©2011 IU Health 01/11 HY19711_3398

It’s a new day in Indiana’ s health. Let’s start strong.

©2011 IU Health 01/11 HY19711_339810.375” x 1.25” StripBuilt at size (100%)

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Photo by CW Photography

The CenTer for The Performing ArTs

SPeCial edition PreSented by indiana UniverSity HealtH

2

January 25, 2011

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

My colleagues and I share the community’s excitement about this magnificent facility and its potential to bring stellar performances

to the residents of central Indiana and beyond. This is truly a new beginning for the performing arts in our community, and we’re

proud to be a part of the celebration.

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

Our new name recognizes our unique partnership with one of the nation’s largest medical schools – Indiana University School of

Medicine. This distinction is meaningful, offering our patients in Hamilton County access to highly skilled physicians, the most

innovative treatments and the latest medical technology. For our area’s youngest residents, Riley Hospital for Children at Indiana

University Health will continue to provide nationally recognized pediatric programs at what is now called Riley Hospital for Children

at IU Health North Hospital.

We not only have a new sign out front, but a renewed commitment to provide the preeminent care and medical expertise patients

have come to know and expect from our hospital since it opened in 2005. United with more than 20 hospitals across Indiana under

one strong Indiana University Health identity, we also add to that pledge an assurance that patients are making the right choice

for their healthcare. As evidence, IU Health, one of the nation’s leading health systems, has been named among “America’s Best

Hospitals” by U.S.News & World Report for five consecutive years.

The associates at IU Health North Hospital – doctors, nurses, other medical professionals, volunteers and administrators – strive to

do what it takes every day to ensure healthier lives and a healthier future for those we serve in Carmel and Hamilton County.

Best wishes in 2011,

©2011 IU Health 01/11 HY20811_339810.375” x 11” Front StripBuilt at size (100%)

Jonathan R. Goble, FACHE

President & CEO

Indiana University Health North Hospital

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LeTTer from The eDiTor

By Michael Feinstein Artistic Director

What a wonderful opportunity we have here in Cen-tral Indiana to do something for people’s spirits, not just in Indiana, not just in the Midwest, but every-where in America.

You see, I believe art and music is exactly what we need in our lives right now. We need to be balanced and in harmony. Our hearts need to be nourished, just as much as our stomachs and our pocketbooks. And that’s why it’s so important that the arts are be-ing developed as an integral part of our lives.

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

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

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

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

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

I’ll see you in the Palladium.

AmeriCA’s musiC in The heArTLAnD

By Jim Brainard Carmel Mayor

January 29 represents a monumental event in Carmel’s history as well as the entire Central Indiana region. On this day, the Palladium at the Center for the Performing Arts will celebrate its grand opening and the beginning of a cultural legacy right here in Carmel. It is a dream that has become a reality and the most important thing about it, is that this is a shared dream, the dream of a community.

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

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

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

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

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

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

finDing A CreATive heArT for our CiTy

Feinstein

Brainard

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

The Palladium’s promise of regional appeal is balanced with the fact that this great

Concert Hall will be local, as a home for our arts organiza-tions, a place for music focused on cultural education, and a place where residents can see the benefit of the culture and commerce it will bring to our city.

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

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

- Margaret Sutherlin

now is The Time

Photo by Kelsey Floyd

4WHat’S in a name

The PALLADium

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

Palladio was born in Italy in 1508. In 1521 he was apprenticed to be a stonecutter for 6 years but after 3 broke the contract to move to Vicenza. Immediately following this he was admitted into the guild of ma-sons and stonecutters. It was then he started a recon-struction of the Villa Cricoli near Vicenza, and took an interest in Greek and Roman art and architecture. A Renaissance architect, Palladio was fascinated with systems and rules in design, not just aesthetically, but also for construction. It was his rules of symmetry, paying close attention to shape and proportion that helped establish his designs as lasting.

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

-Kelsey Floyd

Photography serves a practical function in construction. Documenting progress and details, it allows project manag-ers and workers to keep an eye on their work.

