Exhibit 3: RFP Submittal - Part 1 — Alameda City Council, December 5, 2023

Request for Qualifications
Alameda Point | Site A | Blocks 12 & 13
August 7, 2023
Exhibit 3
1 Dear Mr. Watson and the City of Alameda,
Radium and our entire team are thrilled to submit our proposal for the establishment of a state-of-the- art performance venue in the heart of Alameda Point. As a non-profit organization deeply committed to promoting the transformative power of art to build community, inspire compassion, and create uplifting social change, we are excited to partner with the City of Alameda to bring this ambitious vision to life.

Our proposed Performing Arts Center at Alameda Point (“The Center”), is not merely a space; it is a dynamic cultural hub that seeks to elevate the arts to new heights and, in turn, elevate the City of Alameda and its vibrant community. We firmly believe that art has the capacity to transcend boundaries, ignite imaginations, and bridge divides. This belief has been the driving force behind our mission, and it is with unwavering passion and dedication that we present this proposal.

Our Goals:

Cultural Enrichment: We aspire to provide a platform for artistic expression, cultural exchange, and creative exploration. By hosting a variety of performances, exhibitions, and events, our performance venue will celebrate the rich diversity of art forms, including music, dance, theater, visual arts, and more. The Center will be an inclusive space that welcomes artists from various backgrounds and disciplines, fostering an environment that reflects the vibrant tapestry of the City of Alameda.

Foster Community Engagement: The Center will be a gathering place for residents, visitors, and artists, serving as a catalyst for community engagement and interaction. Through curated programs and outreach initiatives, we will actively involve local schools, community organizations, and residents, providing educational opportunities, workshops, and performances that inspire creativity, empathy, and cultural understanding. We believe that by actively involving the community, we can create a sense of ownership and pride in the venue, establishing it as a central hub for civic and cultural activities.

Promote Social Change: We firmly believe in the transformative power of art to create positive social change. Our project seeks to showcase performances and exhibitions that challenge societal norms, spark conversations, and inspire audiences to think critically about important issues. By promoting uplifting messages, empathy, and compassion through artistic expressions, we aim to contribute to the growth of a more inclusive and equitable society.

Stimulate Economic Growth: Our proposed performance venue is not only a cultural asset but also a driver of economic growth. We anticipate that by attracting local and international artists, as well as visitors from neighboring communities, Radium will generate increased tourism, stimulate local businesses, and contribute to the overall economic vitality of the City of Alameda. By collaborating with local businesses and organizations, we will strive to create partnerships that support the local economy and foster sustainable development.

Provide a State-of-the-Art Facility: The Center will be a world-class performance venue that meets the highest standards in terms of design, acoustics, technology, and sustainability. We will prioritize the incorporation of environmentally friendly practices, utilizing energy-efficient systems, and sustainable materials wherever possible. Our goal is to create an iconic architectural landmark that not only enhances the cityscape but also reflects the City of Alameda’s commitment to environmental responsibility.

In summary, our proposal seeks to establish a performance venue that serves as a beacon of artistic excellence, community engagement, and social impact. We are dedicated to working closely with the City of Alameda to bring this vision to life and create a legacy that resonates with residents, visitors, and artists for generations to come.

Sincerely,
August 7, 2023
RFQ for Alameda
Point | Site A | Blocks
12 & 13

Mr. Scott Watson
Base Reuse Manager
City of Alameda
950 West Mall Square
Room 205
Alameda, CA 94501
Christopher Seiwald
Board President, Radium

2 Radium Presents (originally incorporated as the Little Opera House, Inc.) and our team are excited to present our proposal for the Performing Arts Center at Alameda Point (“The Center”), a dynamic performance venue with a transformative vision for the City of Alameda.

PROPOSED USE
Radium Presents (originally incorporated as the Little Opera House, Inc.) and our team are excited to present our proposal for the Performing Arts Center at Alameda Point (“The Center”), a dynamic performance venue with a transformative vision for the City of Alameda. Our goal is to create a cultural hub that not only elevates the arts to new heights but also fosters community engagement and social impact. The Center will serve as a platform for diverse artistic expression, including music, dance, theater, visual arts, and more, celebrating the rich tapestry of creativity in our city.

Through curated programs and outreach initiatives, we aim to actively involve local schools, community organizations, and residents, inspiring creativity, empathy, and cultural understanding. We believe that art has the power to challenge societal norms and create positive change, and we will showcase performances and exhibitions that promote uplifting messages and critical thinking.

Moreover, by attracting both local and international artists and visitors, we anticipate a significant economic boost to the city, contributing to its overall vitality. We are committed to building a world-class facility that reflects environmental responsibility, incorporating sustainable practices and cutting-edge design. With strong dedication and collaboration with the City of Alameda, The Center will become an iconic landmark, leaving a legacy that resonates with generations to come.

Outreach and Market Analysis
Our process for developing the preliminary program for the Radium Arts Center was rooted in community outreach,
market analysis and the extensive experience of our team of seasoned professionals.

