounted utility floor suitable for dance and scenic loads. Recommended Facilities Page 13 a Packet Pg. 41 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) PERFORMANCE LAB The perfonnance lab is envisioned as a replacement for the Prosser studio in Memorial Auditorium. This would be a flat floor space with a flexible seating risers for 100. It would be simple "black box" studio, allowing a variety of seating configurations. As an actors and directors space, it would not rely on scenery, other than occasional stage props. This space would be approximately 50 feet square with a clear height of 24 feet. A surrounding technical gallery at 14 feet would permit access and control of lighting and other systems. There would be a lighting pipe grid at I 8 feet. The lighting system would be a dimmer per circuit DMX controlled system. The system is estimated to have approximately 96 circuits including house lighting. The audio system would primarily be an effects playback system. There would be complete production monitoring and intercommunications. Draperies would include minimal masking and a surround of blacks and a cyclorama The stage floor would be a resiliently mounted utility floor, suitable for dance and scenic loads. PRODUCTION SUPPORT Production support facilities would include a full service scenery production shop with painting, welding, and fabrication areas, a properties construction shop and full tech production support. This would support the academic stagecraft cunriculum while servicing all of Drama's production needs. Principal and group dressing rooms would be provided. A lighting laboratory would enable the theory of lighting design to be taught in a practical experimental environment PUBLIC SPACES The public spaces would have proper audience amenities suitable for comfort and hospitality. Adequate toilets, ADA fTitle 24 accessibility, student lounge and concession areas, circulation, and prominence are essential. An exterior courtyard between the new building and Roble may allow intermission gathering outside. SERVICE AND LOADING SerVice and loading directly to a backstage receiving area is essential. This area should be isolated from public function areas. The loading dock should be large enough for materials delivery trucks and have separate vehicle access for routine deliveries and trash collection. The loading area should have a "yard" for exterior assembly and disassembly of technical scenic elements. Recommended Facilities Page 14 a Packet Pg. 42 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) MISCELLANEOUS EQUIPMENT An allowance for miscellaneous equipment should be established in addition to nonmal FF&E fumishings. This would include musical instruments such as pianos and certain percussion instruments. sewing machines and wandrobe equipment. scenery shop construction tools and machinery. electronic .test equipment. etc. There is likely the possibility oj'reuse of existing equipment the Drama and Dance Department now own. however. the life cycle of much of those items will be expended by the time this project comes to fruition. Recommended Facilities Page 15 a Packet Pg. 43 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) ACOUSTICS RECOMMENDATIONS THE MUSIC THEATRE The I BOO-seat Music Theatre needs to be regarded as an opera house for operatic performances, a theatre for ballet and dance, a concert hall for large musical ensembles and a music theatre for touring and locally produced lyric theatre. This requires that each ofthe configurations of this space need be optimized for each of its performance types and solutions developed to facilitate the changeover from one configuration to another efficiently and effectively. Critical to the success ofthis multi-user facility would be basic configuration of the audience environment, large and small-scale surface-shaping construction materials and finishes, audience distribution and sightlines. Of particular concem acoustically is the overall width of the space. Narrow width is critical to development of clarity and acoustic intimacy, as well as fullness and reverberance. Clearly this intimacy must be balanced with the overall length of the audience space which is naturally increased by the narrower shape. Limitations to length with regard to visual timing of tempo must be analyzed. The acoustic intimacy that this provides together with the improved horizontal sightlines for dance, opera and musical theater are important considerations in arriving at the final configuration of the space. A carefully designed Concert Enclosure capable of enclosing a full orchestra with chorus, and progressively able to be reduced in size to fit smaller orchestras, choruses, concert bands, chamber ensembles, jazz ensembles and recitals is essential to the success ofthe hall. The acoustic response of the concert enclosure will depend on its shape as well as the details of its construction. That construction must necessarily be relatively heavy and stiff. This requires both an approach to conveyance that makes the system easy to set and strike and an approach to minimizing the area required for its storage. The enclosure should be capable of a modest degree oftuning that allows it to be suitable for the various performing groups and configurations. Lighting for musicians needs to be integrally built into the ceiling elements that are designed to be part of a unitized element free from the fly loft and the rigging system in order to accommodate certain touring productions. The visual character of the enclosure needs to respond to the architecture ofthe audience chamber. The materials of construction will be principally wood with steel support structure. The wood likely will be structured in a honeycomb configuration in order to gain the acoustic benefit of the stiffness provided. Background noise from building and technical support systems as well as from exterior and interior noise sources needs to be sufficiently controlled as never to be audible during quiet moments in performances and recording sessions. This level of quietude is technically referred to as Noise Criterion Rating. Levels should not exceed an RC 15. The Orchestra Pit needs to be flexible in terms of size as well as in its acoustics characteristics. Above all it should be a performance area that is a part of the acoustic space in which singers and dancers perform, not submerged in the nether world of understage overhangs. Special shaping of the upstage wall as well as a modicum of adjustable absorption to apply locally to certain surfaces to control loudness would be appropriate. Special shaping of the downstage wall would help to facilitate bowing room and enhance communication among musicians. The pit should be wood lined for both acoustics reasons and physically comfort. Cooling and heating of the pit should be Recommended Facilities Page 16 a Packet Pg. 44 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) without any sense of draft or temperature extremes. SightJines from conductor to dancers and singers on stage are essential. This geometry establishes the operating depth of the pit and thereby the maximum thickness of the downstage edge of the pit overhang structure. The overhang should not be more than about 6 feet. with the rear 3 feet reserved for circulation within the pit as well as acoustic breathing room for homs and winds. Volume and reverberation are inter-related. but not independently ofthe gross shaping of the room boundary surfaces. The upper side walls need to be substantial in their area and well shaped in order to support reverberance. The upper rear wall. as well as the rear walls at lower levels. are important in their role of retuming energy to stage as well as supplementing the energy in the under-balcony seating areas. Construction materials will require significant mass in order to sustain strong low frequency response in the space. Warmth and the strong undergirding that strong bass response provide are critical to successful room acoustics in a space of this size. Solid walls equivalent to 20 inches of masonry and/or concrete. finished in wood and/or plaster meet this mass requirement. Audio systems are to be regarded as integral to the acoustics of the space. with flexible acoustics tuning provisions in the space to assure the successful use of audio in support of those performances that require it. The clarity/reverberance balance will allow a natural speaking voice to be heard anywhere in the space without amplification when a person is willing to "speak to the whole audience" when appropriate. The audio systems will comprise a comprehensive group of systems to enable technical communications. audio support for performers. interface for broadcasting and recording. monitoring for performers. and support for media projection. including sunround sound and potential spatial manipulation/acoustic enhancement for some electronic music performance as required. CONCERT HALL Considerable discussion will be needed to identify the most appropriate spirit of this hall. Clearly the Music Department and some of the community users and Lively Arts programs would be well served by a committed concert hall. Other users. including dance. small scale opera. some drama and media presentations would need a broader interpretation of what might be meant as a committed concert hall. Our view is that any concert hall built in this century should be a flexible as it can be without compromising in any way its acoustics quality for the core musical performance activities. In fact. we are convinced that acoustic flexibility in the educational environment is important to the full education of the musician. This acoustic flexibility ideally incorporates elements that articulate the boundary surfaces of the room. especially around the stage and in the ceiling. The changes around the stage are primarily to expand the range of physical accommodation for various performance types. The changes in the ceiling zone would expand and contract the acoustic volume in which performances would take place. The larger volume in combination with a modicum of tunable absorption would accommodate the greater power of some larger ensembles in order to avoid the acoustic overloading that can occur in audience chambers that are sized for limited attendance potential rather than ensemble performance needs. The larger volume also would allow for progressively longer reverberation times to suit various musical styles and periods. The reduced volume configurations would accommodate smaller ensemble performances. recitals. concert opera. dance. jazz and other activities such as film. conferences. electronic music. etc. Changes in the volume of Recommended Facilities Page 17 a Packet Pg. 45 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) the hall would be complemented by a system of tunable absorption that would further control reverberation, loudness and clarity. Careful design and implementation are the keys to the success ofthis "complete concert hall" approach. The key theatrical elements that allow for the flexibility to achieve this range of uses described earlier in the recommendations of this report. The acoustically critical aspects are discussed below. A very tall, narrow volume bounded by modestly articulated surfaces that are integrally part of a massive construction system. The combination will approach the mass of 16 to 20 inches of solid masonry andlor concrete. A system of movable ceiling modules mechanically articulated over the stage and audience area to tune volume and reflective properties and allow access for augmented theatrical lighting when required for cert.ain productions. A system of adjustable absorptive acoustic control elements in the fonm of banners, curtains and panels that would be used to tune the reverberation and reflection pattems for various perfonmance conditions. The audience should be configured to provide excellent sightlines and full engagement with perfonmers and each other. This likely would include audience seating along the sides of the stage as well as behind the stage when chorus seating is not required. Complete isolation from extemal noise and vibration sources is essential. Background noise levels from operation of building systems also need to be controlled to achieve inaudibility during all quiet moments in perfonmances and recordings. The applicable criterion is a rating of RC 15. Full sets of orchestral and choral risers would be designed to serve the perfonmance needs of the hall. Acoustic quality as well as set-up and storage issues would be strong considerations in the design ofthese riser systems as described earlier in the recommendations A small recital shell would be provided to scale the large stage to the visual and acoustic needs of small chamber ensembles and recitalists. Audience seating should be acoustically designed to be comfortable without excessive absorption that would require greater acoustic volume and building mass to achieve reverberation and bass response goals. The seats also would be designed for quiet operation as they fold up and down and while audience members adjust their positions while seated. Humidity levels would be controlled to range of 45 to 55% RH in order to provide for physical comfort as well are ideal high frequency response in the hall. Humidity in this range is ideal for instruments as well perfonmers. It also helps to suppress audience coughing. Underfloor air delivery would be provided to control drafts while providing ideal comfort conditions for audience and perfonmers. A full complement of audio capabilities would be provided including multi-channel recording, playback, interface for broadcasting, acoustically enhanced sunround sound playback (exceeding requirements of 5. I audio for film), full technical intercommunication with independent production monitoring/paging, "invisible" speech reinforcement capability for nanration and announcements Recommended Facilities Page 18 a Packet Pg. 46 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) from the podium and full-scale vocal and/or instrumental reinforcement when it is artistically required. Video support will be provided for production uses as well as coverage to lobbies. box office and various administrative areas. Accommodation for organ should be considered. An early commitment to inclusion or exclusion would be required for the acoustic/theatrical/architectural designs to proceed. We encourage the inclusion of a fine pipe organ because of the functional problems associated with perfomnances in Memorial Church and because of the greater suitability of acoustical environment that can be achieved in the tunable range that the concert hall will provide. The stage fioor would be resiliently supported wood over an airspace. The system should be heavy enough in its composition to provide good bass response and proper attack for percussion as well as celli and double basses. Its resilience would be appropriate for dance. Echo conditions would be thoroughly controlled while maintaining strong fold back refiections to perfomners when appropriate. This would require shaping of rear wall surfaces combined with staggered distances to remote surfaces. FORUM / REHEARSAL HALL As a combination rehearsal/perfomnanceirecordinglreception space this room would be in heavy demand. The character of the room should be thought of as a well designed room in which the most sophisticated musical perfomnances would take place. Integrated with the architecture would be all the technical elements and systems that would allow its easy transfomnation over a very full range of acoustic and functional uses. The characteristics of this room would include an interior volume with a height of 40 to 45 feet. with a plan area that would be up to approximately 55 feet by 70 feet. Handsome interior finishes with integral acoustic shaping should allow for multiple locations of perfomners and audiences as well as amplified sources in relation to both. A highly accessible ceiling system for lighting. rigging and audio components for recording and playback should be provided. Accommodation for placing loudspeakers anywhere in the horizontal and vertical planes should also be provided. The presence of a technical gallery needs to be evaluated in relation to the architectural character of the space and the acoustics conditions that such a gallery would create. Such a gallery could be coincident with the control booth level and configured to be fiush to the side walls with acoustically suitable closure panels. The wood fioor would be resiliently supported with a full system of interconnectivity at its perimeter and at selected points within. Most perfomnances likely would take place with audiences on the fiat fioor and perfomners elevated on platfomns. although portable raised seating elements with perfomners of the flat fioor also will be considered during design. Acoustic control curtains/banners/panels and movable refiective modules would provide the capability of fine tuning the overall acoustic of the space and the immediate environment of the perfomner( s). Recommended Facilities Page 19 a Packet Pg. 47 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) The noise and vibration control requirements of this space are critical. RC 15 for steady state noise levels would be the design criterion. Acceptable vibration criteria would need to be established for exterior vibration sources. Box-within-a-box construction is required to control in-building sources of noise and vibration. Audio and video systems infrastructure for this space would be very comprehensive. combining all ofthe system capabilities ofthe concert hall except forthe speech reinforcement and high level amplification systems. The electronic acoustic enhancement/spatial acoustic manipulation system should be advanced in technical flexibility and quality of musical sound. A control room with remote equipment space to eliminate noise from both control room and rehearsal/perfomnance room would be required. The Control Room would be configured as a recording monitoring room with selected capabilities available with remote control for direct control from within the space itself. Interconnectivity and support systems would provide the capability of placing microphones. loudspeakers, cameras, projectors and screens at any location within the space. DRAMA -DANCE CENTER ROBLE In the remodeling/adaptive re-use of the Roble Gym the acoustics issues would involve sound isolation between functional interior spaces. from exterior noise sources and control of noise and vibration of new building systems that serve those spaces. Careful design of interior acoustic treatments would be strategically applied to make the spaces fully appropriate for their rehearsal, teaching and perfomnance uses. DRAMA / DANCE THEATRE In the new perfomnance spaces the same issues would apply, but the expectation levels for acoustic excellence would be more stringent. In the theatrical use of the Drama / Dance Theatre considerable attention would be given to clarity of speech and physical as well as psychic energy developed among audiences and perfomners. The interior volume would be kept relatively small, distances intimate, surfaces hard and well configured to maximize the subtlety as well as impact of perfomnance sound. In the dance use of this space, every consideration should be given to the suppression of dancer's sounds that are not meant to be audible. This may require variable acoustic treatments in the areas around the proscenium opening as well as fine tuning of background noise levels to provide for a subtle amount of masking for dance perfomnance and scene changing while assuring the fullest dynamic range for spoken wone and audience response during perfomnances. Plan for a background level of RC 20 Isolation from adjacent public and backstage spaces would require sound light lock vestibules at primary entry points as well as carefully detailed double-construction at all demising points, both horizontal and vertical. Audio and video systems would be substantially the same as were described in the preceding discussions about the Rehearsal -Forum space, except that the playback/spatial enhancement system would be configured more for theatrical effects rather than spatial enhancement of musical sound. Recommended Facilities Page 20 a Packet Pg. 48 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) THE PERFORMANCE LAB The Perfonnance Lab would be conceived as a flexible "black box" space that would need to have a basic amount of high frequency sound absorption permanently applied on the lower side walls. A modicum of fixed broadband absorption and/or shaping in the upper volume is essential to control reverberance and flutter without diminishing intensity of acoustic energy in the space. Speech intelligibility with palpable energy and great dynamic range are the foremost criterion in this flexible space. Yet its intimacy would overcome any anomalies. Isolation from adjacent public and backstage spaces would require sound light lock vestibules at primary entry points and, depending upon adjacencies, double construction and/or box-within-a box construction. Background noise and vibration noise control is similar to the Main Theatre. Where very slightly higher levels may be more tolerable, the proximity of terminal devices to the audience would not have the advantage of distance to mitigate system noise. Therefore, the planned levels should be the same as for the Main Theatre, RC 20. Isolation from adjacent public and backstage spaces would require sound light lock vestibules at primary entry points. Audio systems would be as previously described in the Recommendations. That being primarily a playback effects system and production communications with an infrastructure adequate to accept new technology and other electronic acoustic systems on an ad hoc basis is critical. THE STUDIO THEATRE The Studio Theatre would be a fixed configuration, end stage studio for use on a day-to-day basis. The prime acoustical criteria are the need for speech intelligibility and reasonably low background noise levels. This space is of small enough scale that variable acoustics will not be necessary. The daily ad hoc use makes this kind of adjustability impractical. Background levels should be the same as for the Performance Lab; RC 20. Isolation from adjacent public and backstage spaces would require sound light lock vestibules at primary entry points. A simple recording and playback effects sound system with the ability to do minimal live mike input would be provided. THE REHEARSAL AND ACTING STUDIOS The rehearsal and acting studios should be acoustically controlled for ease of use for both teaching and rehearsal. This will require modest shaping and carefully located sound absorptive surfaces. The rooms should be reasonably quiet with background levels of RC 25 -30. Concem would be the isolation between spaces requiring double wall construction and discontinuous and/or resiliently supported floor systems. Careful planning of storage and circulation areas between individual rooms can help to achieve this isolation with minimal expense. Each ofthese spaces should be equipped with portable audio and video recording and playback systems. Recommended Facilities Page 21 a Packet Pg. 49 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Nee Ar:(I' Gross Floor Areas PaJo Alto/Stanford Un.vers1ty Performmg Arts 1111[rQl,ve Stanford Per('Jmlflg Arts Cen[er SpGce N~rne G~c (Pi U."r sf Qtl 'N 0 H (\.'N Y G,',\) GresS" SF Glo 'Te; "'i:! ~(;''''''u,'1e '~t'~i!~~J~:~:~;i:~a~;e~ areas are exclusive of 1C inaccessible spaces Page No. 10 a Packet Pg. 50 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Spaces Lobbies jMain level 1.200 5.0 6,000 1.10 6,600 Balconies 600 5.0 l,ooo 1.10 l.lOO Public circulation 1,800 6.0 10,800 1.15 12,420 Founders room 1,000 1.10 1,100 Coat check 400 1.10 440 h?~~y_~~,,-rage lOO 1.10 llO Concession counters 100 5 500 1.10 550 Public restrooms I fxtr/22 patrons -J~~en 55 50 2,750 1.20 l.loo 42 1,150 1.20 1.380 Spaces 1,800 9.5 17,100 1.10 18,810 0 0 I in public circulation 65 1,100 1.10 1,210 1,100 1.10 1,210 120 50 85 6,000 1.10 6,600 60 25 40 1,500 1.10 1,650 2,500 1.10 2,750 i ~hamberL 0 0 I in audience chamber I Supp~~ __ ~pac~~_ booth 200 1.25 250 control 250 1.25 liS lOO I 1.45 415 200 1.15 210 150 1.15 175 150 1.10 165 150 1.10 165 150 I 1.10 Pa~e No. II a Packet Pg. 51 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d (CONT'D) Support 45 800 1.10 880 ~ressing rooms 200 4 800 1.25 1.000 restrooms & showers dressing .rooms 15 700 2 1,400 1.20 1,680 restrooms & showers lounge 500 1.10 550 locker 400 2 800 1.10 880 150 1.10 165 toilets 300 I. -MUSIC THEATRE 1.1 ,I ~p~~_~s Lobbies jMain level 600 5.0 3,000 1.10 3,300 ---Bai-oonies 250 5.0 1,250 1.10 1,375 -----_ .. _---- Public circulation 850 6.0 5,100 1.15 5,865 Coat check 200 1.10 220 --------------~()~~l.sto",ge 100 1.10 110 Concession counters 100 2 200 1.10 220 -.