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

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

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

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

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

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

ArTisT behinD The CAmerA

Villa Rotonda

Palladio

Adams

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

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

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

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

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

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

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

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

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

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

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

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

-Kevin Kane

CreATing An iDenTiTytHe PalladiUm iS, and WaS bUilt to be, Carmel’S SignatUre bUilding

5

inDiAnA mADe, inDiAnA mATeriAL

Craftsman cutting limestone to be used on the Palladium

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

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

“Indiana limestone is known as one of the

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

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

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

CreATing The PALLADium

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

Doug Adams Photography

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

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

In May 2010, work-ers installed floor to ceiling scaf-folding in the hall to finish painting, design work, plaster work and finish-ing touches before the January 2011 deadline.

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

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

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

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

October 2008, the skeleton of the Palladium starts tak-ing shape with steel and concrete.

6

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

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

Palladium architect David Schwarz said the reason for using paint as creatively and as it was, had to do with the design aesthetic of the space, but also to maintain the budget. Italian stone chosen for the lobby floors, and even carpet-ing on the upper floors, has each of the colors in it, further enhancing the wall colors and designs in the space.

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

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

insiDe AnD ouTClaSSiCal inFlUenCeS

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

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

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

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

-Ellen Funke

eLegAnT wALLs

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

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

-Kelsey Floyd

roberT ADAm: The PALLADium’s inTerior Design

Color

Aerial view motif

Knabe

Knabe’s design

Adam

Photo by CW Photography

7nAvigATing The

LogisTiCs of Design, ConsTruCTion

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

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

The interesting thing about the Palladium is that it is truly a four-sided building and all the sides are fronts of some sort. We had to find a design so-lution that recognized every façade was a major façade. I think that the Villa Rotonda by Palladio is probably one of the best examples of that in the world of this, and was a logical place to look. And it is also one of my favorite buildings in the world.

When designing the Palladium, what were design elements you looked at in the community?

We looked carefully at Carmel itself and looked at the urban plan. We wanted to be quite sure that what we did was just to reinforce all the wonderful work that had been done in trying to make a different kind of suburb than the ones that were usually made.

We are highly contextual architects. We felt that it was important that his building be a true landmark though, and not look like all the rest of the buildings in Carmel, so it would have a greater sense of importance. So we tried to do something that reinforced all the work that had come before us, but added to the complexity and interest in the visual language of Carmel.

The interior design of the Palladium is very particular. Why were certain elements chosen and why did you choose Robert Adams as the inspiration?

The budget was ample, but tight and we concluded that in order to get the level of detail and ornament we wanted, the only mate-rial we could really afford was paint, and the Adams brothers were amongst the best users of paint, so we looked to them. We have a lot of experience with concert halls and we used most of those colors before, but just not together, in other halls we’d

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

What was particularly challenging in the interior design and exterior architecture of the build-ing?

We spent an enormous amount of attention in detail and I think we really believe one of the things that really provide the richness is to provide a great many things for people to notice

as they use and experience the building. We wanted a building to unfold for the user over time. We want there to be more and more for people to notice when they come into the building.

I think what we really wanted to do was take a very rigor-ous attitude about the architecture. Most of our building there is more ability to play with the design, but in order for this one to be a success we had a set of very, very strict rules.

One of the most difficult things about the building was the functional requirements and in this particular design. Concert halls are really a question of getting all the de-sign and needs to fit: how can you fit two pounds of stuff in a one pound sack?

What for you was the most rewarding part of the experi-ence?

I think one of the things that challenges, but also is very rewarding about my projects, is to be able to spend time in the community and get to know people in the community and build something for the people in that community that hopefully they will love and treasure for a long, long time and make a really positive addition to that community. I’m incredibly fortunate to get to know some of the most marvelous people in the course of my

job, and one of the saddest things for me is that once our buildings are fin-ished those people tend to slip from my life and we tend to move onto the next project. I think though to become really intertwined in a community, get to know the people and the forces that make it work, and leave something behind that the city can love is a special and unique oppor-tunity, and I am very fortunate in that regard.

- Margaret Sutherlin

Schwarz

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

From construc-tion workers and craftsman, to ARTEC acousti-cian consultants, to Shiel Sexton Construction, it was CSO Archi-tects Inc who helped to keep the integrity of the design, navigate cost, find creative solutions and help lead the way to the final product at the Palladium.

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

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

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

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

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

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

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

hArmonies in sounD AnD Design

Mayor Brainard and David Schwarz introduce Schwarz’s Notre Dame architecture students to the design of the Palladium

Grand staircase

IU Health Methodist Hospital | Riley Hospital for Children at IU Health | IU Health University Hospital | IU Health Arnett Hospital IU Health Goshen Hospital | IU Health La Porte Hospital | IU Health North Hospital

IU Health Ball Memorial Hospital | IU Health Bedford Hospital | IU Health Blackford Hospital | IU Health Bloomington HospitalIU Health Paoli Hospital | IU Health Starke Hospital | IU Health Tipton Hospital | IU Health West Hospital

©2011 IU Health 01/11 HY19511_3398

2010 U.S.News & World Report rankings

Introducing Indiana University Health. A nationally recognized healthcare system united in one goal: to assure our patients that they are receiving the best care in the state.We’re doctors, nurses, receptionists and lab techs, working together under a powerful new name: Indiana University Health.We have the most comprehensive team of primary care and specialty physicians in the state. Our skilled physicians achieve a remarkable standard of excellence day after day. And our partnership with the IU School of Medicine brings you the latest innovations and more treatment options. There’s strength in knowing that a higher level of care is in your neighborhood.

Together, we have the strength it takes.

Discover the strength at iuhealth.org

©2011 IU Health 01/11 HY19511_339821.75 x 11.75 SpreadBuilt at size (100%)

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IU Health Methodist Hospital | Riley Hospital for Children at IU Health | IU Health University Hospital | IU Health Arnett Hospital IU Health Goshen Hospital | IU Health La Porte Hospital | IU Health North Hospital

IU Health Ball Memorial Hospital | IU Health Bedford Hospital | IU Health Blackford Hospital | IU Health Bloomington HospitalIU Health Paoli Hospital | IU Health Starke Hospital | IU Health Tipton Hospital | IU Health West Hospital

©2011 IU Health 01/11 HY19511_3398

2010 U.S.News & World Report rankings

Introducing Indiana University Health. A nationally recognized healthcare system united in one goal: to assure our patients that they are receiving the best care in the state.We’re doctors, nurses, receptionists and lab techs, working together under a powerful new name: Indiana University Health.We have the most comprehensive team of primary care and specialty physicians in the state. Our skilled physicians achieve a remarkable standard of excellence day after day. And our partnership with the IU School of Medicine brings you the latest innovations and more treatment options. There’s strength in knowing that a higher level of care is in your neighborhood.

Together, we have the strength it takes.

Discover the strength at iuhealth.org

©2011 IU Health 01/11 HY19511_339821.75 x 11.75 SpreadBuilt at size (100%)

19511_3398_21.75x11.75_Spread_North_V2.indd 1 1/18/11 10:07 AM

10

1,600 seats in the concert hall

126 million dollars is the total, final cost, of the Palladium

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

2 1/2 inch thick plaster makes up the interior walls of the concert hall, not drywall

1 1/2 inches thick Brazilian Cherry wood was used for the stage floor

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

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

7 exterior terraces on each side of the building

32 staircases, including 2 grand staircases

24 restrooms throughout the Palladium

28 primary contractors from 6 central

Indiana cities, 5 states, and 2 countries helped on the project

10 specialty consultants and contactors were consulted for the project

300,000 plus man-hours spent on construction

6,750 cubic yards of concrete were used in the construction process

6,000 pieces of steel for the construction of the Palladium

275 truckloads of steel to the construction site

15,000 pieces ( 35,000 cubic yards ) of Indiana limestone to cover the exterior

8,500 square feet of Italian stone pavers make up each lobby

100,000 pounds of heating and cooling ductwork

1,000,000 feet of power and lighting wire

10,000 feet of piping for all plumbing

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

The PALLADiumby tHe nUmberS

The Palladium is a big structure. It’s natural that audience mem-bers won’t see all of the small features which bring life to the hall. Those that they don’t see, however, they will most certainly hear.