-~---_ .. , Public restrooms I fxtr/22 patrons "~~I~~men 26 50 1,]00 1.20 1.560 13 42 550 1.20 660 Spaces chamber 850 10.0 8,500 1.10 9,350 light locks 0 0 in public circulation pit 825 1.10 910 storage 1,050 1.10 1,155 platform 55 35 60 1,925 1.10 2,120 2 32.5 35 60 2,275 1.10 2,505 0 in audience Page No. 12 a Packet Pg. 52 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Ne! A'lc Gross F,'~o( Are:J$ Palo Alw/Sw(I(ord Uf"I..-erslty Pcr;or"rllng Arts Inl('atl/e Swr(cr(} Peic('11lrg Arts CCf1~cr Sr'}(e ~"J""(' (>( (PI L''1I· sf Qw W 0 H "'.et sr Or-I Gn::5;: s~ r;~IIIf"I~.c ~:rrr;~I~e I i CONCERT HALL (CONT'D) ~erforrnance Technical Support SP.aces Control booth . ~.ollowspot booth Dirrmer room ... __ .,_. ~":lp.ra~k room ... _ :,.~:~. =~J~f.~~;~(~~~~:~.~~tt!~~-- _ ._ .... ~~~ manag~r . ___ .. _~ __ _ ..... ~ ___ ~o~d ~OITIpa~_y,o!!,~~~. " __ .. _ ~e!ior:mer Support _._. __ ... __ Greer room . .... -_., , " .. -.. . ... _ ... __ ._-"- . ___ .. _ f'tinciJ>a1 dres~ ro<lrT\S __ ' __ ._ ~~~~ing ~. _______ _ Piano storage --sa(kstage~0.il<~ __ ::---·' TOTAL -CONCERT HALL SHAR~~ ~~~~~T:S;ACES ~~.-~~~-- . __ . ~~~J~~E~~e5 .. __ _ ... _ [Lobbl... Food Service :··:':'::::l~ ... ·~~~;n.~t~~f~:~;:n ... _ .. C;~!~ .. ~.e~ting 't: ~~h~.ic~ ~~pport . __ IElectronic shop . AN .. ~~rage qe~.e~I .. ~to~elReceiving ~ec~~ns area ~e~~e prop storage Instn.ment storage ~t .~.?rage/repair area laundl'l . 15 .. _--_ .. --,_._ ... 200 700 ---.. _. __ .--. _ .... .. 2,650. 2 4 i . 200 1.25 250 200 1.45 290 150 1.15 175 I· 150 1.1 5 175 -150 LlO I 165 150 LIO ...... 165 150 1.10 165 500 LlO 550 800 1.25 1.000 wI restrooms & showers ._------ 1.400 1.20 1.680 wI restrooms & showers 200 LlO 220 _. 300 1.40 420 30.625 1.13 34.605 . --_ .. _.-.. ------. 5,300 1.1.0. 5.830 600 1.10 660 400 1.10 440 1.000 I 1.10 1,100 300 1.10 330 I 400 i LlO 440 I I 25 1.000 I LlO 1.100 I 500 j LlO 550 I 800 , LlO 880 I 500 1 LlO 550 · 300 ' LlO 330 1 r agr No. 13 a Packet Pg. 53 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d IJII~t No. 14 a Packet Pg. 54 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d POlo Afro/Stanford UniverSity Performmg Arts In.llotn'e Stanfcrd Perfor'Ti'riE Arts Cer1[er Net Jlnd G"DSS Ficor Ar~Js 5pcce Ncme O~( (PJ 1...1""1 sf Qw W D H N~t SF GI,"'J GrC-~5 5[" c .... :ie"l"Ie p::orrr;.A::E' I I I I STANFORD EVENTS I Office Space 1 Management T earn 150 LlO 165 Director ! Director of business and finance 120 1.10 130 Office_ m~~~~_~(gey~lopment assistant 120 1.10 130 ~drTl~nis_~r:'!~i~~~~ceF.tion 80 1.10 90 -----~ ~c.r:C!~~1Lnj __ ~si~~ant_s 80 2 160 1.10 175 -_._ .. ,- Public Events -_.-I~~~~t~~-~~~----' 120 I I ~~ ~ 130 -~ 80 2 160 I~I.IQ~~ 175 I ~I 1.10 I -----.- .-----Lively Arts I ~~I '~'_"~~ I I~I jK~i~~_e~.-')!flces 120 3 360 _1.10 I 395 --- Workstations 80 3 240 LlO 265 -~ ~ ~I I ---_._._-, _. '-".-'" .. , -~ ~~ ,~ Visitor Information SelVices ----------_. . ... _------ Enclosed office 120 1.10 130 -----,,-~"--_ .. ----------Workstations 80 2 I I~g LlO 175 - -~ -I f'7------~ 11---~-. ""---------,-... -.-~ --------Information counter 400 LlO 440 -,,---_. -I ~ -----------. --..... -Business center 300 1.10 330 ---I ~I I ----.-------------- ---------I ~ I I I YYa.~Ii:_a~<L 200 1.10 220 -----" -~ -,."--Ticket Office --III --Enclosed offices 120 2 240 LlO 265 _ ...... -I Workstations 80 4 320 1.10 350 cashier windows . __ . II -~ 200 1-Business center 1.10 220 Ancill~ry Spaces Conference room 16 275 1.10 305 Reception area 100 1.10 110 Equipment/copy room 150 1.10 165 Media room 100 LlO 110 Files 150 LlO 165 I Supply storage 240 1.10 265 ,Secure tic~t stock storage 80 1.10 90 Kitchen/coffee area 100 I 1.10 110 w/ restrooms & showers Toilets I i 300 lAO 420 Intemal circulation I 20% I 990 LlO 1,090 TOTAL -STANFORD EVENTS I 5,935 1.11 6,615 I I PaJ!!c No_ 15 a Packet Pg. 55 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d ~et A"ld Gross F:c·~r Areas Palo Afro/Starford Ufll/erstty Performing Arts }r1I[ldtlve Palo A!(o T~eatre Cen!er Spare N'J,'l'I~ OC( (P) U"I~ sf Q'I 11/ D H Nf( 51=' G/"J G·oss SF G:JI(iChr'£' r~'f':"'u:'Je I I PUBLIC SPACES I _ PERFORMANCE SPACES I PERFORMANCE SUPPORT SPACES I TOTAL PROGRAMMED AREAS .1 NON-PROGRAMMED AREAS Service areas Circulation Mechanical and electrical [_ TOTAL -NON-PROGRAMMED AREAS 16,690 I 1.13 1 21,500 1.10 21,430 1.15 59,620 1.13 18,925 23,700 24,610 67,235 200 18,100 11,650 29,950 TOT .. \l S 5962) I 53 97 185 Page No. 10 a Packet Pg. 56 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Page No. II a Packet Pg. 57 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d SUPPORT SPACES 120 1.25 150 80 1.25 100 lOO 1.15 435 80 1.25 100 200 1.15 230 150 1.15 175 I area 0 0 in audience chamber booth 80 1.2S 100 -.~ .. ---. _ .. 200 1.25 250 ---• ¥ •• -. 120 2 240 1.10 265 --.-.-----120 1.10 130 200 2 100 1.15 460 offICe 200 1.10 220 120 3 360 1.10 395 120 1.10 130 0 0 1,200 1.10 1,320 600 1.10 660 2,000 1.10 2,200 200 1.10 220 600 1.10 660 1,000 1.10 1,100 150 1.10 165 room 750 1.10 825 Page No. 12 a Packet Pg. 58 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d IPEFlFORMi~N(:E SUPPORT SPACES (CONT'D) I p.,'onmer Support rooms +. ""'E"'-" ~ressing rooms __ ~ressing roC?"TlS II"'IIJ5IClan, rtC?""age . I MIJ5Ic,,", locker; _ ~~~::~~;:~: studio _ studio 1. ___ ~~~~ wanm·up room f. _'i~,~-;st~o~rage -I room SO 30 2 4 10 __ ~~~~I~E' toilets ........ --_ .. _. . •.. ~ ;;:r~;:-+--' .!-. PERFORMANCE SUPPORT 4 4 4 2 2 2 ISO 2 20 20 200 1,000 500 200 800 I'Q()() I 500 200 300 1.10 220 1.10 1,100 1.10 550 1.10 220 1.25 1,000 restrooms & showers 1.25 1,250 restrooms & showers 1.20 1,920 restrooms & showers 1.10 65 1.15 370 ---------1.15 3.450 -_ ... -_. ------.---LIS 1,725 -~----1.J5 270 -.--._----LID 330 LID 550 220 Page No. 13 a Packet Pg. 59 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d 17.410 I 12 19.490 690 18.800 58.150 I I J 65.620 52.105 Il51 5 75.600 I 1.13 85.110 52.795 32.315 INC)N~;Ri:JGRA:MMEC AREAS I j~~~~~:i and electrical -_._--...... 300 200 100 .---_._-2~.~00 19.200 4.200 10.200 6.800 3.400 • NON· PROGRAMMED AREAS ' ...• -.-. .,33.900 26.200 7.700 --_.-..... _., .. Pa~c No. 10 a Packet Pg. 60 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d offices 150 4 600 1.10 660 0 660 administrativelfaculty support 150 J 450 1.10 495 0 495 staff per office graduate student offices 150 2 JOO 1.10 ]]0 0 ]]0 staff per office equiPITlEmt/of!ke stora~e 0 0 0 0 wI drama 0 0 0 0 wI drama a ... " 0 0 0 0 wI drama Spaces studio 200 J,500 ----------------1.10 J,850 0 J,850 200 J 600 ------------1.15 690 690 0 J,OOO 6,000 1.10 6,600 0 6,600 1,800 1.10 1,980 0 1,980 50 750 1.10 825 0 825 fuU~N capab~lities ------------- 20 JOO 1.10 ]]0 0 ]]0 full NV capabilities ----------- JOO 1.10 0 ]]0 500 1.10 -------------0 550 100 LlO 0 110 100 1.10 110 0 110 vi~iryg .. ~t:)m JOO 1.15 J45 0 J45 150 1.35 205 0 205 10 500 1.20 600 showers dressing roo~ _ 16 800 1.20 960 showers toilets 520 DANCE DEPARTMENT Pa~e No. II a Packet Pg. 61 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d 200 1.10 220 0 220 150 12 1,800 1.10 1,980 0 1,980 I support 2 200 1.10 220 0 220 150 2 lOO 1.10 llO 0 llO offices 150 lOO 1.10 llO 0 llO 20 lOO 1.10 llO 0 llO I storage 200 1.10 220 0 220 wI dance 100 1.10 110 0 110 wI dance 800 1.10 880 0 880 'ce' 200 1.10 220 0 220 wI dance 150 2 lOO 1.40 420 0 420 studio/rehearsal room 1,200 1.15 l,l80 l,l80 0 --------.--14 750 1.15 865 865 0 300 600 1.10 660 0 660 750 1.10 825 0 825 20 600 1.10 660 660 0 lOO 1.25 l75 l75 0 800 1.10 880 880 0 400 1.10 440 0 440 200 1.10 220 0 220 800 1.10 880 0 880 lOO 1.30 Page No. 12 a Packet Pg. 62 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Net Al"ld G.'(lSS Floor Atec~ P(J,'~ A,wISwr,fcrd Un,'.'er~l!y Per,fcrm,'ig Arrs J""~I:1l!H:' DrofT'G DG"'cf' Cen'('( Sf:oG("~ NG':'1':; Gee (P) U .... ,( sf Q'i 'l/ D H I\'(:! 51=" G,'N Gr-::>~ St r-.,Ir: ... ~F Ren~ 5t G~ "t:""C' r-c-mu':;~ I i DRAMA DEPARTMENT (CONT'D) lobby and lobby Support Facilities Lobby Public circulation ! Main theater ~:~lilo~~:~1~~ _- Box office Coat check Public restrooms _ J~eonme';-_ Concessions First aid __ ~rogram S!~~~ ___ _ ~e~ormin&..~~5 ~.I:~~_~~ Drama Dance Theatre ~udi~l'ls~ __ ~a.tlt)&. ?~ag~ t~ar _~.&~_p~j~cti~n Trap,?om _______ _ Control booth Ft:)II~~sp_C?~ ?_C?()_~~ G_e~e~I __ S!~_g~ __ stt:)r.!8~ Studio Theatre ------_._-_ .... - Audien~~at!!:t&._ St_age __ Control booth qeneral stage _st()~e Performance Lab Studio theater Control booth General stage storage 450 450 150 100 14 7 450 I -' ISO 100 4 6 3 3 . ... ..... I· 50 42 100 2 1 1 ... - 10 190 ._ .......... 3D -_._._--,-- ---. -_. __ .- . ..... 10 55 I 50 1,800 1.10 2,700 1.15 450 1.15 300 1.15 200 1.10 300 1.10 .. 700 1.25 .. 300 1.30 200 1.10 120 1.15 50 1.10 .. 1 .. 4,500 1.15 1 . 35 65 3,150 1.10 15 25 450 1.10 2,500 1.10 300 1.20 200 1.45 400 1.10 .. .. . ... 1,500 1.15 II 3D 1,800 1.10 300 1.35 300 1.10 50 35 2.500 1.15 200 1.35 200 1.10 1,980 3,.105 520 345 220 330 875 390 220 140 55 _._-------_. 5,175 ..... ~,~5 495 2,750 360 290 440 ----_.-. -- 1,725 1,980 405 llO 2,875 270 220 1,980 3.105 520 345 220 llO 875 390 220 140 55 5,175 3.465 495 2,750 360 290 440 1}25 1,980 405 330 2,875 270 220 I: II I shared by Drama & Dance 011 o o wI wire tension g~d above o o o o o o o o o o o! o !, 0: ! wire tension grid above Page No. tJ a Packet Pg. 63 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d \ef ftna C'cn Floor Areo) Pci'o AltoISrQIi{:::;'"C! un'vers,!, Pe-rJf'T'11g Arts }r:'~IQ!I .. e DrefTle Dc.nce Ce~!er ~t :-::~ k J .... € ':cc (FJ tHI' ~f Q', 'I'll D H t.t! Sf G ~..J G'O~S sr J.e ... 5~ Rt"':: sr r., ~e ~e rorr"'u oe I I DRAMA DEPARTMENT (CONT'D) Pe~orminB ~~ Support Facilities Dimmer room Audio rack room Effects r<?om .H'y'dra,uli~.~, r:oom ~~~~ room Kitchen ~~~~ip!~ ~~s~jn8 rooms .P~ncip_~! .. ~~~sing, rooms q~p' .~~~si~ r.ooms t:':'.~~:up..~. _ Ba~et~_" ~~~.--.-. L~di"ld~ .~iyi~are~. ___ ~~_~2P __ _ . ! ~~~~..!~ ~orag,e ~~!.I_~. ~~.~e .. M_~I ~_ P~j~tlwe~~~8...~o~ . Ge~~1 sce,~s storage pro j __ ~~ro~s ___ _ ~.;_.'~_ P_o_~_· ,~_' ~~j~ora_', .se rooms . Ge.~~~! p~p storage Co~.ume~ Fabric.~tio~ ~hop Dye~m ... W!g and. ~e:.~hop Penor:nance wardrobe room General costume storage Ori2inals costume storaRe -- 30 -1 4 10 --- --- -- ~O~ __ 1 250 1 650 1 - 24 21 --14 Page No. 14 a Packet Pg. 64 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d 150 1.10 165 165 0 150 1.10 165 165 0 150 1.10 165 165 0 150 1.10 165 165 0 150 1.10 165 165 0 I. 165 I Page No. IS a Packet Pg. 65 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d SITE ANALYSIS Three sites have been presented to the Study Team for the Palo Alto & Stanford Performing Arts Center project including the following. Site One: a central campus site in front of Frost Amphitheatre at the intersection of Lasuen and College Blvds. Site Two: a portion of the playing fields north of the Cal Train parking lot on EI Camino Real across from the Stanford Shopping Center. Site Three: a portion of the playing fields adjacent to the Roble Gym including the Roble Gym building. The Study Team assisted by SW A and the Stanford Facilities and Planning Departments assessed the individual sites for appropriateness, capacity, utilities, accessibility, parking, traffic and character appropriate to the facilities proposed. The concept of a single performing arts complex housing the entire program and a concept of additional program elements than are being proposed have been tested and applied to each of these sites and have been determined to be inappropriate. The determining factors were a combination of the site capacity, strategic location of critical programmatic functions and the clarity of management and operations appropriate to each of the aspects of the Center. In no case was the grouping of program on a single site beyond what has been recommended by the Study Team determined to be feasible. SITE ONE Site One is well situated as the prime focus for a major performing arts center. The Stanford Performing Arts Center is envisioned to have the major performance venues that best bridge the gap between the University and the Community. In this case the site offers accessibility by vehicle along major campus arterial routes, convenience to parking, and planning logic with regard to other existing facilities such as the new Alumni Center, the Frost amphitheater and the Cantor Museum. The capacity of this site to house the Performing Arts Center is perfectly adequate with regard to building foot print, set back, service and open space. The building mass of a performing arts center is such that the relationship of the building placed on the site, the relationship to other adjacent structures, the prominence to the surrounding area, the focus to the public and the practicalities and economies must be deciding factors in the determination of appropriateness. Site One responds well to these factors. Public access by private vehicle is accommodated by the extension of University Avenue to Palm Drive to College Drive. Student access is convenient by foot or by the Margarite campus bus system. Service is accommodated from Memorial Way with a drive along side the new Alumni Center. Sufficient parking is nearby. Positive Considerations to Site One: • Capacity • Prominence • Accessibility by the public and University • Orientation • Accessible Parking • Aesthetics a Packet Pg. 66 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) • Relationship to campus infrastructure Negative Considerations to Site One • Some accommodation by utilities • Walking distance to parking off-site SITE TWO Site Two is a prominent location on the Palo Alto side of EI Camino Real on leased land owned by Stanford University. The importance of this site is the undeniable link between the university and the City of Palo Alto just "off the main gate". The future development of an intemnodal temninal at the University Avenue Cal Train station, direct vehicular access and its public visibility and the fact that there is a transportation hub adjacent to the site is a distinct asset. The EI Camino Real location will anchor the theatre to more public activity and will most definitely be an asset to businesses in the area such as restaurants and cafes. The prominence of the site enables the theatre to be a community landmark while having a physical association with Stanford. The site currently serves as a recreational park area with a soccer field and a baseball diamond. There is a service drive and parking lot with adjacent public toilets servicing the ball fields. At the south end there is the "homeless garden". By realigning the ball fields and relocating the parking a sufficient parcel can easily be acquired to house the theatre project. On the east boundary are the Cal Train commuter tracks and on the west side is the major arterial. EI Camino Real. Each of these presents an acoustical impediment that will require special design considerations. This is of minor concem and a premium is being canried in the construction budget to mitigate. The Palo Alto Department of Public Works has proposed a reservoir be built on the theatre site. This is not viewed as a problem because we have been infomned that its location is not critical and could go north of the proposed theatre location with care being taken in routing the water lines and locating the pump station. The Study Team recommends that only the Palo Alto Theatre Center be located on this site. Additional facilities beyond what is being recommended here would cause elimination of the recreation aspect of this open space and be a burden on the community. We also feel that locating any ofthe prime presenting venues for Stanford's Lively Arts and academic functions out side of the campus core would be impractical and not feasible. Positive Considerations for Site Two • Public Prominence • Public Access • Capacity • Aesthetics • Civic Identity a Packet Pg. 67 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) • Proximity to the Stanford main gate • Public Transportation • Urban Context Negative Considerations of Site Two • Noise and Vibration • Timing of project with proposed infrastructure SITE THREE Site Three is the Roble Gym and adjacent open space at the coincident end of the playing fields. All references to the Roble site includes the concept of adaptive reuse of the Roble Gym building and appending a new structure to it in order to fulfil the functional space program. The Roble Gym building is extremely suitable for adaptive reuse to accommodate the spaces eanmarked for it. The building is sound and has the appropriate high volumes that easily convert to the types of spaces required. The fact that the Dance Department has its two studios in the building supports this notion. Also, the character of the architecture is in keeping with a creative arts environment. The convenience of the Roble site to "campus life" by being close to student housing and other academic buildings is very appropriate for the academic program of this project. The fact that the cost of the adaptive reuse of the Roble build ing has an effective 40% advantage over new construction and is able to absorb almost 35% of the proposed space program is a significant advantage. Consequently, this greatly mitigates the total area of new construction and minimizes the land use footprint on the site. The site is convenient to student audiences and is accessible to the public via Campus Drive Loop and Santa Teresa streets. The Study Team is very much encouraged about the use of this site for the academic facilities of this program. We strongly recommend this site as appropriate in tenms of quality, economy and location. Positive Considerations of Site Three • Location within campus activities • Economy of land use • Economy to absorb large program areas • Access from the university population • Local prominence • Ease of service • Convenience to utilities Negative considerations of Site Three • Indirect public access a Packet Pg. 68 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) UTILITIES Access to utilities is important to the evaluation of any building site. The campus utilities infonmation relative to Site One and Three is reasonably complete. Therefore we are confident that there are no extraordinary problems or extreme costs associated with either of these sites. We have not been able to obtain current utility plans from the city of Palo Alto that would indicate anything unusual. Site One is easily connected to domestic water, sewage, stonm drains and electricity by ties along Galvez and Campus Drive, A benefrt of adjacent new worl< for the Alumni Center may be a possibility but is not yet detenmined. Steam and chilled water are a bit of a mystery. The current plans show no distribution, however we have been told that new lines are being added along the southern end of the Alumni Building site. This could not be verified as this is just being planned now. Electrical service distribution is high voltage and adequate for our new loads. This will require a dedicated transfonmer vault that we have accounted for. We can not comment on Site Two because of a lack of infonmation. We have assumed that all utilities can be serviced from EI Camino Real. This site will require its own dedicated cooling tower and boiler. Site Three is wholly accommodated from existing services along Santa Theresa Drive. We are not aware of any limits to capacity at this time. This must be ascertained at the beginning ofthe design process. TRAFFIC The activities of the proposed perfonming arts facilities is such that peak traffic load is usually at t ime inconsistent with nonmal campus peak times. Therefore, with the few exceptions of sports events, we assume there would be little impact to the campus or the road system. The Perfonming Arts Center is estimated to bring approximately 950 cars to the center at the hours of 7:00 to 8:30 pm and then empty them at approximately I 0:00 to I 1:00 pm. This is a time when the day visitors have left the campus mid week and the weekends are nonmally quiet. The Roble site is far less of an issue because the audience is for the most part campus oriented and far less automobile dependent. The total people load of the Drama-Dance Center, including faculty students and audience, at anyone time would be approximately 850 persons of which approximately 85 would come by vehicle, estimated at a 20 percent off campus load factor at one vehicle per every two persons. This has zero impact in an off peak situation and is insignificant at any time. Site Three along EI Camino Real will be adding to the traffic count in an off peak time. The traffic count from the Palo Alto Theatre Center would be approximately 400 including staff and perfonmers. This is an insignificant number of vehicles spread over a one and a half hour arrival and dispersal period on a major arterial. The aggregate of all traffic demand by all perfonmance facilities from a feeder point of view is insignificant in tenms of arrival and dispersion to and from the Palo Alto community and routes 280 and 101 . The only consideration is the rare occasion when the perfonming arts centers are playing opposite a major sports event on campus. a Packet Pg. 69 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) PARKING The vehicle count indicated above for each site must be addressed with regard to parking. Site One has the largest demand for parking. The adjacent campus lots will require a short walk across Campus Drive. The off peak availability does not seem to present a problem as those lots are then free. However. the sense of immediate parking on site for patrons of the Performing Arts Center would not be able to be accommodated without building a parking structure as part ofthe project. This is a very difficult proposition. An on-site parking garage would have to be a multilevel subterranean garage. The construction of a performing arts facility over a parking structure is a complex undertaking. The issues of superimposing the irregular structural system of a performing arts venue over the regular and carefully spaced structural system of a parking garage impose tremendous expense and compromise. The requirement for acoustic isolation between the spaces is costly. The nature of Site One and the road intersection configuration makes the planning of ingress and egress awkward. In addition to access ramps. accommodation of curb cuts for passenger drop-off and loading entry onto the site makes positioning of these elements virtually impossible. The aesthetic nature of this site would be greatly compromised by such an undertaking. The Study Team strongly recommends against pursuing any parking facility coincident with the PAC. As far as convenience is concemed. we do recommend investigation into other means of providing access to available parking. One such method might be the use of shuttle busses from distant lots or from adjacent lots in inclement weather. Another consideration is to establish a valet parking service similar to what is currently being done at other performing arts venues. This concession would also be a revenue source to the Center. The parking situation at Site Two is complicated by the limits of the site when saving the ball fields. Minimal parking will have to be provided on site for key staff and service vehicles. We recommend at least ten to twelve spaces. Parking for the public is another matter. Any mention of utilizing the shopping center lots is not possible. The small adjacent lot at the train station and any parking available with the plan of the intermodal terminal is a remote possibility. It would be very possible to build a subterranean parking garage under the ball fields next to the planned reservoir. This is a very big undertaking and should not be part of the feasibility ofthe use of this site for the performing arts center. An above grade structure is certainly possible and may be a consideration. The parking requirements for the Roble site are minimal and can certainly be absorbed in the adjacent visitor lots at off peak hours. In no case has the Study Team been given the charge to make a compnehensive parking or traffic study. The above comments are considerations and ane speculative. Thenefone no finanCial planning or construction costs have been attributed to traffic or parking. a Packet Pg. 70 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) I MUSEUM WAY l- w w 0.: I- <J) Z W " .. '" -' "'", "',. ~ ___________ II 6 LOADINai FROST AMPJ.IIT",E;AT"" ..-. PALO AL TOIST ANFORD UNIvERSITY ;:, -"1-~ AL.UI"1N:I CENTE I W w 0.: I.. N W > -' '" " SITE I STANFO~D FEF?FO~MING PERFORMING ARTS INITIATIvE ; , _ A~TS CENTER, ~_.,~._. " .• _",',_" •..• ~-' .'.-;,.:." ',-",.",,-.-; •..• ~ .. _ ~ ........ '., ...... ;,,-j .. '."-','._.~; .•. ."" , .. , .• .'" .. _.':"'..,.,-•. _.::'1 .• -.... :-.: ~"':.'_,. .• '" ... .,-,,_.~ •..... _, ".:." .•• __ ...• -' .. '",_. -, ... -,-.•.. -._ ...• ,,_,: ... ' a Packet Pg. 71 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d .. "+ "", .. • > ~----/lfet;r I ROElLE GYM F'RODJC MC>J 6UPFORT / i LOADI~ '1 ~ I ~=O i.... I :::::; I c ) 6A~TA TERE&A 6tREET "' ,: .... ~", '.'. '.:_.C .·.~:·L_'.·· ~ .:.~.~-_ ~-;:!'I"':'-~ __ " .":._ .. >,.. ..... _ :"~~_ ...... olF.'""""~::;:.:_-' •. PALO AL TO/STANFORD UNivERSITY PERFORMING ARTS INITIATivE >-« 3 ., It It 0 r: or. « -.'"'-' .. o ~ P'JiIfOJECT NOftT14 •• ~ ... : '11-"'~ SITE III DRAMA DANCE CENTER ·.·._· .. ;'7.:.._. ',,,!,,\' , '''.-:.:.:,t ,.~ "" '. :." .... J ,: .... .,. .. -:.: __ " .... '.',',' .. .,,:.,~~.~~ •. ~ _.-.. ' ' .. -.... :.-'. I.·.·.·,: .,:. "', ';,..-, ,'t_ .}:.. • .... ,·1111 ~· ...• ' a Packet Pg. 72 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d I I ~ LC ~+ . .' ~'" ... • t It ~,---, "- 1__ 1 :L.GYM 1 8 -.~ I"~~"~ '"'"""' 1.-. r/ LOAD INC; .J' , I ~ ~ .. "';"'; r 'I ... ~n T\4EATIOE < i .. __ II >- ! ,-. ~ .q I r-! , L~'O'I , 3 5TIDIO -\ .. .STUDIO' ., I IT~EATRSI -. I ~I I \ I.~ ~ III . ru-J , -' ft; III , ~ . 1\ '= T ,~ j,~ J 0 : ___ • ",EI'O' ACTINC; -, I: STUDIOS ./' -l , ~'. .' LA.. ABOVE 1 ........... ,r-' ~AC. CE5 I SEMINA", Z I . \ ' .q •..• ", .• ..iI: ___ ••• ' ..... ___ ._.: ~ _._ ... e< <II ~ 0 .' / ( ) ./ ., SAN TA TERESA ST",EET \ ) ,?( r -. ~ ... , ~ECT .... NO~ ~··o"""',' "::.",'.~ '.! ...... :::.' _. __ ~::_,'., .... ·c::.-..:' '::':'~~ .. ~:~~-"""'.:~ ....... ~; ....... _<.~~~~. __ .;." . ."-'," " .. <.:: ,~ .. -.:~~,~ _·.: ...... ~~.~""'.:·.;'!!-;.'-".:o-'-:·_" .. _ .: __ .o:.~' ....'!" •• -=-:·_.c:~·o_ '.~! "' ....... , .. : ... ~~."-.~._~."" .~,.~. ~_.;:" PALO AL TO/STANFORD UNiVERSITY SITE III PERFORMING ARTS INITIATIvE DRAMA DANCE CENTER ~:"-_, ,',-, •• ' .:-•• :,"-'_".,.. w·· •• ~ •••.••• ~. :,.',,-•• ;~. ".':.:':~~:' 'r_.r.' ," ...... ,'l:._~.~_:.,_,_ .• .,;..,_ .. <_~ ...... , ."':::.;.: ".: •. ,.,'-. , •. -, .. .... , •... : ..... - a Packet Pg. 73 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d RELEASE SPACES With the advent of new perfomnance and teaching venues proposed for Palo Alto and Stanford University. the spaces currently occupied and utilized will become available to a limited extent for extended or new uses. The primary group of spaces includes the Memorial Auditorium Building and Dinklespeil Auditorium on campus and the Lucie Stem Theatre in Palo Alto and the Mountain View Perfomning Arts Center. For the most part these spaces will become available for other organizations to make use of. In some instances. renovation or conversion of a space for either improvement or adaptive reuse must be considered. The cost and application of these renovations is outside the purview ofthis report. yet our comments must be put in context of the overall picture. MEMORIAL AUDITORIUM The Memorial Auditorium building is currently hampered with the concurrent use of the Drama Department. In addition. its prime spaces are less than adequate by current standards. The greatest complaint is the inability to have concurrent use due to the lack of acoustic isolation. It is the opinion of the Study Team that the continued co-utilization of the Little Theatre and Memorial Auditorium is impractical. The fact is that Memorial Auditorium itself will continue to be vital to the University after the proposed new facilities are built. whereas the Little Theatre functions can readily be accommodated in the new Dance -Drama Main Theatre. The impracticality of acoustically isolating the two working stages is clear. However. the Little Theatre is quite possibly convertible into a small lecture hall and a medium rehearsal room. Both of these spaces would be an asset to the Student Activities users. It would be rather straightforward to build an acoustically isolated rehearsal room within the bounds of the existing Little Theatre stage. The Little Theatre audience area would remain relatively intact with some modifications to provide an adequate lecture platfomn. new lighting and audio-visual equipment. Memorial Auditorium has recently had "cosmetic" work done. a new lighting system up grade and orchestra pit lift added. The rigging system. however. is antiquated limited in capacity and hazardous to use. The wire-guided counterweights are considered to be very dangerous by current standards and we recommend that the rigging system be replaced with a contemporary tee-guide system. The difficulty in utilizing Memorial Auditorium during the summer months is the fact that is not air conditioned. This should be an essential consideration for any future improvements. The office. the shop and production support spaces would serve the Student Activities groups very well with minimal renovation cost. The total Memorial Auditorium net assignable current release space assignable to the Drama Department is accounted to be 54.000 square feet. DINKELSPEIL AUDITORIUM Due to the majority of existing and proposed utilization. Dinkelspeil is not entirely considered a release space. Dinkelspeil Auditorium has been and should continue to critical to the music Department and other Student Activities and Stanford Events uses. Release Spaces Page I a Packet Pg. 74 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Dinkelspeil is unfortunately not a very good hall for music or theatrical perforlTlances. Originally designed as a concert hall with an accommodation for an electronic organ it has been put to every kind of live perforlTlance and lecture activity imaginable. It is well used mainly because it is the only venue if 900 seat capacity on campus. As stated in the Needs Assessment the direct access to the Braun Music Center is its best asset. A facility adjacent to Braun is essential for the Music Department. However, Dinkelspeil in is current fOrlTl poorly serves this purpose. It is possible to spend a minimal amount of funds to do a conrective renovation that would improve its acoustics. This would most likely minimally reduce the seating capacity. A more radical approach would be to do a major renovation and create a 500 seat space with a perforlTlance platforlTl large enough for a symphony orchestra to rehearse. The secondary uses of practice space on the lower level should not be sacrificed but should be better isolated from the perforlTlance volume. In any case it is the opinion of the Study Team that Dinkelspeil should continue to serve the Music Department and Student Activities in whatever fOrlTl that can be justified. LUCIE STERN THEATRE The Lucie Stem Theatre continues to serve the City of Palo Alto perforlTling arts community significantly. This venue has evolved somewhat from its original construction. However, the 400 seat venue has distinct limitations that do not serve a professional theatre company well without significant renovation. The theatre does and should continue to serve community based perforlTling groups such as Palo Alto Players and West Bay Opera. Additional access to Lucie Stern by the addition of the TheatreWorks venue would release approximately 146 use days. This includes dates cunrently held as non-perforlTlance oriented by TheatreWorks. MOUNTAIN VIEW PERFORMING ARTS CENTER The Mountain View PerforlTling Arts Center will see a large opportunity for additional programming due to the departure ofTheatreWorks. The management of Mountain View is in a strong position to fill those dates by other organizations that have not had access due to the long tenancy of TheatreWorks. The booking opportunities are substantial and this is viewed as positive by the Mountain View management. Release Spaces Page 2 a Packet Pg. 75 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Introduction Executive Summary Palo Alto/Stanford University Performing Arts Initiative Program Analysis and Construction Budget Donnell Consultants Incorporated (DCI). as a member of the Auerbach + Associates Inc.'s Team for the Feasibility Study for this project. now contributes as a working document for the Client and Team. this Progrom Analysis and Construction Budget. It includes several assumptions. all of which DCI has attempted to describe herein. for discussion with and possible modification by the Client and Team. DCI advises. following a careful analysis and pricing of the Auerbach + Associates Inc.'s (A+A) Program. coupled with Stanford. CA area construction market cost research and interfacing with University and City representatives, the following summaries of Statistics and Costs:- Element Stanford PAC Music Thea[{e Concert Hall Form Rehearsal Hall Dance & Drama Droma Dance Theatre Studio Theatre Theatre Lab Dance Performance Studio Large Dance Studio I Large Dance Studio 2 Modem Dance Studio Palo Alto TheatreWorks Main Stage Studio Theatre 2,800 900 1.100 Gross Floor Areas New Renov. 175,000 sf 79,000 sf 40,000 sf 97.200 sf Construction Costs November 2002 Bid $101,650,000 $ 41 ,800.000 $ 45,850.000 The foregoing must be considered in the context of the A+A program, the descriptions and assumptions made by DCI in this report. When approved. this report is intended for use by the Client and complete Project Team(s) (Architects. Engineers, Theatre. Acoustic & PAC Cost Management Consultants) as a tool to monitor and control costs during the entire design. or pre-construction. stage of each of these individual projects in the PAC. Page No. I a Packet Pg. 76 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Introduction Terminology Palo Alto/Stanford University Performing Arts Initiative Program Analysis and Construction Budget. The term "Cost" is often misquoted, misnepresented and consequently can be misunderstood when read in published articles, books and orally quoted in connection with these highly complex building types. DCI is using TWO categories of "Cost" in this Construction Bid document: - For the purpose of clarity, these two terms: -"Construction Cost" and "Project Cost" mean the following:- Construction Cost • Building construction cost (Architectural, Structural, Electrical, Mechanical, Theatne & Acoustic disciplines) • Performance equipment and its accommodation • Fixed and loose audience seating • Railway & highway noise & vibration isolation allowance • Site development & landscaping allowance • General contractor's general conditions of contract, overheads and profit • Escalation to projected bid date (2 Y, years) This equates to a "Bid Cost" or Construction Costs in this category ane expnessed in projected Palo Alto/Stanford, CA area competitive, general contract, November 2002, bid dollars. Page No.2 a Packet Pg. 77 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Introduction Project Cost Palo Alto/Stanford University Performing Arts Initiative Program Analysis and Construction Budget • The foregoing November 2002 Construction Cost, plus the following additional costs and Owner's "soft" costs which require to be added by the University/City to determine their totals. These are all excluded from this report: - I. Construction change order contingency 2. Professional fees and expenses 3. NE site supervision (full time) 4. Construction management (by University) 5. land acquisition 6. Demolition of existing structures 7. Hazardous material, contaminated soil treatment and disposal 8. Replacement of swimming pool @ Robely site 9. Parking (surface and structures) 10. Central Plant augmentation I I. All work in connection with existing or required utilities 12. Financing costs 13. Campaign expenses 14. Legal fees and expenses 15. University and City staff and associated management costs 16. Soil borings, geotech, site and utilities surveys 17. State plan review I 8. Permits and impact fees I 9 . Testing and inspections 20. Mockups 21. Presentation models and renderings 22. Groundbreaking and gala opening expenses 23. Building move-in/occupancy 24. Owner purchase items (a) FF&E (b) Food service equipment (c) Security equipment (d) Keyboards/musical instruments 25. Art allowance 26. Project contingency (in addition to DCI-provided contingencies) 27. Endowment funds 28. Escalation beyond a November 2002 bid date 29. Building utilities/central plant modifications 30. Stanford Infrastructure Program Campus 3 I. Stanford Infrastructure Program Transportation The foregoing require to be confilmed and calculated by University/City personnel and budgeted for as may be appropriate. Page No.3 a Packet Pg. 78 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Introduction Program Palo Alto/Stanford University Performing Arts Initiative Program Analysis and Construction Budget The Center's recommended Architectural Program prepared by A+A is directly related to the Client's expressed needs and considered comprehensive. A+A's space lists and net ffoor areas are reiterated and have been modified by DCI to produce gross ffoor areas. DCI modifications comprise (a) grossing factors for walls and structures etc. and (b) realistic supplementary additions for back-of-house circulation, mechanical, electrical etc., spaces, which are necessary, but not typically provided for, in A+A's "functional" programmed areas. These result in what are considered by the A+A Team to be realistic, attainable gross floor area projections for the Center's future design, by experienced and competent Architects. Approach DCI developed this Program Budget using its proprietary cost modelling technique, which has proven successful and dependable, when coupled with DO's cost control program, for University/City perfomning arts facilities of similar size and programmatic characteristics, in the US. The process involved a thorough review of A+A's architectural program and supporting materials, KA's room acoustic criteria and isolation requirements, primary exterior and interior architectural quality objectives provided orally by Mr. David Neuman, University Architect/Associate Vice-Provost of Planning, DCI-generated electrical and mechanical systems criteria, cost modelling of structural elements and exterior skin elements, interior space division and finishes, electrical and mechanical systems, all priced at carefully generated Stanford area market unit costs, calibrated with DCI's first-hand experience of other similar University/City perfomning arts center projects. This produced the "drivers" of each of the program budgets -the building construction costs. In addition, various cash allowances have been made for other facility components and systems, drawing on DCI's wide experience as specialists in this complex facility type, and close liaison with A+A and KA, all as stated on the Construction Budget Summary. Page No.4 a Packet Pg. 79 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Introduction Objectives Palo Alto/Stanford University Performing Arts Initiative Progrom Analysis and Construction Budget The objectives of this program analysis & budget are (a) to determine realistic gross floor area and cost guidelines for the several facilities for the Client's consideration and, once approved by the Client, (b) to have the project designed by an appointed and experienced architectural, theatre planning, cost and acoustical team (the Project Team) to approved standards, all within a realistic time frame. It must be appreciated that DCI made no attempt to conceptualize any designs at this early stage, but has assumed that first-class architectural firms will be selected for this Center capable of delivering projects of interesting massing and fine materials. comparable with other extant first-class buildings (such as the Gates and Packard buildings) on the University campus. This report will provide a logical frameworl< for Client deliberations and then ongoing cost planning, cost control and cost reporting for the project's design that is mandatory and that DCI would accomplish for a complex performing arts center of this profile and content. This report, in its final form, must be a key part of the selected Project Team briefing and instructions. Quality Standards The extemal and intemal architectural quality levels provided for by DCI are in accordance with Vice-Provost David Neuman's oral directions, specifically as follows: Stanford PAC: Palo Alto Theatre Center: Exterior vertical elements will comprise 20% glass and 80% solid, of which 30% will be stone and 70% stucco. Roofs will be 50% sloped and 50% conventional flat with some skylighting over public areas. Interior fInishes in Public Lobby areas will be (a) floors 35% stone and 65% carpet. (b) ceilings articulated drywall or plaster and (c) walls good quality construction of metal, stone and plaster. For the Performance Hall: (a) floors will have wood in box seating areas, carpeted aisles and painted concrete floors. (b) articulated plaster ceiling and (c) combination of metal and plaster walls. For the Concert Hall: (a) floors will be wood, (b) ceilings plaster, (c) 50% of walls will be wood and 50% plaster and (d) balcony parapets will be wood-fronted and drywall or plaster on the reverse. Exterior vertical elements will comprise 15% glass and 85% solid. of which 15% will be stone and 85% stucco. Roofs will be as described above for the Stanford PAC and the Performance Room will have (a) plaster walls, and ceilings and (b) floors will have carpeted aisles, boxes and painted concrete floors. Page No.5 a Packet Pg. 80 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Introduction Quality Standards (cont'e/) Robely Building: (Drama Dance Center) All Facilities: Polo Alto/Stanford University Performing Arts Initiative Program Analysis and Construction Budget The renovations' and proposed additions' finishes will essentially match these extant in the present building, externally and intemally, with the exception of increased glazing at connections. New mechanical and electrical systems will replace existing systems. Mechanical and electrical standards will be to code and to support the Center's performance functions as programmed. Structural standards will be to code, seismic resistant and normal for this building type. With regard to acoustical performance criteria, it is recommended by KA that perfonrnance rooms be designed to achieve reasonably low background noise levels. Perfonrnance acoustic levels demand that fairly substantial construction for these rooms is necessary, acoustical separation of noise generators (such as electrical and mechanical equipment rooms) is mandatory, and that mechanical and electrical systems be designed to attenuate noise and vibration to fairly low levels, as applicable. It is paramount to the successful on-budget delivery of this Center, that these broad quality parameters and gross fioor areas not be exceeded. DCI's ongoing design and cost management role would encompass such careful monitoring and control on the Client's behalf. Cost Basis The cost basis assumed for all budget components simulates current area competitive, general contract bid and subtrade bid costs, under a stipulated sum fonrn of contract. DC! carried out basic cost research with construction companies in the greater Palo Alto/Stanford area who are well-known and reliable, and are capable of constructing this complex Center. Such cost research would be expanded by DC! to include key subtrades as the project proceeds into design and documentation. Page No.6 a Packet Pg. 81 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Introduction Building Construction Cost Polo Alto/Stanford University Performing Arts Initiative Program Analysis and Construction Budget DCI's approach to determine the building construction cost component embracing architectural, structural, electrical and mechanical disciplines (item I on the Summary sheet) is all as described under "approach" previously. Detailing and Pricing Allowance/Design Contingency Included in the foregoing building construction cost is a necessary allowance of 10% to cover design and pricing unknowns for the actual design phases of the project. This allowance is not intended to cover any program space modifications, but rather is to provide some measure of flexibility for the Project Team in the transition from program into ongoing drawings and specifications. This allowance will be drawn upon progressively by DCI in project cost planning, commensurate with the level of detail achieved by the Project Team at each of the Schematic, Design Development and Construction Documentation milestones with balances reported to the Client accordingly. Performance Equipment and Audience Seating DCI has included estimated preliminary budgets calculated in association with A+A and KA for appropriate and functional levels of theatre and acoustic performance equipment considered necessary for each of the facilities to include, for example:- Manual counterweighted and power-assisted performance rigging; acoustic canopies; orchestra enclosures; adjustable acoustics; seat wagons; projection equipment; dance floors; performance draperies; performance traps and platforms; projection screens; orchestra lifts; performance lighting instruments and accessories; performance sound and communication systems; speaker cluster rigging; performance video; performance recording; performance lighting dimming and control; movable seating towers; orchestra risers; ancillary spaces equipment; fixed and loose audience seating. In addition, the building' construction cost component of this budget contains provisions for required conduit, control wiring. housings and devices, to accommodate all the foregoing acoustic and theatre performance equipment installation and operation. Page No.7 a Packet Pg. 82 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Introduction Palo Alto/Stanford University Performing Arts Initiative Program Analysis and Construction Budget Railway Noise & Vibration Isolation Allowance (Palo Alto Theatre Center) The budget includes a very preliminary cash allowance for this work to attenuate noise and vibration from nearby railway tracks and highway. pending an investigative report from a specialist in this field. Site Development and Landscoping A preliminary allowance of $2Q,()() per sq. ft. of unbuilt site areas (to conform to University practice) is included for earthwori<lgrading, retaining walls, steps and railings, paving and curbs, pedestrian walkways. site lighting, site/building storm drainage, signage and site amenities, landscaping and associated work. Building Utilities All building utilities required for the new buildings are specifically excluded. Modifications to existing University Central Plant are also specifically excluded. Other Exclusions from Budget A representative list of exclusions is detailed on Page 3 under "Project Cost". Page No.8 a Packet Pg. 83 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Introduction Polo Alto/Stanford University Performing Arts Initiative Program Analysis and Construction Budget General Contractor's General Conditions. Overheads and Profit An allowance of 13 1/2% has been provided in the budget for all nOlTY1al general conditions of contract, site overheads and profit as required by competitive General Contractor procurement and constnuction. This is intended to cover. for example: on-site management. supervisory, engineering. layout. secretarial and time-keeping staff; temporary field offices. equipment and their servicing; temporary site hoarding and protection; temporary telephones. facsimi le and computer services; storage sheds; toilets; progress photographs; water and ice; safety act measures; general and final clean-up; communications equipment; transits and levels; builders' risk all risk insurance; workmen's compensation; miscellaneous small tools and equipment; supervisory staff vehicles; perfolTY1ance bond; head office overheads and profit. Escalation Contingency Base pricing is on a local current basis. in addition to which a separate line item is included for estimated escalation to a projected November 2002 bid date. This contingency was detelTY1ined in consultation with local general contractors serving the Stanford/Palo Alto area. Market Conditions Commentary DCt advises. based on oral information from local contractors. that the current Palo Alto/Stanford area construction market is busy. Masons. carpenters. electrical and mechanical personnel are in high demand. Materials are also subject to pressures of existing and future workloads already on the books. particularly structural steel. In addition to wage and material escalation. another factor required attention. Contractors will likely assign higher values relative to risks of bidding and constructing performing art center projects such as is this. which are considerably more complex then most all other University/City building types . • • • • • Page No.9 a Packet Pg. 84 