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

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

- Jordan Fischer

form meeTs funCTion:

HoW aCoUStiCS and deSign Created tHe PalladiUm

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

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

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

Returning to the Palladium’s seats, observant audience members will notice cylindrical grates at the base of each chair. These grates allow a very small amount of air, 20 cubic feet per minute (roughly the output of a mid-sized air compressor), to flow naturally into the concert hall. This bottom-up method of ventilation mirrors European concert-hall design, and allows for am-bient air to be pumped into the hall with fewer fans, which results in higher energy efficiency and lower noise pollution. Also designed to reduce outside noise are sound and light locks present on all entryways between the lobby and concert hall.

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

11

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

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

The Great American Songbook covers American music made roughly from the 1920s to 1960s, though the era is flexible. What some now think of as old standards, once were the lively, popular music played across America. Singers like Ella Fitzgerald, Rosemary Clooney, Frank Sinatra and Bing Crosby, as well as composers like Frank Loesser, the Ira and George Gershwin, and Irving Berlin are typically associated with the Songbook. Jazz, swing

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

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

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

PreServing ameriCan mUSiCal HeritageThe miChAeL feinsTein founDATion:

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

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

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

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

Photos by Kelsey Floyd

12

The sTuDio

The TArKingTon

The Center for the Performing Arts is not just the Palladium and not just about music, but about performance as a whole. In addition to the concert hall, two theaters, a large 500 seat proscenium theater and smaller 250 seat black box theater, will open in the spring and summer of 2011, making way for a variety of theatrical productions.

“The theaters are really unique spaces that had to be built for a variety of different purposes,” said President and Se-nior Principal Designer for Pedcor Design Group, Stephen Sturtz. “There are a lot of types of performances happening here, from plays and dances and such, and we really had to anticipate down the road what might be performed here. The one thing is that by having these spaces, different groups can come perform and it really expands the flexibility of the Performing Arts Center.”

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

While the Studio theater opens this spring, the 500 seat pro-scenium theater opens several months later in the summer. One of the most interesting aspects of the theaters according to Sturtz and Armstrong is that, like the Palladium, the acous-tics in the new theater will be tuned by ARTEC acousticians.

“I’ve so enjoyed getting to work with ARTEC,” said Sturtz. “Their experience is so broad and really it’s been an edu-cational experience for me during the process. It doesn’t happen often that you get to work with the caliber of these consultants.”

Because the Palladium is a concert hall designed specifically for music, its acoustic needs are a bit different, but neverthe-less, the Tarkington and Studio will also be tuned and tested for their acoustics. Architect and project manager Arm-strong said that the space was especially being paid attention to because of the electronic and amplification requirements. Carefully making sure there would be no electronic interfer-ence was key, as was as keeping outside noise and sounds out of the theater space.

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

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

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

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

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

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

tHe otHer HalF oF tHe Center For tHe PerForming artS

on sTAge

13

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

Associate Artistic Director Cynthia Collins says the move to the Center for the Performing Arts will be a big change for ATI, but the accomplishment of a long-term goal. “A permanent home in Carmel is what we have been working toward since we arrived here in 2005 from New York City. It means even more stability in a community where we have been very active despite not having a theatre facility in which to present our productions,” Collins said. “Every time I walk into the theatre, I can say that we have accom-plished a major goal and we are here to stay. Our patrons will be able to enjoy a lovely venue.”