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Summary Audience Seating Capacity Gross Floor Area (gsO New Construction Renovation I. Building construction cost 2. Performance equipment and audience seating 3. Railway noise and viYation isolation allowance 4. Site development allowance 5. Building utilities allowance 6. GC general conditions. overheads and profit 7. EscalatKm contingency (2-ln years) TOTAL CONSTRUCTION (BID) COSTS (NOVEMBER 2002 BID DOLLARS) Palo Alto/Stanford University Performing Arts Initiative Program Analysis and Construction Budget STANFORD PAC 2,800 175,000 o $69.400,000 $10.100,000 $0 $1,300,000 excluded $1 1 ,000,000 $9,250,000 $10 I ,650,000 DRAMA DANCE CENTER 900 79,000 40,000 $29,450,000 $3.350,000 $0 $700,000 excluded $4,500,000 $3.800,000 $41,800,000 PALO ALTO THEATRE CENTER 1,100 97,200 o $31.000,000 $2)50,000 $2,000,000 $1,000,000 excluded $4,950,000 $4.150,000 $45,850,000 Page No. 10 a Packet Pg. 85 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d Summary Audience Seating Capacity Gross Floor Area (gsO New Construction Renovation I. Building construction cost 2. Performance equipment and audience seating 3. Railway noise and vibration isolation allowance 4. Site development allowance 5. Building utilities allowance 6. GC general conditions. overheads and profrt 7. Escalation contingency (2-1 f2 years) TOTAL CONSTRUCTION (BID) COSTS (NOVEMBER 2002 BID DOLLARS) Palo Alto/Stanford University Perfonning Arts Initiative Program Analysis and Construction Budget STANFORD DRAMA DANCE PAC CENTER 2,BOO 900 175,000 79,000 0 40,000 $69.400,000 $29,450,000 $10.700,000 $3,350,000 $0 $0 $1,300,000 $700,000 excluded excluded $1 1,000,000 $4,500,000 $9,250,000 $3,800,000 $ I 0 I ,650,000 $4 I,BOO,OOO PALDALTD THEA IRE CENTER 1,100 97,200 0 $31,000,000 $2.750,000 $2,000.000 $1,000,000 excluded $4,950,000 S4,I50,OOO $45,B50,OOO Page No, II a Packet Pg. 86 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d INTRODUCTION The Study Team was charged with developing a preliminary operating and business plan for the proposed performing arts and academic facilities. This section of the Study Repoltfocuses on the key elements of such a plan. The objectives of this Report are to: • Identify appropriate govemance. management and staff structures for each facility. • Assess the potential program utilization of proposed facilities. • Consider the impact of new facilities on existing venues and programs. • Develop a forecast of operating revenues and expenses for each proposed venue. • Define operational funding requirements and strategic solutions for enhancing project revenues. • Identify appropriate management policies. This section of the report is structured as follows: Part I Part II Part III Part IV Govemance. Management and Fundraising Structures Utilization Assessment Financial Forecast Funding Requirements and Solutions PART I: GOVERNANCE. MANAGEMENT AND FUNDRAISING STRUCTURES 1.1 Govemance and Management Structures The performance venues and academic facilities recommended by the Study Team share one important characteristic -each building will contribute significantly to the development of cultural resources on the Stanford University campus and in the City of Palo Alto. While having similar missions. the three venues will each have a unique character. The different operational characteristics of the venues lead the Study Team to recommend distinct govemance and management structures for each complex. In addition. we recommend pursuing two coordinated but separate capital fundraising strategies to support the design and construction of the venues and to create an appropriate capital base. The Study Team developed descriptive profiles for each facility as follows. Palo Affo Theatre Center The Palo Alto Theatre Center ("PATC") will serve primarily as the home for TheatreWorks. a well established non-profit regional theatre company. TheatreWorks' intensive year-round production schedule will preclude significant and consistent use ofthe PATC by other organizations. although limited activity will be possible. The proposed site for the PATC facility is on off-campus land owned by Stanford University and leased to the City of Palo Alto. These characteristics are similar to those of many regional theatres. A proven and effective way to manage such facilities is to designate the primary operating company; in this case TheatreWorks. as managing tenant. The Study Team concludes that such a structure is well suited to the Palo Alto Theatre Center and recommends the following: • Given the PATC's location and the likely funding mechanisms required to create the venue. it is appropriate for the City of Palo Alto to own the facility. TheatreWorks should manage Operations and Finance Page I a Packet Pg. 87 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) the PATe. As such, TheatreWorl<s will be responsible both for providing artistic programming and for managing the facility on a day-to-day basis. • Once in the new facility, TheatreWorl<s' annual budget will expand to include the expenses of operating and maintaining the PATC and all associated revenues derived from facility rental, retail operations, concession sales and so forth. The expansion ofTheatreWorl<s' budget will likely be accompanied by an increase in annual requirements for fundraising. a portion of which may be met through income from incremental endowment Of note is the fact that TheatreWorks is current engaged in a significant endowment campaign. The income from the funds generated by this campaign will be used to support both ongoing and expanded programming. • Recognizing the operational and financial challenges inherent in moving to and managing a new facility, the Study Team recommends that TheatreWorl<s be granted a "bargain rate" or zero rental structure during their first years in the PATe. This structure should be reviewed, and renewed, if deemed appropriate, for terms of no less than fIVe years, theneby providing TheatreWorl<s with a reasonable timeframe for economic and programmatic planning. • As the owner of the PATC, the City of Palo Alto should retain the right to replace TheatreWorl<s as the operating tenant of the facility under specific circumstances such as the failure of the Company to'adhere to established policies or insolvency. If the above recommendations are implemented. the PATC will operate as a traditional non-profrt theatre center similar to other regional theatres and performance venues nationwide. Drama-Dance Center The Drama-Dance Center (DDC) will serve as an academic resource. As the utilization assessment indicates, the DDC will be used primarily for teaching programs and the rehearsals and performances of academically based theatre productions. The Study Team forecasts only limited use of the DDC by student and community groups. Given these operating characteristics, we recommend the following: • The DDC should be structured and operated in the same manner as other academic facilities at Stanford University. Faculty members should direct the activities in the building. The management structure should report to the School of Humanities and Sciences. • The financial operations oftheDDC should be integrated into the budget ofthe School of Humanities and Sciences. As with any new academic building, there will be incremental operating costs. The financial forecasts included in this report indicate that the first year incremental operating costs associated with the DDC ane approximately $440,000. Strategic fund raising may, if deemed appropriate, aim to raise endowment funds to support these incremental costs. Stanford Performing Am Center The Stanford Performing Arts Center ("SPAC") will be utilized in many different ways. Academic programs will comprise a significant percentage of the activity in the proposed 900-seat Concert Hall. Lively Arts and University functions will fill out the Concert Hall schedule. The I ,BOO-seat Music Theatre will be used primarily for the presentations of Lively Arts and programs offered by Operations and Finance Page 2 a Packet Pg. 88 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) touring groups. Academic use will be limited to a few large-scale productions. The Forum/Rehearsal Hall will be used as a support space for performances in the Concert Hall and Music Theatre and extensively as a rehearsal space for academic ensembles, campus groups and a limited number of community organizations. The Forum will also be used for solo and small ensemble performances. Of note is the fact that this diverse use is typical of a multi-venue performing arts center, but is not similar to other facilities on the Stanford campus. The Study Team examined different structures for goveming and managing the SPAC We considered positioning the facility as primarily an academic resource -based perhaps on the use profile of the Concert Hall. This approach was deemed inappropriate as much of the activity in the SPAC is focused outward through program offerings to campus and off-campus patrons. The Study Teamthen considered an enterprise unit model whereby the SPAC functions as an independent economic entity within the University structure. Taking some guidance from the structure of the Cantor Arts Center, and integrating existing cultural programming resources on campus, we propose a structure with the following elements. • The SPAC should be structured and managed as an enterprise unit of Stanford University. • Given the diverse nature of programming in the facility, the SPAC's management should report to the University President's office. • Existing structures for managing and producing performances and events on campus can be expanded to meet the management needs of the SPAC • The SPAC's budget should include all direct expenses and revenues associated with operating the venues. Any operating deficit should be offset by income from incremental and dedicated endowment funds and ongoing annual fund raising activities. • The Center's operating budgeted should be structured on a gross or fully loaded basis. In such a structure, all user organizations are charged listed rental rates for use of SPAC facilities. Academic programs, and other appropriate and desirable venue users with limited financial capacity, may be granted rent subsidies. Such subsidies should be considered an expense element of the SPAC operating budget. 1.2 Capital Fundraising Strategies The unique character of the three proposed venues, coupled with the recommended govemance and management structures, will define to a significant extent the most effective and appropriate manner to pursue capital funding. The Study Team recommends that Stanford University, TheatreWorks and the City of Palo Alto collaborate in the planning and execution of two parallel and coordinated campaigns, perhaps under a unifying umbrella. The Palo Alto Theatre Center Campaign can have the goal of securing the capital funds required to design, build and, if deemed appropriate, endow the operations of the Palo Alto Theatre Center. The Stanford Cultural FaCIlities Campaign can seek to secure the funds to design, build and, to the appropriate extent. endow the operations of both the DDC and the SPAC If this project moves forward as recommended, the resources ofthe Stanford University Development Office will focus on executing this campaign. Careful and ongoing cooperation between the two campaign efforts will be a prerequisite for success. Donor cultivation and solicitation must be coordinated to assure maximum results. Operations and Finance Page 3 a Packet Pg. 89 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Fundraising efforts will most likely focus on identifying. cultivating and soliciting so-called incremental gifts in support of these campaigns -contributions that would otherwise not be made to the University or to Palo Alto's cultural resources. 1.3 UnifYing Elements While the Study Team recommends that each of the three proposed facilities be govemed and managed differently, it is equally important that the process of creating and operating these facilities be viewed as a single and coordinated cultural development initiative. Members of the Study Team have guided the efforts of projects with similar characteristics -a combination of discrete and unified elements. The experience of the Pittsburgh Cultural Trust ("PCT") may provide some constructive guidance to this project. The PCT is responsible for the creation and operation of diverse cultural and community venues in downtown Pittsburgh. The Trusts' activities also extend to business development streetscape and infrastructure improvements, transportation and parking. The PCT has canied out significant capital fundraising campaigns to support these diverse efforts. PART II: UTILIZATION ASSESSMENT Overview The forecast utilization ofthe proposed new performing and academic facilities is a central element of this and any feasibility assessment. The utilization analysis provides significant input to the design of new and renovated venues, and to the development of detailed operating and financial forecasts. To provide a basis for a realistic utilization forecast, the Study Team focused first on an assessment of the current use pattems of existing venues on the Stanford University campus and in the City of Palo Alto. The Study Team reviewed venue activity schedules, financial data and other relevant information. To further our understanding of both current and likely future venue use, we analyzed the extensive information collected from potential users of the proposed facilities. B Squared Consulting and Auerbach + Associates conducted over seventy one-on-one and group interviews with representatives of cultural organizations, artists, University faculty and staff. City administrators and planners. We reviewed exten.sive documentation of current and planned programming and academic activities. Based on the data collected in these interviews, the Study Team developed the needs assessment and recommendations for new facilities documented elsewhere in this Study Report. Additionally, we created detailed pro lOnna utilization calendars for the performance venues in the proposed Stanford Performing Arts Center, included in Appendix I. The results of this detailed analysis were then used as a foundation for the operating and financial forecast. The documentation of the utilization assessment includes the following components: Part 11.1: Part 11.2: Part 11.3: Operations and Finance Current utilization profiles of existing venues. Examination of the current and forecast venue utilization patterns of user organizations. Summary utilization forecasts for existing and proposed new venues. Page 4 a Packet Pg. 90 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) 11.1 Current Utilization Profiles II.l.A Dinkelsoiel Auditonum UtIlization Capacity The current utilization of Dinkelspiel Auditorium is measured using the academic calendar. University vacations and holidays, therefore, reduce the number of days used to determine total utilization capacity. Other structural definitions used throughout this analysis are as follows: • Weekdays: Mondays through Thursdays. • Weekends: Fridays through Sundays. • Utilization Unit: If multiple activities occur on one day, each activity is assumed to consume one-half day of utilization capacity. If one activity occurs on one day, that activity is assumed to consume one full day of utilization capacity. The total utilization capacity of Dinkelspiel Auditorium, therefore, is defined in this analysis as including 133 weekdays and 99 weekend days, the equivalent of approximately 33 weeks. Current Utilization The current utilization of Dinkelspiel Auditorium has the following components: University Events: Activities relating to new student orientation, exams, reunion programs and commencement. These activities are scheduled in the appropriate calendar period. Music DepaJ'tment Events: Regular rehearsals and performances of the various Music Department ensembles and artists. Live9' Arts:· Various program activities scheduled throughout the academic year. Campus Groups:' Regular use by Stanford Taiko as a rehearsal and performance venue. The utilization included on the published calendar for Dinkelspiel Auditorium indicates the following level of use: • Total weekday utilization: I 10 days or 84% of utilization capacity. • Total weekend utilization: 50 days or 52% of utilization capacity. • Total utilization -all days: 160 days or 69% of utilization capacity. Operations and Finance Grnrt : h%d , l.1se: , Ta.?J ...... ~~~~~ .......... ---...... : ........ ~~ ......... . .... ~ _ .... -... _ ............ -.. : ..... _ -.~ ..... _ .. '.- Taln : 26! I -----ufu~~_u" .. --.. ---..... : n_ -----i~-----_u,._ ·--·····-·-----·--·---·---------:-------·i~··------- ~---------.-------.. -----.. -.:.-.--.. --;:---------- ct"J sa.rlJod Wa..ion CIa lro Page 5 a Packet Pg. 91 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Additional Utilization OIart I B: Dinkelspiel Auditorium -Current Utilization UvelyArta , ... Discussions with representatives of the Music Department, and observation of activities in Dinkelspiel Auditorium, indicate that student and faculty activities consume a significant portion of the remaining available utilization capacity of the venue. These activities include recitals, master classes, classroom sessions and impromptu rehearsals. The Music Department manages the day-to day use of Dinkelspiel Auditorium and many of these additional activities are scheduled on short notice. With the addition of this unscheduled use, it is estimated that actual utilization is closer to eighty or ninety percent of capacity during the academic year. Future UtIlization of Dinke/spiel Auditonum While many of the larger-scale activities that currently use Dinkelspiel Auditorium are likely to locate to new venues in the SPAC, the facility will continue to be used at a very high level. An increased number of academic ensembles and student groups will be able to move to Dinkelspiel from other, less adequate, facilities. These might include: • Regular rehearsals of Music Department ensembles including the Chamber Orchestra, the Jazz Orchestra, choral groups, the Wind Ensemble and others. Many ofthese groups are presently rehearsing in inadequate facilities including lecture halls and small rehearsal rooms. • The performance activities of student groups including drama clubs, a cappella musical organizations and others for whom the facilities in the SPAC might prove too large and/or costly to use. • The Music Department will be able to expand its day-to-day use of Dinkelspiel Auditorium for instructional activities, rehearsals, master classes, lectures and the like. This expanded use can be expected to be significant Dinkelspiel Auditorium may continue to be used for activities associated with student orientation, reunions and commencement. In addition, it is appropriate to continue to schedule final exams in Dinkelspiel Auditorium when required. Operations and Finance Page 6 a Packet Pg. 92 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Dinkelspiel Auditorium can be considered as an altemative to the Concert Hall when multiple demands are placed on that venue. The regularly scheduled rehearsals of University ensembles, for example, may be displaced from the venues of the SPAC to accommodate conflicting demands created by performance activities or other revenue generating events. On such occasions, these rehearsals may be held in Dinkelspiel. The possibility of such relocation creates a requirement for Dinkelspiel and all other venues to have the performance and production equipment necessary for such rehearsals including music stands, percussion battery, keyboard instruments, podium, choral risers and so forth. We conclude that after the opening of new campus performance venues, the demand for Dinkelspiel Auditorium can be expected to change but not to diminish. II.I.B t1emodal Auditonum Utilization Capacity The current utilization of Memorial Auditorium is measured on a twelve-month calendar. Currently, Memorial Auditorium is utilized for a number of summer activities that warrant consideration and will have an impact on new performance venue utilization. Certain University vacation periods are excluded from utilization capacity including a portion of the Christmas season, the New Year's holiday and the period from mid-August through Labor Day. Total utilization capacity for Memorial Auditorium, therefore, is 157 weekdays and I 13 weekends, the equivalent of approximately 38 to 39 weeks. Current Utilization The current utilization of Memorial Auditorium has the following components: Sunday Ricks: Comprised of weekly film presentations on Sunday evenings and occasional showings on weekdays. Hall utilization totals do not include the early Monday moming use of Memorial Auditorium by Sunday Flicks (12:00 midnight to 1:00 AM). Ramshead Theatn;o: This student theatre group uses Memorial Auditorium and the Little Theatre for its activities. The most significant use by Ramshead Theatre is for the Spring Show, much of which takes place during the University's Spring Break. Livetv Arts:· Numerous programs are offered by Lively Arts in Memorial Auditorium. University ActIvitIes.' These diverse items include new student orientation, parents weekend, commencement, final exams, activities of the Alumni Association, undergraduate admissions programs and meetings of various departmental and staff units. The utilization included in the published calendar for Memorial Auditorium indicates the following level of use: • Total weekday utilization: 99 days or 57% of utilization capacity. • Total weekend utilization: 87 days or 67% of utilization capacity. • Total utilization: 186 days or 6 I % of utilization capacity. Operations and Finance Page 7 a Packet Pg. 93 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) ConflictIng Uses and A(fusted UtIlization The use of Memorial Auditorium is impacted significantly by concurrent use of the adjoining Little Theatre. If performance activities are scheduled in the smaller venue, it is not possible for significant programming to take place in Memorial Auditorium, although concurrent use is possible on a small scale. Due to this constraint, a total of 28% of listed current use of Memorial Auditorium, the equivalent of approximately fifty days per year, is time when the Auditorium must remain inactive due to concurrent use of the Little Theatre. To create an appropriate baseline, we remove these fifty-one days from utilization capacity and derive the following: • • • Total weekday utilization: 63 days or 49% of adjusted utilization capacity. Total weekend utilization: 62 days or 68% of adjusted utilization capacity. Total utilization: 125 days or 57% of adjusted utilization capacity. The following charts describe the current utilization of Memorial Auditorium. Operations and Finance Osrt: 2A: G.mnt U:irlzalioo Ptdile -Mem::ria/ A..dtorilJ'T'l : Osnrt : AI;%ci , , U;e : TcQI ~~:_~~.~ __ .. _ ... _ .. _.1.._ ... __ .5.lj __ ..... ~ T~_~_ .... ____________ . __ .. _______ . __ . __ J _____ • __ ~~~ ______ ... _ ~~e!!t ... _ ...... _____ ......... ___ ..... _j .•• __ ••• ~. ___ •••••. l..tiIii3tioo : ~ Chart 28: Curm1t utlilration -1hrnorlaI AUdItorium Drama Department Little Theatre Conflict 2." Student CoI'lCfWts and 0Ihe< ....,...". '" Other U,!~""""ng,, J .% Ramahe.d Theatre '7% ,-Arts , ... Page B a Packet Pg. 94 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Proposed t1odifications to the Little Theatre This Study includes a recommendation for modifYing the Little Theatre. The current stage space can be remodeled to become a dedicated rehearsal space that is not used as a performance venue. The audience chamber could be reconfigured as a lecture and meeting facility. The proposed reconfiguration of the Little Theatre will include acoustical isolation of the space thereby making it possible to have concurrent use of Memorial Auditorium and the Little Theatre. Proposed t1odifications to t1emodal Auditon'um This Study includes a recommendation for enhancing Memorial Auditorium with the technology required to better support multi-media presentations, lectures, films and other activities. These modifications should not impact the Auditorium's capacity to support performing arts events. Future Utilization of t1emon'al Auditon'um Many of the activities currently scheduled in Memorial Auditorium will transfer to new spaces in the SPAC. These include Lively Arts presentations and Music Department activities offered during the academic year and during the summer. An analysis of current utilization suggests that these programs comprise thirty-five to forty annual utilization units. The activities of the Drama Department that currently take place in Memorial Auditorium and the Little Theatre will relocate entirely to the DDC thereby releasing significant date availability for other campus and community organizations. An analysis of current utilization suggests that these programs comprise fifteen to eighteen utilization units on the current schedule of Memorial Auditorium and all but a few of the utilization units in the Little Theatre. The following current programming is likely to remain in Memorial Auditorium: • The performance programs of Ramshead Theatre. • Activities in support of student orientation, parents weekend, commencement and similar University events. • Lectures and workshops offered by various academic departments. Future utilization of Memorial Auditorium may also include meeting and conference activity. The recommended improvements to the Theatre will make it possible to support multi-media presentations, lecture programs and related activities. Consideration should be given to air conditioning Memorial Auditorium to make it possible to use the facility in the summer months when the facility is more available for extended uses. Additional Venue Capacity The capacity of Memorial Auditorium can be expected to increase as a result of two significant factors. First is the increase in available capacity afforded by the acoustic isolation of the Little Theatre. This change will increase the venue's available capacity by approximately fifty days per year. The transfer of existing programs to other venues described above will add an additional fifty to sixty days of capacity. This additional capacity of approximately 100 days is likely to be filled by the following: Operations and Finance Page 9 a Packet Pg. 95 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) • • • • Increased used of the venue by academic programs able to take advantage of the improved technical resources recommended by this study. Rehearsals and perfonnances of student groups. Many musical and dramatic groups are cunrently unable to find adequate space for their activities on a consistent basis. Increased use by University personnel and departments for meetings and seminars. The cunrent Sunday Flicks program may expand to include presentations on additional evenings. The Study Team developed a preliminary forecast of the future use of Memorial Auditorium. This forecast indicates that the creation of new facilities combined with modifications to the Little Theatre may increase the active utilization of Memorial Auditorium. The following charts describe both a high and low level of utilization. These forecasts consider only identified uses resulting from ongoing and expanded activities by the cunrent users of Memorial Auditorium. 0-.art]A: ftltlre U1i1izlllion -MemoriaII>OOtoriun ! ftltlre Use High lDW Ramt-ead Theatre : '10: 31 ~~i~:::::::::::::::::::::::}::::::::::~~[:::::::::~: L.kiversity Uses : 20: 16 ---... -•• -... --... --•.. -.----... -~····-···---·t·····---•.. ~ ~~ .... -_ ... -_. _ .... ~ .... _ ..... ! ~~ .. _ .. -_. -.1.1 .-.--.~.~-------.-------------;---------.??~-------.--! 5tl.<1ent Concerts ard Otrer ~: 20: 1 0taI Uses : 156: 93 ~ :~;::::::::::::::::::::::: I:::::::: i~[::::::::~"ft Utiiz3lion ~ 34~ Chart 3B: Future Utilization -Memorial Auditorium/High Scenario Operations and Finance Student Concerts and 00.,. Programs Academic Uses ,." "'" Page 10 a Packet Pg. 96 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) FI/tu~ Utilization of the Little Theat~ The future use of the Little Theatre is as a dedicated rehearsal venue and lecture hall. Predominant users are likely to be student organizations including drama groups, small musical ensembles, dance activities and so forth. While this space is likely to be in high demand during the academic year, there could be opportunities for use by community-based organizations during vacation periods and summer months. UtIlization of Office and SuppOt1 Space The building housing Memorial Auditorium and the Little Theatre also contains numerous faculty and administrative offices that will relocate to either the Stanford Perfonming Arts Center or the Drama-Dance Center. If deemed appropriate, this released space could easily be consumed by the many student groups and campus organizations that presently are housed in temporary facilities or that have no dedicated administrative space. II.I.C Luge Stem Community Theat~ Utilization Capacity The utilization capacity of the Lucie Stem Community Theatre ("LSCT") includes the entire calendar year. This treatment reflects the fact that this venue is heavily used on a year-round basis including activities on holidays and during the summer months. The total utilization capacity of the LSCT is therefore assumed to be 365 days per year. Current Utilization The LSCT is currently used by three major Palo Alto perfonming arts organizations - TheatreWorks, Palo Alto Players and West Bay Opera. Chart 4 indicates the level of use by each of these organizations. The facility's activity schedule is compacted in that as one organization moves a production out of the facility, another group often moves in on the same or following day. Overall, the LSCT is utilized at an extraordinarily high level with 85% of capacity consumed in a typical year. Operations and Finance ~~ ______ "; ____ I.3?; __ ~~ ~?_~ !I_~ __ . __ .. ~ .... 1.1.6~ •• ~~ 'M!st B>y Q>e-a : so: 16~ •• __ • __ ••••••• ___ ••• ____ •• J ••• ~~ Minlmr£e : 13: 4~ 311: ~~~!L ........... _~j .... . Capadly I..fuaticn 85%: Page II a Packet Pg. 97 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Future UtIlization Chart 4B: Current Utilization -Lucie Stem Theatre Maintenance 4% West Bay Opera 16% ThealreWorks 43% The primary impact of the proposed new facilities on LSCT utilization may be the relocation of TheatreWorks to the Palo Alto Theatre Center, thereby releasing forty-two percent of current venue utilization to other users. The Study Teams interviews with other community-based cultural organizations suggest that this released capacity will be consumed quickly. West Bay Opera is likely to expand its season and Palo Alto Players may modify its rehearsal and performance schedules. Equally important will be use of the LSCT by other community-based organizations. Our survey identified numerous organizations with both the interest and capacity to use the Theatre including the following: • Dramatic and musical organizations from the Palo Alto public schools. • Small ballet and modem dance groups. • Small musical ensembles including youth orchestra activities. Rental Rates It is important to note that the three organizations that currently use the LSCT pay no rent. As new facilities are created in Palo Alto and on the Stanford University campus, it is appropriate to consider whether to modify this policy. While the long-standing rent-free structure may be difficult to change without negatively impacting the user organizations -and some potential new users of the venue may simply not have the capacity to pay rent -it may be possible to consider creating additional revenue streams for the Theatre from a ticket surcharge or similar program. The structure and impact of such a program is discussed in Part IV of this report. Operations and Finance Page 12 a Packet Pg. 98 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Part 11.2: Orzanization Profiles In this section of the Study Reportwe focus on the wide-variety of performing arts organizations, academic departments and other groups that currently use existing venues in Palo Alto and on the Stanford University campus. Our analysis focuses on current programming and shifts in facility utilization likely to occur following the creation of new venues. 11.2A Stanford Unive/'Y/tyAcademic Procrams Stanford University Symphony Orchestra Current Use: The Orchestra's regular rehearsals are held in Dinkelspiel Auditorium on Tuesday and Thursday evenings. The Auditorium is scheduled from 6:00 PM to 10:00 PM. Three to fIVe annual performances are scheduled on weekend evenings in Dinkelspiel Auditorium, including an annual Halloween concert. Scheduling Issues: There appear to be occasional potential conflicts between the Symphony's use of Dinkelspiel Auditorium and the Savoyard's technical rehearsals. These may occur in two weeks of each season. In one such week in the current academic year, the Symphony offers a program in Memorial Church. Forecast Use: The Symphony is assumed to rehearse in the Concert Hall or in the Forum/Rehearsal Hall on two weekday evenings each week The pro fonna utilization calendars list the Symphony's rehearsals as occurring in the Concert Hall. It may be appropriate, however, to relocate Symphony rehearsals to the Forum/Rehearsal Hall on any night when an alternate and desirable use demands the facility. Such alternative and desirable uses may include Lively Arts programs, performance activities by other University ensembles, or other revenue-generating activities. In addition to rehearsal activities, the Symphony's four annual performances are assumed to occur on weekend evenings in the Concert Hall. Additional rehearsals are scheduled in advance of concerts and it is not appropriate to relocate such dress rehearsals to the Forum/Rehearsal Hall. Stanford Chamber Orchestra Current Use: The Stanford Chamber Orchestra utilizes Dinkelspiel Auditorium for three annual performances on weekend evenings and afternoons. Rehearsals occur in other Music Department venues. Forecast Use: The Chamber Orchestra is forecast to use the Concert Hall for four annual weekend performances. Two weekdays are allocated to each performance cycle for rehearsals. Other rehearsals are assumed to take place in the Forum/Rehearsal Hall. Music Department -La'Ee Perfonnance Programs Current Use: Each year, various University departments collaborate to prepare large-scale performance programs. These might include concerts involving choral artists, instrumentalists, dancers and others. These programs are offered in a variety of venues including Memorial Auditorium, Dinkelspiel Auditorium and Memorial Church with venue selection dependent on the nature of each presentation. Operations and Finance Page 13 a Packet Pg. 99 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) FOf7!cast Use: Large-scale collaborative programs are included in the forecast utilization calendars for both the Concert Hall and Music Theatre. A total of six rehearsal days and two performance days are allocated to these varied activities. lMild Ensemble Current Use: The University Wind Ensemble offers three weekend performances in Dinkelspiel Auditorium. Regular rehearsals take place in other Music Department facilities. FOf7!Cast Use: The Wind Ensemble is assumed to offer four annual concerts on weekend evenings and aftemoons in the Concert Hall. Regular rehearsals are assumed to take place in the Forum/Rehearsal Hall and other venues. Each concert will be preceded by a rehearsal day in the Concert Hall. This rehearsal day may be on a weekday evening in order to make the venue available on weekend evenings for performance activities. University Chol7JI Programs Current Use: University choral concerts are presented in various venues including Memorial Church and Dinkelspiel Auditorium. Rehearsals take place in Music Department facilities in the Braun Music Center. FOf7!cast Use: Choral concerts are assumed to be offered in the Concert Hall on five occasions during each academic year. Each performance program is preceded by a rehearsal day. In addition, University choral groups are assumed to participate in the large-scale collaborative programs. Numerous choral programs will continue to be presented in Memorial Church including sacred works such as the annual presentation of the Nessiah. Regular rehearsal activities are assumed to take place in the Forum/Rehearsal Hall and the Braun Music Center. Jazz Orrhestl7J Current Use: In addition to presenting numerous performances both on and off campus, the Jazz Orchestra offers one annual evening concert in Dinkelspiel Auditorium. Regular rehearsals take place in other Music Department facilities. FOf7!cast Use: The Jazz Orchestra is assumed to offer one annual evening concert in the Concert Hall with a one-day rehearsal period preceding the performance. Other rehearsals are assumed to take place in the Forum/Rehearsal Hall and other Music Department facilities. Annual Awanis Concert Current Use: The Annual Awards Concert is scheduled on a Friday evening near the end of the academic year in Dinkelspiel Auditorium. FOf7!cast Use: The Annual Awards Concert is assumed to take place in the Concert Hall with two days of rehearsals scheduled in advance of the concert. Summer Events Current Use: A limited number of events are offered in Memorial Auditorium and Dinkelspiel Auditorium in the summer, including a Baroque Dance Festival. In addition, summer programming is offered in Frost Amphitheatre. Operations and Finance Page 14 a Packet Pg. 100 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Forecast Use: This utilizat ion analysis and the related financial forecasts assume little summer activity in the proposed new on-campus venues. The summer Dance Festival is assumed to continue. There are, therefore, significant opportunities for program development in the summer months. Programming suitable to this available capacity will be discussed in other sections of this study. 1128 University Events and Activities University Functions Current Use: Meetings, lectures and presentations associated with student orientation, final examinations, reunion activities, the activities ofthe University President and Board of Trustees, parents weekend, undergraduate admissions weekend, and commencement frequently use Dinkelspiel Auditorium, Memorial Auditorium and a variety of other campus venues. Forecast Use: The new venues of the Stanford Performing Arts Center are likely to be in high demand for use during orientation, reunions and commencement As a result, utilization forecasts assume that both the Concert Hall and the Music Hall will be dedicated to these activities at the appropriate time. Existing venues are likely to continue to be utilized for these activities as well. It is not appropriate to schedule final examinations in the venues of the Stanford Performing Arts Center. The seating configurations and other resources ofthe Concert Hall and Music Hall will not be suitable to such uses. Final exams may continue to be scheduled in existing venues as appropriate. Stanford Lively Arts Current Use: Lively Arts currently offers forty to forty-five annual events. Memorial Auditorium and Dinkelspiel Auditorium are used equally -each hosting approximately twenty performances per year. A limited number of programs are also offered in Memorial Church. The following chart presents a profile of Lively Arts current activity.' : Dinkelspiel : MernoriiI MemorUI : Auditork.m : Auditorim Sob-T ota! Ow.rrch Total Audience Capacity : 716 : 1.710 ....... : ............... ~ .. : :~,"" ~ ........ ~f"" ... ~.~.~ ~;:r .~ ... ~:.~~ ~l: • '2 . ....... -.......... .. Number of Programs : 19 : 17 ... -................ -...... , ........... ~ .......... .. -i1.671 . ......... . Season Capicily : 13,601 : 29,070 ...................... , .. ., ........... ~ ........... , ..... i' ......... . " ," . " , , ~'!~.~f!~~~e_ ......................... ~ .......... ~1.:~6.2 .. L .......... ~2.:~6: ........ }~~? ~ .......... ,,-"!~9. .. ...... .3.B:.9J? ~e~'!'!~ ................. ~ ....... !~'!~ ....... :'!' ....... ~ ...... ~~ ....... ~"." Avg. Atteooill\ce : 59] : 1,333 'H] 832 927 • : '~",', !,.:~:. • '. ';: .~ ~~' '''::; "'::.~ ~ '.' ~ ",:'t .. : ~~~6.~ __ 6 ____ .. ___ t~ ___ !!]~2..s_tt __ ~~8}~I? t __ 8~!~~ ~ __ !!~~~)_ t __ '..]~! ~~~!~~_0J'_~ _______ ~~ ____ ~J.:!'.J_t! .. _.~~2.s !u.~!~ ~u_!~~~".. t_ .. 2E.I~ Alii-ReYenue Pe,TICket : S 22.51 : S 21.62 S 1192 S 2'05 $ 23.97 I The data presented in Chart 5 is taken from Lively Arts management reports that include actual results for completed programs and budget forecasts for future activities. Operations and Finance Page 15 a Packet Pg. 101 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Forecast Use: The proposed Stanford Performing Arts Center will provide ideal venues for the programs of Stanford Lively Arts. The Study Team developed a program expansion forecast that has been reviewed and endorsed by Lively Arts' management. This forecast is based on the following assumptions: • • • • • Other than the few performances offered in Memorial Chunch each year, all of Lively Arts programs will be presented in the new Music Theatre and Concert Hall. Lively Arts scope of activity will increase from its current level of forty-two performances per season to a total of eighty performances. The average revenue per ticket sold is assumed to increase ten pencent from current levels. The capacity sold for all Lively Arts Events is assumed to be eighty-fIVe pencent. The pro fOrma schedule of activity assumes that Lively Arts does not present concurrent programs in the Music Theatre and Concert Hall. This planning assumption reflects penceived audience demand and the limitations of Lively Arts management and production resounces. This scheduling parameter does not preclude concurrent use of the venues by other performing organizations. The following chart summarizes the forecast season profile for the initial years of operations in the proposed new venues. MJsic : Caart f"'ffiuiaI , . I Theatre • I-UJI SJ>. T atII Ch..n:h Total ~~ .... nn ....... ~ ...... __ l ....... ~~L ....... ~ ...... 3-~ ....... I~ ••• n}~ : : · . N..rrberdPrc:pT& : 46: 28 74 6 00 --.--...... ---..... --.... -.. ----..... ~-.--.. -----~-.... -.--·-----!~7 ----_._ .... -------- s..on """'"" : lll.!IXl : = ICIICJX) 7.7m 115;lOO ...... _---_ ........ ------_ ................ --............. _-_ ........ ---_.. . ...... ---, . · .. · . Tdal/tter"dn:e 1 10.39): 21.'00 91.aD 41:!l 'fl,'f)fJ ....... _--_ ... -_ ........ _-_ .. _--..... , ... _--_._--,-..... ---.. _-----.-----_ .. _-........ _-- ~!:'::'! ....•..............•.. ; ...•••.. ~ .•...• ~ ........ II!! •..••• ~ ••••••• II!! A.g~ : I.H>: 765 1.241 1,020 1.214 . ; t .,; :. ,,:". -,~'.' T.............. : $ 1.741.7'l'l: S SIIl.OOI S 1.m.!IXl S 121.<63 S 1.+K.2h3 -----------.----------.----.... ~ .. ----... -~-.-.. -.-----_ ...... -_ .... _-------------~~.~~;y::~ ............. J.S ..... '?~~~ ... ~Z'~ $ ..... 3!~ L.~ s... .. ~ A.g Pe.e-uePe-Tdod : $ 24.76: $ 27ffJ S 253) $ 19.85 $ 14.96 In addition to the forecast activities during the academic year, it may be possible for Lively Arts to develop presentation programs during the summer. As the utilization calendars for both the Concert Hall and Music Theatre include no significant or consistent summer use, scheduling such programming will be possible with a great deal of flexibility. While no specific use forecasts are included in the present utilization analysis, the financial forecasts included later in this Study Report document the potential favorable impact of incremental programming. Other Universny Functions The utilization forecasts include use of the Music Theatre and Concert Hall by a number of additional University events. These are forecast to include a total of eight uses by each of the following: Operations and Finance Page 16 a Packet Pg. 102 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) • Office of the President and the Board of Trustees. • Academic departments. • University sponsored public events. 11.2.C Student Activ/~ies and Other Campus Groups The many student groups at Stanford University seek appropriate facilities for perfonnances and other activities. Due to the high level of utilization of Memorial Auditorium and Dinkelspiel Auditorium during the academic year, few groups are able to gain consistent access to these venues. Many student perfonnances, therefore, are offered in inappropriate and/or inadequate facilities. The proposed Stanford Perfonning Arts Center and Drama-Dance Center will address many of the challenges faced by student groups. Many existing needs can be met through extensive use ofthe release space resulting from the relocation of academic programs, Lively Arts and other activities to new facilities. In addition, to a limited extent, appropriate student programs may gain access to the Perfonning Arts Center and, to a lesser extent. the Drama-Dance Center. The Study Team observes that Memorial Auditorium is likely to become the center of activity for many student groups. The additional capacity available in the perfonnance venue will be suitable for expanded programming by the Ramshead Theatre company and additional activities offered by a wide anray of organizations. As noted earlier, it is conceivable that office space in Memorial Auditorium will be allocated to meet the administrative needs of many student organizations. We recommend that policies be established goveming access to and utilization of all facilities. Student group access to the new venues that comprise the SPAC, for example, should be limited to those organizations able to fulfill a number of quantitative and qualitative requirements. The Study Team recommends that access be granted to those student organizations with a consistent history of attracting significant audiences from both on-and off-campus, and that are able to generate the revenues required to pay a reasonably-scaled facility rental fee. Such organizations must also have a schedule of activity consistent with venue availability. Memorial Auditorium and other campus venues will likely be appropriate perfonnance venues for those student groups that do not meet established criteria. Student group use ofthe facilities ofthe DDC is likely to be very limited. The ongoing requirements of academic teaching, rehearsal and perfonnance activities can be expected to consume the perfonnance venues in this Center. Our review of the numerous student groups on the Stanford campus led to the identification of two groups that may appropriately utilize the venues of the SPAC -the Savoyards and Stanford Taiko. We now tum to an examination ofthese organizations and forecasts of how they may use new venues for their perfonnance activities. Savoyaro's Current Use: The Savoyards cunrently use Dinkelspiel Auditorium for two productions each academic year, one in late October or early November and the second in late April or early May. Each production takes place over a two-week period. During the first week of each production, technical and rehearsal activities take place on four weekday evenings and perfonnances are offered Operations and Finance Page 17 a Packet Pg. 103 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) on Saturday evening and Sunday aftemoons. The second week includes performances on Friday and Saturday evenings. The Savoyards conduct their rehearsals at other campus locations. SclJedu/tng l.s:s"l.Jes.·The Savoyards production runs are interrupted by other uses of Dinkelspiel Auditorium on Thursday and Friday evenings during the first week As a result, the Savoyards typically complete their rehearsals on a Wednesday evening and then open their productions on the subsequent Saturday. This break between rehearsals and performances is not ideal. FOrffast Use' The Savoyards may relocate their performances to the Concert Hall. The Study Team notes that it may be appropriate to reduce the number of production days, perhaps concentrating six performances over an extended weekend from Thursday through Sunday rather than over two weekends. The utilization schedule of the Concert Hall will likely make it possible to eliminate the break between the Savoyards' last rehearsal and first performance in each production and to add rehearsal time on stage in the Forum/Rehearsal Hall. Stanford Taiko Current Use: Regular rehearsals are scheduled in Dinkelspiel Auditorium on Monday evenings during the academic year. One to two annual performances are also offered in Dinkelspiel Auditorium. The Taiko group performs extensively in other campus and off-campus venues. Schedu/tng ls.fI.1es.·There are occasional conflicts between Taiko's use of Dinkelspiel Auditorium and the Savoyards' technical rehearsals. In such instances T aiko rehearses in other venues. Forecast Use: Taiko is assumed to use the Forum/Rehearsal Hall for regular weekly rehearsals. Two performances are forecast on weekend evenings in the Concert Hall. Other Groups The activities of other campus groups will be impacted by the proposed new facilities. Important among these is Sunday Flicks. The relocation of other existing programs in Memorial Auditorium will create opportunities to expand or modify the structure and scope of this program. Another group with the potential for creative use of the resources of the SPAC is the Center for Computer Research in Music and Acoustics ("CCRMA"). While the Center's ongoing activities are housed in a facility designed to meet the organization's unique technology requirements, it may be appropriate for CCRMA's presentation programs to take place in the Forum/Rehearsal Hall or other spaces in the SPAC. Speaker; Sedes A speaker series is currently offered in Memorial Auditorium on four to five nights a year. This activity is assumed to move to the Music Theatre with a similar level of activity. 