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

-Ellen Funke

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

The Civic Theatre is the largest of over 70 Indiana com-munity theatres and enjoys its status as the longest contin-uously operating community theatre in the United States. The Civic Theatre will open its 2011-2012 season in the new, 500-seat state-of-the-art Tarkington Theatre located at the Center for the Performing Arts. The Civic Theatre will also have access to extensive rehearsal space, classrooms and the 200-seat Studio Theater that will allow the Civic Theatre to produce more intimate performances.

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

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

-Ellen Funke

CArmeL symPhony orChesTrA

booTh TArKingTon CiviC TheATre

ACTors TheATre of inDiAnA

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

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

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

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

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

-Kelsey Floyd

resiDenT ComPAnies in The CenTer for The Performing ArTs

Carmel Symphony Orchestra conductor David Bowden

Executive Directors Judy Fitzgerald, Don Farrell, Cynthia Collins

14

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

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

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

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

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

-Kelsey Floyd

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

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

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

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

And while the challenge to produce even more ex-traordinary and elaborate productions is a great one,

it is one Creviston is certain the Carmel Repertory Theatre is ready for. Being able to grow into their new location and also have the added benefit of a space that allows them more freedom is something the company is looking forward to.

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

-Kelsey Floyd

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

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

a part of the community.

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

sized dance space with state of the art backstage and front of house support.  The design of the theatre will allow for a more intimate performance experience for our audiences and will allow our audi-ences to grow with increased exposure in Carmel and Hamilton County.”

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

-Ellen Funke

The Indiana Wind Symphony is one of Indiana’s premiere adult concert bands. Since its founding in 1997, the IWS has performed the full spectrum of music for wind ensemble, ranging from traditional concert band fare, to symphonic tran-scriptions, to the music of contemporary composers.

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

“This will be the most noticeable differ-ence for our audience - they now know where we are going to be performing, and the Palladium box office will give a consistent location for ticket purchases. The Palladium will be a wonderful facil-ity, both in which to attend a concert as an audience member and as a concert venue.  The acoustics are marvelous, and we will know what to expect from per-formance to performance.” Conrad said. Losing the carefully planned details of re-

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

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

-Ellen Funke

The CenTrAL inDiAnA DAnCe ensembLe

gregory hAnCoCK DAnCe TheATre

inDiAnA winD symPhonyCArmeL rePerTory TheATre

resiDenT ComPAnies in The CenTer for The Performing ArTs

COMMUNITY DAYSATURDAY, JANUARY 221– 6 pm Join us for “Take Center Stage” featuring local music and dance groups performing live from the Palladium stage.

SPONSORED BY

OPEN HOUSESUNDAY, JANUARY 2311 am – 6 pm It’s a fun-filled day of free events including performances by the Gregory Hancock Dance Theatre, the New World Youth Orchestra, the CSO String Quartet, Indiana University Jazz Group and Purdue University Glee Club. Don’t forget to take a free tour of the Palladium too!

GRAND OPENING GALASATURDAY, JANUARY 295 pm – 2 am Featuring a concert starring Michael Feinstein, Dionne Warwick, Chris Botti, Neil Sedaka, Cheyenne Jackson and the CSO, plus an elegant dinner and late night party in which we transform the Palladium into a pulsating night club with live jazz, cabaret and even karaoke.

SPONSORED BY

INAUGURAL CONCERTSUNDAY, JANUARY 303 pm Buy your tickets now to the stunning first concert of the Palladium’s season! Featuring leading-edge chamber music artists including the Chamber Music Society of Lincoln Center, the Miró Quartet and Lynn Harrell.

A LANDMARKFOR LISTENING.A GIFT FOR THE COMMUNITY.Celebrate Grand Opening Week at the Palladium January 22-30, 2011

It’s only January, but this is the event of the year! Join us for a fun, festive weeklong celebration as we raise the curtain on our inaugural season at the Palladium and an exciting new era for the arts in Indiana.

Go to TheCenterForThePerformingArts.org or call 317.843.3800 for details.

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