11.20 Palo Alto CulturalOrgan/iapans The Study Team dedicated significant resources to understanding the current conditions faced by Palo Alto's cultural organizations and the impact new performance venues will have on programming and economic operations. The impact of the proposed Palo Alto Theatre Center is, Operations and Finance Page 18 a Packet Pg. 104 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) of course, a focus of our analysis in this area. We also examined community use of the facilities of the Stanford Perfomning Arts Center and the Drama-Dance Center. Theatre WonE; Current Use'TheatreWorks currently splits its season offerings between PaJo Alto's LSCT and the Mountain View Center for the Perfomning Arts. The Company's 2000-0 I season includes eight productions offered over a twelve-month period. Three productions are presented in Palo Alto and five in Mountain View. Each production runs for a period of five to six weeks. including dates held for possible additional perfomnances that may be offered in response to audience demand. Perfomnances are on Tuesday through Saturday evenings with matinees offered on selected weekend aftemoons. TheatreWorks maintains administrative, production, construction and storage facilities separate from the Company's perfomnance venues. As noted earlier, TheatreWorks pays no rent for use of the Lucie Stem Theatre. Rent for the Mountain View Perfomning Arts Center is equal to nine percent of box office receipts. In both venues, the Company pays the direct costs of theatre use, such as stage personnel, ushers and box office operations. Forecast Use:TheatreWorks maintains a ten-year operating plan that anticipates the impact of facilities proposed for the Palo Alto Theatre Center. This plan calls for consolidating all of the Company's perfomnance activities in the new Center with offerings on both the Main Stage and the Studio Theatre. TheatreWorks' restructured season is likely to include six Main Stage productions, each presented in approximately thirty perfomnances over a six to eight week period. Three to four smaller scale works are anticipated for the Studio Theatre. In sum, the consolidation of TheatreWorks perfomnances into a single venue will lead to a slight reduction in the Company's Main Stage season. Palo Ako Players Current Use: Palo Alto Players is a community theatre company, now in its 69'" season, based at the LSCT. The organization presents all of its annual perfomnances in the venue and has use of an on-site production facility that is shared with West Bay Opera and Children's Theatre. During the 2000-0 I season, the Players will offer five productions, each with twelve perfomnances including a preview perfomnance. For each production, the Company occupies Lucie Stem Theatre for a four week period. Peninsula Center Stage Since 1989 the Players have maintained an affiliated company, Peninsula Center Stage, offering musical and other productions in the Fox Theatre in Redwood City. During the 1998-99 season the Palo Alto Players audiences totaled 13,667 and the Peninsula Center Stage drew 17,280. At present, however, Peninsula Center Stage is embroiled in a legal dispute regarding access to and use of the Fox Theatre and, as a result. the Company is unable to mount its season. The status of the Peninsula Center Stage is a central issue that must be addressed as part of an overall development plan for the Players. The Study Team interviewed the Executive Director of the Palo Alto Players and received subsequent correspondence confimning that Company Operations and Finance Page 19 a Packet Pg. 105 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) management is seeking a new home for Peninsula Center Stage" ... south of San Mateo but north of the Lucie Stem Theatre" and is considering building a new facility to meet this need. Forecast Use' The additional venue capacity made available as a result of the relocation of TheatreWorks to the Palo Alto Theatre Center may allow the Palo Alto Players to offer its programming in a more flexible schedule. The Company's management expressed no desire to expand programming as the current level of activity is seen as appropriate for the predominantly volunteer natune of the organization. Future use forecasts of the lSCT, therefore, call for a continuing and consistent level of use by the Palo Alto Players. While the increased availability of the LSCT will benefit Palo Alto Players, neither the proposed new facilities nor modified use of existing theatres will address the current challenges faced by Peninsula Center Stage. The PATC will not have the utilization capacity to offer another theatre company significant programming opportunities. West Bay Opera Current Use: West Bay Opera offers three productions each season in the LSCT. Each production run extends over three weeks, including two weeks of perfonmances. The Company owns a separate building that houses administrative offices, a rehearsal hall and technical facilities. This facility is rented to other organizations. including TheatreWorks, when not required for Opera rehearsals. Forecast Use:West Bay Opera seeks to expand its season offerings by scheduling a summer production and possibly a fourth show in the main season. Consideration may also be given to offering workshop programs focusing on contemporary works and chamber operas. Increased availability of LSCT will allow the Opera to pursue this objective. Opera management has considered expanding the season through use of the Mountain View Perfonming Arts Center. After careful review, it was detenmined that this venue is not well-suited to West Bay Opera Productions due to the size and configuration ofthe orchestra pit, the minimal height of the flytower and rental and fee structure in place for theatre users. The financial limitation is quite significant given that West Bay Opera, and the other two primary users of the LSCT, pay no theatre rent. School Groups As is typical of many Califomia school districts, public schools in Palo Alto lack adequate facilities for the perfonming arts. In Palo Alto this problem is compounded by the fact that a significant number of District students, over sixty percent participate in perfonming arts programs. None of the elementary or middle schools have on-site facilities dedicated to the perfonming arts, so ensembles perfonm in "cafetoriums" and multi-purpose rooms. Spangenberg Auditorium at Gunn High School is used frequently for school programs but this venue is operated somewhat independently from the District and is heavily booked with presentation and rental programs. A theatre located at Paly High School is used infrequently by student groups as the facility requires significant investment to confonm to current use and safety codes. Music teachers and administrators have in the past considered using LSCT for a variety of programs. Unfortunately, the 42S-seat capacity of that venue is felt to be inadequate to support the District's perfonmance programs. With increased venue availability resulting from TheatreWorks' move to Operations and Finance Page 20 a Packet Pg. 106 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) the PATe, it may be possible for the School District to consider multiple concerts in the LSCT as a means of meeting their capacity requirements and to increase student perfonmance opportunities. Forecast Use: According to School District staff, an ideal capacity for the larger District perfonming arts programs would be I, I 00 to 1,200 seats. The proposed Music Theatre at the SPAC could, therefore, be appropriate for certain school activities. The utilization forecast assumes ten annual uses of the Music Theatre at various times during the school year. Programming might include instrumental and vocal ensemble perfonmances, District-wide music festivals and similar activities. The Concert Hall will be appropriate for smaller scale activities such as choral concerts and instrumental perfonmances. Eight uses by school organizations are therefore forecast in the smaller venue. Community Holiday Programming Traditionally, community-based arts organizations offer significant and popular programming during the holiday season. Annual perfonmances of Nutcracker. the Hessiah, choral programs and the like can be found in churches and small theatres. The SPAC can provide an ideal venue for such programming, particularly given the modest level of University use during mid to late December. The utilization forecast includes holiday programs in both the Music Theatre and Concert Hall. Community use of The Drama-Dance Center As noted elsewhere in this report, the Drama-Dance Center will be heavily used by teaching and perfonmance programs. There may be limited opportunities, however, for use ofthe facilities by community groups. Our study identified potential use of these facilities by various community groups, particularly a number of dance organizations. While this use may be expected to be modest, community-based activity in the DDC could become a vital element ofthe facility. 1/'2E Tounnfand Renting O[Eanizations The San Francisco Symphony has participated in the various stages of planning for the Palo Alto/Stanford University Perfonming Arts Initiative. The Symphony's interest in the project is based on a desire to perfonm in an acoustically ideal venue in the Peninsula/South Bay region. It is expected that the Symphony will offer a series of weekday evening concerts in the Music Theatre in a subscription series. This activity is likely to replace the Symphony's cunrent programming at the Flint Center in Cupertino. The Study Team met with Symphony senior management to better understand the organization's plans and expectations. We conclude that the Symphony can be expected to offer eight to ten concerts each season. The programs will be repeat perfonmances of repertoire presented in the Symphony's home -Davies Symphony Hall in San Francisco. For the purposes of the utilization analysis and financial forecasts, the Symphony is assumed to self-present its programs. Under such an anrangement, the Symphony will rent the Music Theatre and meet all event expenses including personnel, transportation, marketing and production. The Symphony will collect ticket revenues on both a subscription and single-ticket basis. Some collaboration between Stanford Lively Arts and the Symphony may be appropriate to facilitate the sale of single-tickets and the operations of the night-of-show box office. Operations and Finance Page 21 a Packet Pg. 107 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) I/.} Summary Uttlization Forecasts The utilization forecasts indicate that both existing and proposed venues will be active and vital. Chart 7 A lists the primary activities that are forecast for the various on-campus facilities. JW_ ~ fuN , ... , ""'r"'" ; ~':-. ! -w".. _fuoai:r< _o.rn..-om ""-w,,.. l:lr'iref'bb"W(i5 -"""-_s.n.s em-¥. 9nrd""," ~ 5d'Od~ """"'"' """"" _ImOdsa .... .., ....... o;_~ """"'"' """"" _Caurt """" ....... -5d'Od~ StrbdT.", CmmrityLh. ""::;:;:e --""""'"' """"" -"""'~ --""""'"' """"" """"a- a""""" u.e Chart 7B describes the summary utilization profile for existing and new venues in the City of Palo Alta. Owtlll~d_Ubia1 t.rio9;om Rob"'"' ~-_0.... Pao""~ --1lIoq". ~Lb""'" YaJhomA<pn Gmrui1yOn:e~ Based on these parameters, the Study Team developed detailed utilization forecasts for each venue. For the Music Theatre and Concert Hall, we prepared the utilization calendars included in Appendix I. The precise nature of these calendars confirms the ability of the proposed venues to accommodate the forecast level of utilization. Charts SA and SB summarize the forecast venue utilization based on the analysis of existing programs and activities. This data represents what may be defined as a baseline utilization fOrecast As the charts indicate, both the Concert Hall and Music Theatre have additional utilization capacity. In later sections of this Report we will examine opportunities to increase utilization. Such increases will impact both the level of activity in the theatres and their financial operations. The baseline utIlization fOrecasts, in other wonds, represent an intermediate step in the analysis. Operations and Finance Page 22 a Packet Pg. 108 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Oart SA: Stanford Perfomirg Arts Center Utilization Profile Music Theatre : Academic: : Year : 5lmner Ml...dUCl"ric Uses :: -~~~--~--------11------~ Slb-T otaI 8: Sub-T otaI 89: _sIT ours San Frarcisco S)fT1Jhony 9: ( Sub-T otaI 9· ( Coom..nity Use • • _~!<!"y. ~~!lL ______ J. _______ ~l ______ S Palo Alto Schools : 10: -( Sub-Total 13: C otaI _ire UtiIOation Utilization ~ I.JIiIization I'etrentiJge Operations and Finance 119: 266: 15%. Total 5 9 62 13 4 4 6 89 9 9 3 10 13 Chart 88: Stanford Perfonning Arts Center Utilization Profile Concert Hall : Academic 1 : Year : Summer Academic Uses Sub-Total 98: University Events •• _!-!~e_~~r:! ________________________ j _ 4d _~ Univers!t.Y. Functions :-------'7r------, _. ___ • __________ •• __ • __ •• _____ • __ J __ • ____ ._~. ___ •• _~ _ S?~~c: _ <?~!I!~ rr:!i~~~!. ____ .. ____ .. _; __ . ___ .. jj. ____ .: ~ Public Events : 4: -C Sub-Total 56: Student Groups :: S •• __ ~::,~r~s __ . ___ . ____________ .. ___ . ~ _______ J j~. _ .. ___ ~ Stanford Taiko • 2' C Sub-Total 16· 0 Community Use : _ !-!<?I!~'9: ~!::$r:.a_~~i~~ ______________ .1. ______ . ~ J. _____ .9 Palo Alto Schools : 8: ( Sub-Total II: ( Total Baseline Utilization UtIlization Capacity UtIlization Petrenfage 7- 19J! Page 23 Total 4 62 9 7 9 2 I 14 4 112 41 7 4 4 56 14 2 16 3 8 II 195 310 57)1 a Packet Pg. 109 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Ptoject Assessment Detoloo Fu-ocraising Asessment Architect Selection C.pital~' .. ProjectDe~ Project Construction PART III: FINANCIAL FORECAST Overview This section of the report develops and documents a detailed financial forecast in support of the operations of the proposed perfonning arts facilities on the Stanford University campus and in the City of Palo Alto. The financial analysis and forecast is presented in the following sections: Part 111.1 Part 111.2 Part 111.3 Part 111.4 111.1 Project Timeline Project timeline Operating revenue forecast Operating expense forecast Funding requirements and solutions The financial forecasts are based on the following assumptions regarding the project time line: • The detailed project planning phase begins in the first calendar quarter of 200 I and is completed in one year. Architect selection is completed in the fourth quarter of 200 I. • Preliminary project fund raising begins in the second quarter of 200 I , focusing first on securing the seed funding required to support the planning and design phases. • A fund raising assessment process takes place during the second and third quarters of 200 I providing a finn foundation for a capital fundraising campaign commencing in 2002 and continuing through 2004. Campaign pledge payments are likely to be received over a period of five to seven years. • The project design phase begins in 2002 and extends for two years. • Project construction begins in 2004 and is completed in March 2006 - a construction period of 33 months. • The second and third quarters of 2006 are dedicated to systems testing, gala concerts and opening events. The net proceeds from gala programming are assumed to fund a portion of start-up operations. • The facilities are assumed to begin their first year of operations in the September 2006, thereby establishing the fiscal year for planning purposes as September through August 00art9: P qect T meline 2(XX) 2001 2002 2003 2004 2005 2006 I' 2.! 1. 4 I' 2' 3' 4 2' 1. 4 I' 2' 3' 4 2' 3' 4 I' 2' 3' 4 2' 3' 4 !.I 1 1 1 1 1 1 I -1 . 1 1 1 1 1 l l l 1 1 " 1 1 1 I 1 ·1 I I : : I : I I I I I I 1 I I I I I I I I I I I I I I I I I I : : : : : : I I I I ii i iii 1 1 I I. I I 'I 1 ! ! ! ! ! ! ! ! ; ! ; ; " I '.ems T estrol >'ld T ~ l l l l 1 l ! ! l ! ! l i i j iii l·1 >';1 : : : : : : : : : : : : : I : : I : I I Gal. I I I i~11 I I I I I I I I I I I I I I I I I I I 1 I 2007 2' 1. 4 I I I I I Facil' OIlS I I I I I I I I I I I I I I I I I I I I I~.~ ::~,I"i,'!;'I::K Operations and Finance Page 24 a Packet Pg. 110 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Part 111.2 Operating Revenue Forecast 1II.2.A Theatre Rental Rates Significant theatre rental revenue will be eamed by the Stanford Performing Arts Center. Any rental revenue collected by TheatreWorks as the operating tenant ofthe Palo Alto Theatre Center will contribute to the revenue budget of that facility. The modest rental revenues expected from use of the Drama-Dance Center are forecast in section 1I1.2.B. The target average rental rate for facilities is the industry standard of $1.00 to $1.25 per seat for each performance use. Rehearsal and technical uses are typically charged at one-half the performance rate. The Study Team recommends a four-tiered rental rate structure as follows: AcademIC Uses: The academic rate will apply to all uses by academic ensembles and faculty programs. The proposed per seat academic use rates are as follows: Per seat performance rate: $0.75 Per seat rehearsal rate: $0.38 It should be noted that the academic rental rate is developed and applied primarily for the purpose of creating fully loaded forecasts. The rental income at the forecast level of utilization is offset by an equivalent expense. The Study Team recommends that utilization thresholds apply to academic use. Each Department and/or program activity may be limited to a certain number of uses of the Music Theater, Concert Hall and Forum/Rehearsal Hall. Any activity in excess of these thresholds would not be fully subsidized by the Center's operating budget and, therefore, would require a rental payment. Such payments would be made from departmental budgets and would result in net revenues to the Center. The use threshold structure will require ongoing review and careful management to assure appropriate access is made available to all groups. University Programs This rate is applied to all programs offered by non-academic divisions of Stanford University. These include in the programs of Lively Arts, student group use and use of venues for University functions such as student orientation and commencement. The per-seat rental rates for University programs are as follows: Per seat performance rate: $1.25 Per seat rehearsal rate: $0.63 LivelyArts At present, Lively Arts pays no rent for use of Memorial Auditorium, Dinkelspiel Auditorium and Memorial Church. The Study Team completed a detailed analysis of the impact of the new venues and program expansion on the economic profile of Lively Arts. We conclude that program growth will generate incremental revenues sufficient to pay rental for use of new facilities at the University program rate defined above. This conclusion is based on the following assumptions: • Program growth occurs in accordance with the forecasts outlined in the utilization assessment. Operations and Finance Page 25 a Packet Pg. 111 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) • The average income per ticket sold increase 10% from current levels. • The average cost per concert decreases 10% reflecting the fact that overhead costs will increase at a slower rate than program costs. • Lively Arts is able to increase its annual fundraising goals an average of 5% per year. If the above assumptions apply, Lively Arts can maintain a balanced operating budget while paying facility rental of approximately $150,000 per year. Community Programs Non-profit community organizations that use the Stanford Performing Arts Center are charged the same rate as University programs. None of these uses receive a subsidy from the Center's expense budget Toun"ng and Rentals Performance and rehearsal activities by touring non-profit and commercial organizations are charged the following per-seat rates: Per seat performance rate: $2.00 Per seat rehearsal rate: $1.00 Chart 10: Prooosed SPAC P.enUI Rates , /"\rsic~(I.lOhealS) • : : : ~~.~ ............................... +} ................... 6]~ .: ................... !,!~ i .................. J!I.2~~ .................... !~ ~ ,a.l9: an. adJ. l«) ~~ ~::::::::::::::::: n:::::::: :(~ J:~:::::::: ~ ~ ~:::::::::@. J:~:::::::: ~.~ C~ : QJ.5": 05: 1.15: 2aJ : • : • :-': "., ; _.f. • I • • Conan I-QIt (900 Seats) • • • , P.enemaVT ed't Da : $ 338 : $ 563 : $ 563 : 900 __ --_______ !y ______ ••••• _____ 1_ ---------_. -., ••• ------_ •• --I-_. -_. -_ ••••• {---------_. --- CostISsIt • a18, QO. QO. /.(1) ~ ~:::::::::::::::::! j::::::::: :~~ Ii::::::::!.!~ ~ j:::::::: :(I~ J:~:::::::: r¥.f ~ : l.V'S: 1.2f: 1.15' 2trJ Operations and Finance Page 26 a Packet Pg. 112 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) 1I1.2.B Utilization and Rental Revenue Forecasts Stanford Performing Am Center Charts SA and BB in the utilization assessment list the projected number of uses of SPAC facilities without distinguishing between performance activities and non-revenue uses. The following charts 9A and 9B segregate the uses by type of use and then, using the project rental rates summarized in Chart 10, calculate the forecast first-year rental revenue for the SPAC. Oot liB 9ri>dRrimrg ..... amr l.Iiiotia1 Rdie M.i<llSe I -..", I ~ TQ;I Drama-Dance Center As noted in the utilization assessment, the performing and support spaces in the DDC are likely to be made available on a limited basis to campus and community groups. It is difficult to forecast rental revenues from such activities on a detailed basis. The Study Team developed a preliminary assessment based on an assumed average rental rate of $500 and the level of use indicated in Chart 13. P.entals • • Total : ReYenuef. Total Season Per I'1orth : # Months: RerUs I RertaI : ~rw ~ r~ ...... ~ ............... _1~ .............. 2~ .................... ¥~_~ .......... ~_~, .... !~~ ~ I 12, ]. 36. S 500. $ I8.CXXl • T otat I S l6.OOO Operations and Finance Page 27 a Packet Pg. 113 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) The revenue from this source should be allocated to meeting a portion of the operating costs associated with the DOC and, therefore, this income item is not included in the forecasts for the SPAC Palo Ah'o Theatre Center If the governance and management structures recommended in Part I are adopted, rental fees paid for use of the PATC will benefit the operating budget ofTheatreWorks. As with the DOC, it is difficult to develop a detailed forecast of rental revenues for the venues of the PATC The scope of TheatreWorks' perfomnances and rehearsals will consume a significant portion of venue utilization capacity. Impact of Rental Subsidies Ifthe recommended subsidy structures are implemented, the net rental revenue to the SPAC is forecast as follows: """ , "'""" n...-: HoI T""" """-~ $ 217,575: $ 120,1000 $ 338,175 L= , I'odori< """ $ (7.125): $ (1~91 $ ~~~ u....ity """"" $ alIlll: • iH,,,, I. T""''''''''' So.bicios $ (11,550): $ (71.100 $ (1I~65O) ilS N ofjfDS$ ~ ~ ~ ~ ""'-~ $ 173,OlS : $ $ 1I1.2.C Additional Rental Revenues SPAC is likely to be able to generate additional rental revenues from at least two sources. As indicated in the utilization assessment. the Forum/Rehearsal Hall can be used by a number of academic and presenting organizations. The Stanford Symphony will use the Forum for rehearsals when the Concert Hall stage is not available. Other organizations expected to use the Forum for rehearsals include the various Music Department ensembles and Stanford Taiko. The Forum will also provide perfomner support for Lively Arts and large-scale productions occurring in the Concert Hall or Music Theatre. A portion of the uses of the Forum/Rehearsal Hall will generate rental income for 5PAC management. These include use of the venue as perfomner support for Lively Arts events, use by student and community groups and outside rentals. The Study Team recommends that an average rental rate of $250 per use be charged for such uses. We believe a reasonable forecast of such uses to be approximately four per month for a total of fifty uses. The revenue from this source, therefore, is forecast to be $12,500. A second source of additional rental revenue is social events and other gatherings that may take place in the lobbies and other public spaces that comprise the 5PAC Both University and community organizations are likely to use the facility for such purposes. A preliminary forecast of such use assumes two social events per month, for a total of twenty-four events per year. The average rental is forecast to be $500 per event. Total revenue from this source, therefore, is forecast to be $12,000. Operations and Finance Page 28 a Packet Pg. 114 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) 111.2.0 Other Revenue Sources Concessions Audience services in the SPAC will include concession services offered prior to performances and during intermissions. The net revenue from such activity is assumed to benefit the Center's operating budget. This revenue item is forecast based on attendance projections and an assumed net income per patron. Chart 14 lists the activities at which concession services are assumed to be offered and the assumed attendance for each event. a...t I~ -",,_.Sd<mdE..nl> : : Total : ~ : # E-MIts : ~ : Cap;rity MJSic: Theatre ::: ~~=~::::::::t::::::::~:::::::~j:::::::i ~~?Y.~91,!~";~ •.•••..•.•. ~ .••••••. Po •••••• Il!'?: •••••• : ~ Conart HIli ., I ~. ~ ~,.t!e.¥.S'!i.".~ __ . __ .. _ .. _~ _. __ • _ . .2n _ .. _ ... ~ 1. _ .. _.: ~ i:~~ ~,~;~:::::::::::~::::::: :11:::::::! 1::::::: m .TOfAl... _____ l·~ ••••• '!l}l!! .... .I~ ..... ~ 1311100 Chart 15 derives the net revenue from concession forecast based on the utilization model. Box Office Fees The proposed staff structure for the SPAC detailed in a later section of this report calls for a dedicated box office staff. This staff resource will meet a significant portion of the customer services needs of Lively Arts and other organizations using SPAC facilities that maintain their own box office operations. SPAC's box office staff, for example, may process the subscription ticket orders for Lively Arts, the San Francisco Symphony and other organizations that may offer a series of events in any campus venue. Following discussion of this function with the Director of Lively Arts, the Study Team concluded that it is appropriate for such organizations to reimburse SPAC for the costs of processing such orders. A reasonable estimate for this reimbursement was developed based on current operating costs adjusted for the anticipated growth in program scope, ticket sales and the impact of inflation. The forecast reimbursement to SPAC from Lively Arts is $50,000 per year. Reimbursements from other user groups are forecast at $10,000 resulting in a total of $60,000 from this income source. The expense forecasts detailed later in this analysis include all of the direct costs associated with delivering box office services to various user organizations. Operations and Finance Page 29 a Packet Pg. 115 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Parf<ing In many performing arts facilities. net income from parking contributes significantly to the operating budget. In the case of SPAC and other facilities proposed by this study. parking needs are likely to be accommodated by existing resources. or by new facilities that will capture parking fees and use them to offset capital and operating costs. It may be the case. however. that the parking capacity available near the SPAC will be quite limited. It may be appropriate to offer patrons valet parking services as an audience amenity. If this were done. satellite parking facilities could accommodate a significant percentage ofthe demand creating by performing arts events at SPAC. A valet parking service typically generates net revenues. a portion of which is transferred to the operator. in this case the SPAC. as a licensing fee. This analysis does not forecast an amount of revenue from this source as numerous planning assumptions pertaining to this opportunity must be developed and assessed. 1I1.2.E Baseline Revenue Summary Chart 16 summarizes the various elements of revenue forecast for the SPAC. The forecast presented in line-item detail for the scheduled first full year of facility operations. the 2006-07 season. Baseline revenues are forecast to increase 5% per year as a result of a combination of increased facility utilization and audience growth. Chart 16 includes a calculation of net revenues after consideration of the utilization subsidies described in Chart 13. Out 16 S"mwy ~ne ~ Faa2;ts I lfJJ/ I lOOI I ]fJJl $4C1frti(Itwu: I. 217.575 I I MBc,"""" """"' .... Is 1;!l(j!)1 I S,b.TOOj I' llIIlZ!i I I Faun_ .... IS IlSCO l I I\bic s,.a,,.,.. , 11Jm T~SPK~~ Is =1 I I I I C!!\o:'Ii:tm.o 1$ 131·<001 I "'" """""" """"'" Box arce Peinbrsem!rI:s I. avm I Total {)toe-Pe.eu! Is 121~1 I fr.rdTOOj 1$ SS4,015I $ I 61(1868 %d>qc l l S81.~$ .lJi -i Jhmtintlq,ftn;rt I, m~ I Ubiin_ N!:t~Me-~ l' ~I <I/JJIH %d>Ie 6i -i' .lJi 'fTtnt Oat 13 As is the case with the utilization forecasts. this revenue forecast should be viewed as an intermediate baseline. After consideration of operating expense forecasts. this report will explore opportunities for enhancing revenue through increased utilization and revenue diversification. Operations and Finance Page 30 a Packet Pg. 116 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) 111.3 Operating Expenses -Staff Salaries and Benefits Key Assumptions The financial forecasts of the various components ofthe expense budget are based on key planning assumptions developed by the Study Team. For staff salaries and benefits, these assumptions are as follows: • • • • • The operating budgets for the various venues are assumed to include the salary and benefit costs for all incremental personnel. University personnel classifications are applied to campus facilities where appropriate. Salary levels are established in current dollars, based on detailed input received from University personnel. The University's standard benefit rate of 25% is applied to the salaries for all positions, both full-time and part-time. This rate is applied to both University employees in the Stanford Performing Arts Center and the Drama-Dance Center as well as the employees of the Palo Alto Theatre Center. A baseline salary stated in current dollars is established for each position. This salary is then increased at a rate of 4% per year to the assumed employee start date and in future years. Some project employees are assumed to be retained prior to the opening of new facilities in 2007. The pre-opening salary and benefit costs for these employees is included in the financial forecasts. The total ofthese personnel and other pre-opening costs may be included as elements of capitalfundraising efforts. Ot;¥anizationa/ Strocture -Overview The appropriate staff structure for the Stanford Performing Arts Center is defined by two key considerations. First, if the Center operates as an enterprise unit of Stanford University as recommended in Part I of this report, the venue will require a dedicated senior management staff, reporting to the Office of the University President Additional staffing requirements are prescribed by the unique activities that will take place in the Center. Maintaining the building's complex theatrical technical systems requires specialized personnel. Supporting frequent public events in the theatre spaces also demands unique personnel resources. The Study Team developed a recommended staff organization for the Stanford Performing Arts Center and the Drama-Dance Center. These organization charts include the following: Project Positions (indicated by single-line boxes): These positions are required for the ongoing management and maintenance of the facility. The salaries and benefits for these positions are included in the operating forecasts. Non-Project Positions (indicated by broken-line or double-line boxes): These positions have a functional relationship to the venues but do not impact the financial forecasts. These include management staff for program activitieS'such as Lively Arts and Stanford Events. Event personnel, such as ushers and ticket takers, are also in this category. The costs for these positions will be met by user organizations. A third category of non-project positions is service personnel. The organization charts include an indication of the assumed full-time equivalency of each part-time staff position. This information is included as a percentage. No percentage is indicated for full-time positions. Operations and Finance Page 31 a Packet Pg. 117 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) OfEiV/izational Structure: Stanford Perfonmng Attf Center Project positions recommended for the Stanford Performing Arts Center are as follows: Executive Director. This individual will oversee the day-to-day operations of the Center with management responsibility for all project personnel, scheduling, public services, building and technical maintenance, and events. It is also appropriate for the Executive Director to oversee programming activities such as Lively Arts and other presentation programs. The Executive Director should report to the University President. All project positions at the Center should report directly or indirectly to the Executive Director. Project Support Staff The Assistant to the Executive Director will coordinate facility scheduling. facilitate communications with user organizations and provide other support services. The part time Administrative Assistant will provide clerical support services. Theatncal Technical Staff The technical staff will be managed by the Head CarpenterfT echnical Director and will support all theatrical activities. The technical staff resources required for the Center should not be shared with other venues. A dedicated and trained staff is necessary to operate and maintain complex technical theatrical equipment Event Staff An Event and House Manager should be retained to oversee the front-of-house operations of all the venues in the Center. This individual will have primary management responsibiiity for the box office, ushering staff, concession services, security and event operations. Facility i'1anager and FaCIlity Services AdmInistrator. As a campus facility, the SPAC will be able to obtain building services from the Facilities and Operations and other University resources. As a result, it is not necessary for the SPACto retain a dedicated maintenance staff. Management level personnel are required to oversee building maintenance and to coordinate services for user organizations. Non-project positions include the staff of Lively Arts and Stanford Events, along with Visitor Information Services. These organizations will provide programs and services in the Center. The part-time status of many staff positions is consistent with the low level of venue utilization forecast during the summer months. If, as will be discussed later in this Report, the level of summer activity and/or overall utilization increases substantially, it may be appropriate to convert some positions to full-time status. The incremental costs of such conversion may be offset by increased facility rental revenues. Operations and Finance Page 32 a Packet Pg. 118 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) ----..."'Z"I'swr Ot;fanizational Structure: Drama-Dance Center - The proposed staff structure for the Drama-Dance Center reflects academic character of the building's use profile. As department faculty will oversee much of the perfomning activities in the facility, no dedicated program management personnel are required. A small technical staff is recommended to support faculty and students in their use of the various perfomnance and rehearsal spaces. A Facilities Services Administrator is proposed to coordinate building maintenance and other service requirements. Staff Requirements -Palo Ako Theatre Center The operations and maintenance of the Palo Alto Theatre Center will be the responsibility of TheatreWorks. That organization's current staff resources must be augmented to meet these needs. As TheatreWorks can be expected to undergo significant administrative and organizational changes as it moves to the new venue, it is beyond the scope of this analysis to develop precise staffing recommendations, or to forecast the costs associated with incremental staff. The consolidation of the Company's perfomnance activities into a single venue may provide some Operations and Finance Page 33 a Packet Pg. 119 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) economies. reducing staffing requirements and costs. These possible reductions must be considered along with the potential needs for new personnel. Staff positions required for managing the new facility may include the following: Facility Manager. facility maintenance staff, Booking Manager/Facility Scheduler. House Manager and staff, building and event security staff. additional box office and administrative staff. Expense Forecast The following charts present summary forecasts for staff salaries and benefrts for the SPAC and the Drama-Dance Center. Detailed information in support of these forecasts is included in Appendix II. ..,. ',' 111.4: Building Operations The costs of building operations have been forecast separately for each of the three proposed venues. The objective of these forecasts is to establish a reasonable expectation of the level of building operations costs. Numerous approaches can be taken to developing such forecasts and the assumptions used by the Study Team are likely subject to significant modification as project planning moves forward. Many items are forecast on a cost per square foot basis. The area of each building is described in capital cost analysis included in another section of this Report. Operations and Finance Page 34 a Packet Pg. 120 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) The cost elements include the following: UMties Costs for electricity, water, steam and other utilities are forecast based on the operations of similar facilities operating in a climate similar to Palo Alto's, adjusted for the market conditions at Stanford University and in the City of Palo Alto. The charge-out rates applied by the University's Facilities and Operations Department are applied in many cases. These rates have been converted to other units of measures in some cases to provide comparability to the operating parameters of comparable facilities and a mathematical basis for forecasting. BectnCity: This projection is based on the number of kilowatt hours consumed per square foot per year. The cost per kilowatt hour for campus facilities is slightly higher than that for the PATC due to existing rate differentials. Chl7led Waten'CooHng; The costs of chilled water and cooling systems are forecast based on tons consumed per hour per square foot and a cost per ton. The same rates are used for all venues. Steam Spems/Heatlng.·These costs are based on a cost per 1,000 pounds on a square foot basis. The same rates are used for all venues. Domestic Waten5ewer. The costs for domestic water and sewer services are forecast on a cost per square foot basis using the same rates for all venues. SelVlces and i'1alntenance i'1echantcal Spems i'1ati7tenance: The cost of mechanical systems maintenance is projected on a cost per square foot basis. The cost elements include the service personnel required to perform this maintenance function, equipment and materials. Architectural Spems i'1alntenance: The cost of maintaining the condition of the building is forecast on a cost per square foot basis. As with mechanical systems, this item includes personnel and materials. Annual Extenor Oeantng.· An annual allowance of $1 0,000 is included for each facility. Telecommuntcatlons and Data: The forecast model includes a cost per connection for telecommunications and data services. The assumed number of connections is adequate to support the needs of personnel dedicated to building management functions. Similar costs for program personnel are not included in the forecasts. Lamps/Electncal Allowance: This item provides modest resources for the repair and replacement of consumable items such as light bulbs and equipment. This allowance is not intended to support the operations and maintenance of theatrical equipmenL janitodal SelVlces: The cost of janitorial services is projected on a cost per square foot basis. Cost elements include labor, equipment and materials. Operations and Finance Page 35 a Packet Pg. 121 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Forecasts Charts 21 A through 21 C contain detailed forecasts of building operations costs for each of the three proposed venues. The various planning assumptions are evident in the presentation of the forecasts. Chart 21 d provides a summary. 0iART2lk Bt.i1d1W~Perf'otrrir1i!:MsCenter .... P¥1iaI Year 0 ftj Y5r Clpemicn lIXXJ 2006 0 0 200/ 0 0 2!DI : 2009 J4lfi<f Grass Square Feet: : 170,825 0 0 ~'" $ )1,916: $ 71,578 : 0 0 0 flfdwp 0 l(}.faa: 0 0 0 0 """"'" S Q""" S 0(.11118:$ oaua: 0 Anr1tRI ninon = ~ 16:~ 2Jr. : : -~ I 10: /0: 0 0 <HIed w.o.tcooIre $ 17.829! $ 36,S5O : : 0 0 0 flfdwp S l1J9o l(}.far: 0 Ill< Q.lm: s 0 Ca.t/T~ ,..",. S S Q,l85.J: 0 : Annu.JI i1I.Ition =25% 16:~ zroi 0 Ton HouiSq. ~ QJS OJ5: QJJ: """'--$ 12,131 : $ 24.B1S : 0 Ias:~ flfdwp 0 CostJ [,(XX) poun:Is $ 1125 S 1-'1.206]: s If.56'l.f: AtnW i76tion =25% 14'tK: =: _4 aDl. aDIO: 0010: 0 ~-$ 7.'124! S 16.1.otS : 0 0 0 flfdwp /Qi"a:r:. : 0 0 """'" Ii S QIlI S 00,929: S 0095/: 0 0 0 AhuI iJ8,;tior, =25% liar. 2.<r, 0 0 SUB-TOT.AI...: l1T1.nlES $ 72,8C3 : s 149,247: $ 152,978 : s I","" 0 flfdwp 0 105.l111'. 2.<r, 2S>J JOo ...... 'tIiltpwg 0 0 0 0 0 0 --$ 8S,413 $ <4J1.s26!$ 101,529: $ 104,067 : $ I~' """'" Ii S "'" S ass:s a59;S 06/: s Q62 0 0 J"h1uiI WiItion =25% l.:far. ~ ~ .lSl ~-$ 68,330 $ 39,621 : $ 81.213 : $ 83.253 : $ as.ns """'" Ii S Q<Il S 04!:S Q'f8: s 019:$ tJ.5l) 16.tJK.: ~ 0 2.<1 Antu/ inAltion =2.5% .2.W hn.IaI Extaior OeJning oS 10,(0)' S 10.000' $ IO,IXXI T~ $ 5.79B : $ 5.91] : $ 6.092: $ 6.214 ......... ~ S Sal S Ja?:.r 5.91: S cf09:S 62' AmuJI il4Ition = .. 14«<: =: 2.fW! 2-<1 NmlxYcF~ ~"""'1J'""71 10! 10: 10: 10 -~ $ 6,000 : $ ~1XlO : $ 6,IXX) : $ 6fDJ --$ 99.(J51 : S 101.529: s 104.067: $ 0 106.669 ~Ii $ Q.\O s OS8! S QS9! s 06/! s a62 A.muiII ¥IIIttion = 2S% 14'ar. ~ ~ 2~ 9JB-TOTAl.: SBMCES $ 199,998: $ 296,224: $ 303,479 : $ 310,916 flfdwp 0 lSI%! 2"'; .l.\"I 0 TOT~urunes1KJ SBMa5 ", ..... ~ ... .. ..~ .. \ ~ -~. : $ 212JI01 : $., ,+15.411 ': $ ''&,457: $ ., :467.71;, fIf_ '. ." .. ":, .: ~."""',a.: ..0 :;. .zl1 . . l.Wo Operations and Finance Page 36 a Packet Pg. 122 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Operations and Finance Page 37 a Packet Pg. 123 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) o...t 21 D: Surmvy &oldro! Q>erations Gl5t; . 2006 X1J7 : 2008 . = . ~~~ ~ ........... L~ .... ~~.ap.l.l~ ....... 4::'.5, ~~ ~ H ...... ~?~,~??L~ ...... ~?:~ ~~ Ih-na ard Din:e :$ 163,987: $ 257,714 : $ 264,007: $ 270,457 SIb-Total :$ 436,788: $ 703,185: $ no,46S: $ 738,176 Palo Alto Thea1re Center :$ 174,775 : $ 351,990: $ 360,639 : $ 369,505 Gr.ond Total :$ 611,564: $ 1,055,175: $ 1,001,104 : $ 1,107,682 % c/7iiqJe . 725~ 25~ 25J! Operations and Finance Page 38 a Packet Pg. 124 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) 111.5 Theatrical Systems In addition to the typical costs of building operations described in section 111.4, perfonning arts facilities incur significant expenses associated with maintaining complex theatrical systems. Chart 22 details the various elements of theatrical systems maintenance likely to be required in the Drama Dance Center, and the Stanford Perfonning Arts Center. The theatrical systems costs for the Palo Alto Theatre Center are assumed to be the same as those forecast for the Drama-Dance Center. The costs of theatrical systems include both ongoing annual expenses for equipment and maintenance as well as annual allowance for life cycle costs. Life cycle provisions are recommended as a means of setting aside financial resources necessary to replace and upgrade theatrical equ ipment on a regular and cyclical basis. A reduction factor is applied to the early years of operation to reflect savings resulting from warranty services. a-I<'RT22A: lheatJiGII9f.;terr& M!inll>'lr<E CaIs-!bfad Perfarri",Ms c:.nt.r Ime PartialY..,. ~ Y..,. Q:>oratictls = l!ll6 'IfJJI , l!XIl 'If1Ji 1 """". : flQrp'll $15,(XXl : iTcxM"atI" ... $lo,Oll fqjprrent RertaI $lo,Oll M,mareo.z; $5.Oll Rillirg ~ M!inten<n:e $lo,Oll IrdLd'll arnJO nspe:tic:n Sotr<I ~ I'1!ir1mrce $>Oll , ~ """" MirIenirce $6.Oll , 5<at Pep<it> $>Oll , , !'J.b. T otHtJy l.aacIed $66,CXXl $76,5040 : $78.0453 : $8l415 $8l."12S %~ 16ai. .2.l%! .2.l%! 2~ Re::I..dial Fnr :Mi;, ~ ~ ~ i'i!lCcsls $19.135 $39;DJ: SW,311 : $8l."12S %c:II.ne IQ\'@. DB%! .XI'7-i lii>CJde Gll!Il' , , , Sotr<I~ $lQOll , , , , , ut<irg-gm) , , , !'J.b.TaaI $177.CXXJ ~ $21Q397 : $215.657 : $121.019 %~ 16a': ~ 2~ ~ &:d I!liSll Fzta ~ ~ -i'i!lCcsls S): $52.599: $107,829 : $165,787 %~ , , 1Q\'atf. 5J/i!l , GWDTOrI'l.-l'ET = $19.135 : $91.826 : $IEaI4O : $248.212 %~ .m~ 81IJ1t. 17.~ 'tire ca;Is actre. a ci the iiti<I ca;Is ci these 1f'eaIriGj WI tits. Operations and Finance Page 39 a Packet Pg. 125 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) 0at22B1heatrioiI S»teTs~nI CIru" bR Prialy .... ':Uly .... ~ lOOl XIl6 1f1JT · DlI 7!1JI · · ~'ll ~COO · · ~ $2$J · fq..ij:mrt P<ruI ~ · · Msa!lI"""" $2$J 1V'll_9ymn~ ~COO nduirg;nul ropedim Soo.J1d9ymn~ $2,500 · ug"Iirg ~ Mlinte-<r<e $lCOO · SeatIlepOrs mw · · s.b-TdaI-nJy l.oadI<l W$J $31.892 : $J2.68'J $33.506 • $34.3'!4 %~ 16~ 2.S%! .2%; 2~ Po<Wia1 fadtr ~ ~ ~ QJ!l: NetCa;ls p.rn : $10141 $25.ID: $34.3'!4 %~ 11l5:t:a;. E~ .l(?-! , , · Isan:t 9ymnG:J ,,.. e .... $IQCOO . , ligtirg Rxb.ns Co I p1' lEI a-. moo;) , . s.b-Td:aI $85,COO $'J8,574 $101,038 1 $10lS64 : $lor.lS3 %~ 16ati: 2.5%: .z.w. 2~ ~ -7S.@. =-~ NetCa;ls J): $25,2lD : $51.782 : $l'i,6IS %~ , , 1115.~ Eel. , · <l\AN)TOrI'l-l'fl = fl,W3: $41,604 : P~912: $111959 %~ 421.8fl/. 1Jf.9%o ~Zi 'The,.,.. COil 1e.oeIs .... ."",., b-1he Palo _lIl!O!re c:.em-. "'Ufe <)de C05ts _ crly a patioo d"" ntiaI O!pitj C05ts d ""'" ~ systeT6 CD ,,.. e Is 111.6 Administrative Costs While the proposed new venues will all require administrative resources, these are expected to be modest in scale. The administration of on campus venues can be very efficient and low in cost due to the ability to leverage existing University services to meet new needs. Of particular importance is the buying power of the University and economies of scale and efficiency in such areas as supplies, communications and marketing. The Palo Alto Theatre Center will similarly be able to benefit from the existing administrative resources ofTheatreWorks and the City of Palo Alto. The costs of the incremental administrative resources required for the new facilities are forecast as a percentage of personnel and building costs. This planning assumption is based on the Study Teamsexperience in other projects. We have found that the non-programmatic administrative cost for large-scale theatrical facilities ranges from ten to twenty percent of the costs of personnel and building operations. The cost of theatrical systems is not included when calculating this forecast Given the efficiencies referred to above, we chose to use apply a rate of ten percent to develop administrative cost forecasts for the proposed venue. Chart 24 defines these forecasts for the planning period. Operations and Finance Page 40 a Packet Pg. 126 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) 111.7 Total Operating Exoenses/Summary Forecast Chart 25 summarizes the forecasts for operating expenses for each venue. Forecast eamed revenue is included for the Stanford Performing Arts Center leading to the calculation of a net from operations. The estimated total expenses for the Drama-Dance Center represent an increase in the operating budget of the academic departments. The expense items forecast for the Palo Alto Theatre Center are components of TheatreWorks future operating budget These forecasts should be integrated into TheatreWorks broader long range planning efforts. Pre-Opening Expenses The cost of operations prior to the opening of the new venues must also be considered. Forecasts of these costs were developed in the detailed analysis of staffing and building operation costs. Such costs are typically treated as capital costs and included in the appropriate fundraising goals. As Chart 25 indicates, the pre-opening costs for the on-campus facilities total approximately $2 million, with the most significant expenses incurred in the partial operating year in 2006. A significant portion of these costs may be offset by any net revenues from gala programming and opening events that may take place during this period. Operations and Finance Page 41 a Packet Pg. 127 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) ~~~1~~.:.:.: ..... L ...... -... $ •••••••• : • .:..L ........ L.... I l~ .. __ J. ____ ..... -.... $ __ ... __ ._~-+~.---.... -._ 1 ....... ,:,,"::-1 ........ ;~ ....... . I I PART IV: FUNDING REQUIREMENTS AND SOLUTIONS Overview The forecasts summarized in Chart 24 derive a preliminary net from financial position -or funding requirement -for the two on-campus venues and identify expense elements of the operating budget for the Palo Alto Theatre Center. Different strategies are appropriate for funding these net expenses in each of the proposed facilities as follows. Palo Aha Theatre Center As operator of the Palo Alto Theatre Center, TheatreWorl<s will seek to balance an operating budget that includes both program and facility costs. This Study has developed preliminary forecasts of certain facility costs that should be integrated with TheatreWorl<s' strategic plans. Ongoing annual funding efforts and investment income from existing and new endowment funds will be required to meet the Center's and TheatreWorl<s funding needs. Drama·Dance Center The incremental annual operating expenses of the Drama·Dance Center may be met through a combination of allocations from departmental budgets as well as from dedicated fundraising and income from restricted endowments. Stanford Performing Arts Center The Stanford Performing Arts Center is forecast to generate from operations approximately one· third of the income required for balancing the annual budget Significant opportunities exist for reducing this funding requirement through program development and the implementation of operating policies and procedures. To leverage these opportunities, project leadership must make key policy decisions and take critical action steps during the period prior to venue construction and operations. The Study Team recommends that the following items be considered. Operations and Finance Page 42 a Packet Pg. 128 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Ticket Surdw:ge Many performing arts facilities obtain significant income from a service fee added to ticket prices. This surcharge is typically in the range of one to two dollars. The funds are collected by the performing organizations and transferred to facility management at the conclusion of each event The Study Team recommends that a carefully structured ticket surcharge program be considered as a means of generating income for the Stanford Performing Arts Center. This structure may have the following elements: • A surcharge of $1.50 per ticket applied to all events offered by Lively Arts and performances by the San Francisco Symphony and other touring groups. • A surcharge of $1.00 per t icket or less applied to all student group performances, uses by community and school groups. • No surcharge applied to academic utilization and University functions. Applying the above structure to the attendance forecasts summarized in Chart 14 (page 29) results in an annual income from the proposed ticket surcharge of approximately $170,000. Chart 25. Ticket Surchal"2e Forecast ,Forecast Average Resulting : Attendance : Su~arge Fees Partnerships for Procram Development The relationship between the Stanford Performing Arts Center and the San Francisco Symphony provides a model for other partnerships. If the Center establishes similar arrangements with other performing arts organization, both venue utilization and financial operations will be strengthened. The data in Chart II B (page 27) indicates that the nine performances by the San Francisco Symphony forecast in the Music Theatre will generate $32,400 of rental revenue. Additional revenues will come from concession sales and, ifthe recommended structure is implemented, ticket surcharges. Similar arrangements are likely to generate revenues at the same rate on a per performance basis. The Study Team s association with San Francisco Ballet made it possible to assess whether that Company would have an interest in performing at the Stanford Performing Arts Center on a regular basis. San Francisco Ballet's Artistic Director Helgi T omassson indicated that he has a strong interest in bringing the Company to venues in the South Bay and on the peninsula but existing theatres are not adequate. Operations and Finance Page 43 a Packet Pg. 129 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) Summer Programminc The preliminary forecast of utilization of the Stanford Performing Arts Center and Drama-Dance Center during the summer is quite low. This is not surprising given the general lack of cultural programming during the summer both on campus and in the City of Palo Alto -other than the performance activities in the Lucie Stem Community Theatre. The existence of new venues will likely stimulate the development of new programs. Significant rental and associated income could be generated by festivals, conferences and other activities appropriate to the summer months. The Study Team did not establish an estimate of net revenues from summer activity. It is possible that the Stanford Performing Arts Center itself may develop and produce such programs and, as a result. the overall financial impact may be neutral. It is difficult to forecast the impact of other events at this t ime. Other Opportunities Other opportunities exist for creating additional programming and thereby strengthening the financial operations of the Stanford Performing Arts Center and the other venues. These include making selected facilities available for rental by commercial and non-profit organizations. If deemed appropriate and viable, such activities can generate significant net revenues. Enhanced financial Forecast Analysis suggests that implementation of a ticket surcharge program and the development of additional programmatic partnerships may have the financial impacts summarized in Chart 26. This revised forecast begins with an annual operating deficit of $1 million, representative of the forecast annual results summarized in Chart 24 (page 41). The revised net financial position is estimated to be approximately $775,000. The amount of endowment required to generate $775,000 of annual income is approximately $15 million, assuming an income transfer rate of 5% and an overall annual investment retum of 8%. CONCLUSIONS Prowam Pet b EEl lip:; ~ # of f'i1ttntntips Net $ $ $ ". 6Q<XXl The Study Team has developed what should be viewed as a preliminary forecast of utilization, programming and financial operations. The various components of this analysis are designed to serve as resources to support further planning and development of the Palo Alto / Stanford University PeriOrming Arts Initiative. The Implementation section of this Report includes recommendations for specific next steps. Operations and Finance Page 44 a Packet Pg. 130 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) APPENDIX/ The Study Team developed pro fonna utilization calendars for both the Music Theatre and the Concert Hall. The information in the calendars is consistent with the utilization forecasts detailed in Part II of th is Report. The primary use of each venue is specified for each day. Where conflicting uses exist, one activity is assumed to relocate to the Forum/Rehearsal Hall or other venue. This analysis was completed to assure that all ofthe forecast uses could be accommodated in a typical year. The inclusion or exclusion of user organizations should be viewed as preliminary. Similarly, exact date assignments are made only to accomplish the objectives of the analysis. Operations and Finance Page 45 a Packet Pg. 131 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) September 1999 utllizaUon Assessment Palo Alto & St.. ... ,)I'd University Performing Arts Center Pro Forma Utilization Concert Hall Page 1 S • 1 , • • 15 " 22 " ,. '" August 1\l99 , '" I , 3 • 5 6 10 11 U 13 " 18 .. 20 ,. " ,. 27 31 September 1999 S 5 • , '" I , S , 1 , , • ,. 5 6 , • • 10 11 " 12 13 ,. 15 " " 18 '" " '" 21 22 2J ,. " 26 27 " ,. '" , 1.1 a Packet Pg. 132 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d October 1999 I I II .. utilizatiOn Assessment Palo Alto & Stanford University Performing Arts Center Pro Forma Utilization COncert Hall Page 2 S 3 10 17 24 31 ' Odober 1999 • , .. I E 1 • S • 7 8 11 12 13 I' 15 18 " 20 21 22 " 26 U " 29 II -"" S S • I '" , E S , 1 , 3 • S • • 7 8 • 10 11 12 13 10 I' 15 10 17 18 10 20 " 21 22 " 24 2S .. 27 30 28 29 ,. Appendix 1.1 a Packet Pg. 133 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d November 1999 - December 1999 I , UtIlization Assessment Palo Alto & Sl... ..• ord University Perfonning Arts Center Pro Fonna Utilization Concert Hall Page 3 5 7 14 21 28 -'''' • I .. I • , 2 l • 5 8 • 10 II 12 15 16 17 '8 19 " " 24 25 " " 30 _'999 , 5 • I '" I • 5 • , 2 l • 13 5 • 7 8 • ,. II ,. 12 13 14 15 16 17 10 "0 19 20 21 " ZJ ,. 25 " " ,. ,. JO 1I AppendIX 1.1 a Packet Pg. 134 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d December 1999 - January 2000 Utlhzation Assessment Palo Alto & Stanford University Performing Arts Center Pro Forma Utilization Concert Hall Page 4 5 • 5 • U OJ " 20 ,. 27 December 1999 I .. I E I 2 ) , • • ID I. 15 16 " 21 22 " .. ,. " ~ 1I :January 2000 S 5 • I .. I E 5 • I II , ) • 5 • , • 18 • I. II 12 I) I. 15 " 16 " " " 20 21 22 2l 24 " ,. '17 " .. ~ 1I Appendix 1.1 a Packet Pg. 135 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d January 2000 - February 2000 II I Utilization Assessment Palo Alto & St... ... ord University Performing Arts Center Pro Forma Utilization Concert Hall Page 5 5 2 • 16 2J JO --• I .. I E , • , , 7 ID II 12 IJ .. 17 18 19 20 21 24 2S 26 27 " JI II _- S 5 " I .. I E 5 I I 2 , • , • • 7 8 • ID II 12 15 IJ .. 15 I' 17 .. 19 22 ,. 21 22 2J " 2S 26 " 27 28 " AppendIX 1.1 a Packet Pg. 136 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d February 2000 - March 2000 .. utlhzatiOn Assessment 2C Palo Alto & Stanford University Performing Arts Center Pro Forma Utilization Concert Hall Page 6 5 • • 7 13 I. 2Jl 21 27 2B """"ov "'" I W I E 1 2 3 • • , 10 11 15 16 17 lB 22 >.3 24 25 " --5 5 • I ,. I E 5 S 1 2 3 • 12 , • 7 • , 10 11 " 12 13 I. 15 15 17 11 26 " 2Jl 21 22 >.3 24 25 26 27 ,. ,. 30 31 I AppendIX 1.1 a Packet Pg. 137 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d April 2000 I Utilization Assessment Palo Alto & st... ... <lrd University Performing Arts Center Pro Forma Utilization Concert Hall Page? s • 5 • 12 13 19 20 26 27 """'-I .. I , S 1 2 , • , • , 10 II " 15 I. 17 II " 22 23 " " 28 " 30 31 ..... "'" 5 • I .. I , 5 1 2 , • 5 • , • , 10 II 12 13 " 15 I. 17 18 " 20 21 22 23 " 25 26 21 " 29 30 AppendIX 1.1 a Packet Pg. 138 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d May 2000 I . Assessment I Palo Alto & Stanford University Performing Arts Center Pro Forma Utilization Concert Hall PageS 5 • 2 l , I. 16 17 2l 24 30 .... -I W I E • , , , II 12 Il .. .. 19 20 21 2S ,. 27 28 "" "'" 5 S • I W I • 5 I I 2 l • , , • , • • I • II " Il IS .. IS I' 17 II .. 20 2l 21 2l 2l 24 2S ,. 27 ,. 211 ,. 30 1I ....l! -.l. 1.1 a Packet Pg. 139 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d June 2000- July 2000 Utilization Assessment Palo Alto &. S\.. .. QI'd University Performing Arts Center Pro Forma UtIlization Concert Hall Page 9 5 • I • S • 11 12 " " 19 ., 25 26 21 iii: "'"'''''' "' I E 5 1 2 , 7 • • 10 14 15 " 17 21 22 " " '" 29 '" ..,,.., S • I "' I • S 1 2 , • s • 7 • • 10 11 12 " 14 15 " 17 III 19 ., 21 22 23 ,. 25 26 21 .. " '" )1 ~ ~ 1.1 a Packet Pg. 140 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d July 2000- August 2000 SUnd M.rda Ju 1 1 1 2 2 ] MusIc: SooImer <Oms UtillzatlOfl Assessment TUesda Palo Alto & Stanford University Performing Arts Center 11 1 2 Pro Forma Utilization Concert Hall Wed 1 1 2 Musk: 5ummef MusIc: SUmmer .. ms Page 10 ,.., 2000 s • I .. , 1 • 5 , I. 11 " " " " " 23 ,. " ,. JO 11 Th .ams """"_ I E S 5 • I .. 1 , 5 , , , • 5 • , • • , • • ,. 11 U U 14 " U 14 15 " " " " ,. 21 22 ,. Zl " 23 " " ,. Z> ,. " Z> ,. " JO 11 "'" SoW 1 1 1 2 2 2 2 , 1 1 Appendix 1.1 a Packet Pg. 141 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d August 2000 - September 2000 Utilization Assessment Palo Alto & St.. ... oJrd University Performing Arts Center Pro Forma Utilization Concert Hall Page 11 5 • • , l] 14 20 Zl " 28 Aug,."""" I "' I E 1 Z ] 4 • • 10 11 IS ,. 17 II " 23 24 " " ]Q ]I _- 5 5 • I '" I , 5 , 1 , 12 ] 4 , • , • • 19 10 11 12 l] I. IS 16 ,. 17 18 19 ,. Zl " " 24 Z5 " " " " ]Q AppendiX 1.1 a Packet Pg. 142 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d September 1999 Suncla Monda "" 3 1 1 New Student Orlentatlon 2 2 .. UtiilzatiOn Assessment Palo Alto & Stanford University Performing Arts Center 31 1 2 2 Pro Forma Utilization Music Theatre """" 1 1 2 SF Page 1 -"" 5 • X .. I 1 2 l • 5 8 , 10 11 12 15 16 11 18 " 22 2l ,. 25 26 29 30 II 1 2 3 _1'" , S 5 • I ,. I I 5 • 1 1 2 • II " 5 • 1 • • I. 11 20 21 12 13 " 15 16 11 18 21 ,. 19 ., 21 22 2l " 2S " 21 28 29 30 1 1 1 1 New Student OrIentatIon 2 OdDbe, Arts AppendIx 1.2 a Packet Pg. 143 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d October 1999 5u>da 0ctDber S kers Bureau , 1 1 1 2 2 3 .,.,.",..,. Utilization Assessment Palo Alto & SI-.. Ilf'd University Performing Arts Center 1 1 Pro Forma Utilization Music Theatre W 1 Arts ., 2 Arts Page 2 --_. 5 " , • 10 11 17 18 ,.. 25 J1 ... SFS """""'999 HlMmt.l999 , .. , E 5 5 " , '" , E 5 , , , , , • 5 • 5 • 7 • • 7 • • 10 11 12 13 12 13 ,. 15 16 ,. 15 16 17 18 19 2J) 19 20 21 " " 21 " " 24 '" '" 17 '" 17 '" " JO '" " JO 1 1 1 ,....., -2 f--- AppendiX 1.2 a Packet Pg. 144 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d November 1999 - December 1999 I II UtIlIZation Assessment Palo Alto & Stanford University Performing Arts Center Pro Forma Utilization Music Theatre , Page 3 s 7 14 21 211 -,,,, • I .. I , 2 , 4 • • 10 11 15 " 17 18 22 13 '" 25 ,. 3D -,,,, E S 5 " I '" I , 5 5 • , 2 , • 12 IJ 5 • 7 • • 10 11 19 20 12 " 14 15 " 17 11 " 27 19 20 21 22 13 '" 25 26 27 ,. " " " AppendIx 1.2 a Packet Pg. 145 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d December 1999 - January 2000 December 1 1 1 Coownun; """ 2 2 I UtJllzation Assessment TUesd Palo Alto & S..... ord UniVersity Performing Arts Center 1 21 I Pro Forma Utilization Music Theatre W .. 1 1 Page 4 Arts Dea!mber 1999 5 • , '" , 1 2 , • 7 • • 12 " ,. 1S 16 19 ,. 21 22 2J 26 11 28 ,. .. ."..,., 1 I lI11U1ry 2000 E 5 5 • I '" I , 5 , • 1 10 11 2 , • , • 7 • 17 ,. • , . 11 12 13 ,. 15 ,. " 16 17 10 19 ,. 21 22 " 23 ,. 2S 26 " 28 ,. .. " ..., 1 1 mmun Hd .. ms 2 0._ 3 New Years ~ I I I AppendiX 1.2 a Packet Pg. 146 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d January 2000 - February 2000 .. Utihzatloo Assessment Palo Alto & Stanford University Performing Arts Center g Pro Forma Utilization Music Theatre PageS 5 2 • 16 " ,. lInuiry 2000 • I .. I , , • , • , I • II 12 " 14 17 18 19 20 21 " 25 26 27 21 " _- 5 5 • I .. I , 5 I I 2 , • , • • , • • I. II 12 " " .. " 16 17 .. 19 22 20 'I 22 " " " " " 27 28 .. AppendIx 1.2 a Packet Pg. 147 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d February 2000 - March 2000 ....... 2 2 SF 2 Arts 1 1 1 .. Utihzation Assessment T m ........... Palo Alto &.!>, .• ord University Performing Arts center 2 1 2 Pro Forma utilization Music Theatre W 2 """" Arts 1 Page 6 ..... ..... "'-s " I ,. I I , 3 , 7 • • ID 13 14 15 16 17 ,. 21 22 23 ,. 27 .. 29 Th ..... 2 "'" 1 Sf 2 "''''' 2000 E S 5 " I ,. I , 5 • 5 I , 3 • II 12 5 , 7 • • ID II " " 12 13 14 15 16 17 " 25 " " ., 21 22 23 ,. 25 " "0 .. 29 30 31 F 2 2 Parents Weekend ..... 1 1 1 1 2 Appendix 1.2 a Packet Pg. 148 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d April 2000 t Ma<dl2 2 Spring Break .... I SF I I 2 2 lIYe Arts SF h .. U~hzatlon Assessment Palo Alto & Stanford University Performing Arts Center 2 I I 2 Pro Forma Utilization Music Theatre Arts I I 2 Page 7 S ~ , • 12 13 19 '" .. Z7 --I ,. I 1 2 , • , 1< 15 16 21 Xl " .. " " I 2 2 "" 2000 E S S ~ I .. I , 5 , • 1 10 11 2 , • , • , • " 18 , 10 11 12 13 I. 15 " 2S 16 " 18 19 20 21 Xl 31 2l 24 25 ,. " 21 29 30 31 lIYe .... I I _w_ 2 LiVe Arts 2 Appendix 1.2 a Packet Pg. 149 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d May 2000 I Utihzation Assessment Palo Alto & St... "Jrd University Performing Arts center Pro Forma Utilization Music Theatre PageS s • 2 l • 10 " 17 2l 24 JO .... -I ,. I , • , • 7 11 12 1l " 18 19 20 21 2S " 27 28 ...,""" S S " I ,. I , S 1 1 2 l • , • • 7 • • 10 11 12 1l " ,. " " 17 18 ,. 20 22 21 22 2l 24 2S ,. 27 29 28 29 30 11 Appendix 1.2 a Packet Pg. 150 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d June 2000- July 2000 Utilization Assessment Palo Alto & Stanford University Performing Arts Center Pro Forma Utilization Music Theatre Page 9 5 • 4 5 11 12 18 " " ,. --I " I E 1 2 • 7 8 , 1) .. 15 " 20 21 22 23 D ,. " 10 .... -5 5 • I III I E 5 , 1 10 , 1 • 5 • 7 8 17 , 10 11 12 1) .. 15 24 " 17 18 " 20 21 22 23 24 .. " l7 .. " 10 11 1.2 a Packet Pg. 151 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d July 2000- August 2000 Utilizatfon Assessment Palo Alto & s\.. . ,mj University Performing Arts Center Pro Forma Utilization Music Theatre Page 10 5 • , , • 10 16 11 " .. 30 11 July 2000 I W I E • 5 • 1 11 12 U " ,. 19 ,. 21 " 26 21 '" -"'" 5 5 • I W I • 5 1 1 , , • 5 • • 1 • • 10 11 12 15 U " 15 " 11 ,. 19 " ,. " " " .. " ,. ,. " '" ,. .. 31 , 1.: a Packet Pg. 152 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d August 2000 - September 2000 " .. Utihzation Assessment Palo Alto & Stanford University Performing Arts Center Pro Forma Utilization Music Theatre Page 11 5 6 " ,. Z7 --• I '" I 1 2 , 7 8 , 10 .. 15 16 17 21 22 " " 28 " 30 " _- E 5 5 • I '" I E 5 , 5 I 2 II 12 , , 5 6 7 8 , 18 " 10 II 12 " .. 15 16 25 26 17 18 " 20 21 22 " 24 25 26 27 28 " 30 AppendIX 1.2 a Packet Pg. 153 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d IMPLEMENTATION GENERAL The purpose of this study is to verify a program of spaces responding to needs and function while determining the economic feasibility of the operation and management of the recommended facilities. The recommendations are meant to provide the stakeholders and the decision makers from both the City of Palo Alto and Stanford University with enough critical information so that they can determine a plan of action or not. The plan of action for a project such as this usually follows a process of evaluation, commitment, initial funding. architect selection, design, funding, management structure, contracting, construction, commissioning and finally opening. That represents a period of time that would typically extend for five years for a project such as is being recommended. Considering the aggressive nature of this study and the clarity of the tri-part siting and management scenario of the Initiative we recommend a process that has an initial phase prior to a conventional project approach. This is described as a pre-architectural development phase. Following this a normal course of project development can begin. PRE-ARCHITECTURAL DEVELOPMENT This study constitutes a worl<ing document that is considered a DRAFT. The purpose of this being a worl<ing document is established by the need to go through a "pre-architectural" development phase that detemnines the validity of the findings and their appropriateness with regard to the intent ofthe City and the University. This must be done at a higher level than the study participants. We see this first phase as having three parts. • The evaluation of The Study and coming to a level of acceptance of the recommendations. This would be an approximate two to three month period • The creative dialog necessary between the City and the University to determine the structure of the recommended, or amended, Initiative. • The detemnination of a course of action, whether a cohesive full project approach, a phased approach or an amended approach. ARCHITECTURAL DEVELOPMENT AND CONSTRUCTION With the Initiative defined and in place, the next step is to proceed with a design and construction process along with the fund raising effort. If it is determined that there will be individual physical parts of the project, the process for putting a design team together may follow different methods for the City and for the University. For instance, should the University wish to have an invited competition for the Stanford Perfomning Arts Center and a different design team selected by an interview process for the Drama / Dance Center and the City wish to pursue a proscribed RFQ RFP public process, the schedules may be totally different. The appropriate process would be part of the latter part of the Pre-Architectural Development phase. IMPLEMENTATION Page I a Packet Pg. 154 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) The first part of this phase would be the revisiting of the Study to make whatever adjustments required as a result of the Pre-Architectural process described above. The Study Team should be re-engaged to follow through on their previous work. The consulting team would be available to assist in the Architect selection processes. It is recommended that the Theatrical Consultant, the Acoustics Consultant and the Cost Consultant be hired directly by the owner prior to the selection of the Architect. This has become a common and proven practice. The Arts Management Consultant should also be considered as part of the owner's team on a different time line and scope of work from the design team. Construction management finms may be considered as part of the contracting scenario for the project. In tenms of Stanford this may be a nonmal in-house practice and works well. However, it has been the experience of the Theatre Consultant that commercial construction management finms in addition to a general contractor vary in their value to the project. In many cases they are a broker for paperwork with no project liability and add a considerable cost to the project in fees and expenses that often exceeds that of the design fees. In some cases where the technical designs are highly sophisticated, their lack of expertise become a hindrance while trying to short cut the designs by the consultants. The value of engaging a General Contractor on a consulting basis early in the process can not be underestimated. The practical guidance and understanding of local means and methods to the design team would be invaluable. Once in place a typically aggressive project schedule may be as follows: Refine program & initial funding for design 3 months Architect selection 4 months Design 24 months Construction 30 months Commissioning -opening 3 months Assuming this process begins in January 200 I, the potential opening of the project would be in Spring of 2006. IMPLEMENTATION Page 2 a Packet Pg. 155 At t a c h m e n t : A t t a c h m e n t A : F e a s i b i l i t y S t u d y T h e a t e r J u n e 2 0 0 0 ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p ) ElCaminoPark ElCaminoPark Lot A LotD LotGLotH LotF ParkingLotN Lot O LotP LotQ LotR HighStreet Pkg Garage LotT LotC LotK Co gswe ll Plaza Lot B LotK LotE Lytton Plaza Underground ParkingGarage StanfordShoppingCenter ElPaloAltoPark CivicCenter Plaza Bryant/Lytton Parking Garage Parking TractNo.5447 Wh o l e Pa Wh o l e F o o d s Ma r k e t ElPaloAltoPark Timoth PAMF CLARK BUILDING PAMF PARKING STRUCTURE CVSPharmacyUnionBank Miyake E-Trade StanfordBooks Arboretum Road QuarryRoad Homer Avenue Lane8West Me d i calFou n dation Way Lan e7WestLane 7East ElCaminoRea UrbanLa W ellsAvenue ForestAvenue HighStreet Eme Channing AlmaStreet PaloAltoA El Camino Real venue Mitchell La ne HawthorneAvenue EverettAvenue LyttonAvenue Lane15E HighStreet AlmaStreet BryantStreet Lane6ELane11WLane21 HighStreet GilmanStree HamiltonAvenue Univ BryantCourt Lane30 FlorenceStreet Cow eet RamonaStreet PaulsenLn Lane15E Lan e 20 W Lane20E UniversityAvenue EmersonStreet WaverleyStreet KiplingStreet Orchard LaneSand Hill Road SandHillRoad BryantStreet RamonaStreet PaloRoad ShoppingCenterWay Shopping Center Way ShoppingCenterWay LondonPlaneWay Plu m L a n e SweetOliveWay PearLane Lane12W Lane5E PistachePlace EverettAvenue EmersonStreet PalmDrive AlmaStreet Hawthorn Lytton Avenue This m a p i s a p r o d u c t o f the C i t y o f P a l o A l t o G I S This d o c u m e n t i s a g r a p h i c r e p r e s e n t a t i o n o n l y o f b e s t a v a i l a b l e s o u r c e s . Le g e n d Cit y J u r i s d i c t i o n a l L i m i t s 0' 1 5 0 ' 300' Downtown/El Camino Park Area Map with 2006 Aerial Photos CITYOFPALOALTO INCORPORATED CALIFORNIA P a l o A l t o T h e C i t y o f APRIL 16 1894 The C i t y o f P a l o A l t o a s s u m e s n o r e s p o n s i b i l i t y f o r a n y e r r o r s . © 1 9 8 9 t o 2 0 1 2 C i t y o f P a l o A l t o rrive r a , 2 0 1 2 - 0 4 - 1 8 1 4 : 1 6 : 0 7 Dow n t o w n E l C a m i n o P a r k A i r ( \ \ c c - m a p s \ g i s $ \ g i s \ a d m i n \ P e r s o n a l \ r r i v e r a . m d b ) b Packet Pg. 156 At t a c h m e n t : A t t a c h m e n t B : 2 0 0 6 A e r i a l S i t e M a p ( 2 8 0 5 : T h e a t e r F e a s i b i l i t y S t u d y a n d A e r i a l S i t e M a p )