Market analysis and community outreach was conducted
by AMS Research and included meetings with prospective
users including Axis Dance, West Edge Opera Company,
Alameda Civic Ballet, Rhythmix Cultural Works, Alameda
Ballet Academy, Tomorrow Youth Repertory, and the Bay
Area Music Project and others, who have expressed the
need for affordable rehearsal and performance spaces
in Alameda. These meetings created opportunities to
understand the unique needs of the Alameda community
and build partnerships with local arts organizations. By actively involving these organizations in the planning
process, we have ensured that their voices and expertise inform our proposal.

The Shalleck Collective, experts in the planning and design of performing arts theatres, was hired to consult on the facility design, architecture, and engineering as part of this effort. Their recommended building program for The Center is based on the needs assessment, market analysis, survey results and other feasibility study data that were developed through our community outreach and market analysis
process. Please see Appendix 4: Outreach and Market
Analysis for a more thorough review of this process.

3 Preliminary Program
Drawing upon the extensive analysis and outreach detailed above, the Radium team has crafted the following preliminary program for The Center.

Outdoor Public Plaza
Situated facing Pan Am Way, the Outdoor Public Plaza serves as a welcoming and versatile space at the front of the building. Spanning 24,000 square feet, the plaza artfully blends hardscape and landscape, providing a seamless extension of the Waterfront Plaza to the south. With the new arts center offering protection from the western winds, this outdoor environment becomes an inviting area for arrival and gatherings. It can function as an extension of activities within the building or operate independently, complementing the events held within the Arts Center.

PROPOSED USE CONTINUED

SITE PLAN

4 Organization of the Center
The Center is planned with a Main Theater at the heart of the building flanked by support and amenity spaces on either side. A lobby on the eastern side of the building opens to the Outdoor Plaza and extends the full width of the building with entries also facing the Waterfront Park and the Naval Air Museum. Audience and community arrivals are welcomed into the building from all sides to create a true gathering space for the community.

The lobby is a two story tall space that provides for seamless connection among all levels of the building. Filled with natural light it is a bright, active space.

On the second floor the upper lobby overlooks the outdoor plaza through generous windows. On this level you will find another performance space, The Studio Theater, suitable for a variety of uses with a view of the Seaplane Lagoon. Here you will also find operational support spaces, administrative offices, and space for social gathering on this floor with expansive views on all sides to the surrounding environment.

PROPOSED USE CONTINUED
AASHTO 2001 (US)
WB-50
AASHTO 2001 (US)
WB-50
AA
SH
TO
20 01 (US)
WB-
50 PAN AM WAY
RUNWAY
PLAZA
R.R
R.R R.R
1/16" = 1'-0"1 SITE DIAGRAM - LVL 1

FIRST FLOOR PLAN

1. 2.

3. 4.

5. 6.

7. 8.

9. 10.

11. 12.

13. 14.

15. 16.

17. 18.

THEATER
STAGE

TICKET COUNTER
LOBBY

REHEARSAL ROOM

CHORUS ROOM

TOOL SHOP

STORAGE

CONTROL ROOM
CAFE

COAT ROOM

CATERING ROOM

VISITING OFFICE

BACKSTAGE SUPPORT

PRINCIPAL ROOM

GREEN ROOM

CROSSOVER / LOADING DOCK

ORCHESTRA PIT
16' 32'
1 2
4 8
11 5
3 10
6 7
12 1315
14 17
9 15
16 18
6 0'
1 RADIUM THEATER|
UPPER
LOBBY
RR
RR
RR
LAGOON

TERRACE
RR

SKYLIGHT
ABOVE
1/16" = 1'-0"1 FLOOR PLAN - LEVEL 2

1. 2.

3. 4.

5. 6.

7. THEATER BALCONY

SECOND SPACE

RADIUM BAR

BUILDING SUPPORT

OFFICE RECEPTION

EVENT OFFICE

EXECUTIVE OFFICE
5 2
4 3
1 678
9 101112
13 14

SECOND FLOOR PLAN
1/16" = 1'-0"2 FLOOR PLAN - LEVEL 3
1 2 3
4 RR

ROOF BELOW

1. 2.

3. 4.

BAR RADIUM LEVEL 2

RADIUM ROOFTOP BAR

SECOND SPACE CONTROL SUITE

BUILDING SUPPORT

THIRD FLOOR PLAN

CONFERENCE

STUDENT LOUNGE

TICKET MANAGER

HOUSE MANAGER

BUILDING OPERATIONS

USHERS ROOM

COPY ROOM

8. 9.

10. 11.

12. 13.

14. 4
16' 32'0'
RADIUM THEATER|
5 Main Theater - 500 Seats
At the heart of The Center, a flexible Main Theater with 500 seats takes center stage. Boasting a balcony, a full stage house complete with a fly tower and orchestra pit, and state-of-the-art theatrical, lighting, and staging systems, this theater caters to both professional and community users. Designed to accommodate opera, dance, lectures, convocations, and classical and contemporary music performances, the auditorium stands out for its adaptability. Moreover, it offers the unique capability to increase wheelchair accommodations well beyond building code requirements or to transform some of the seating into a cabaret-style arrangement.

PROPOSED USE CONTINUED

OPEN TO

BELOWCIRC

CATWALK ACCESS

CATWALK ACCESS
SLL
SLL

OPEN TO
BELOW

BALCONY

RIGGING

STORAGE
STAGE
35' x 85'
ORCH
SHELL

STORAGE
CROSS-
OVER

STORAGE
SLL

CATWALK ACCESS
SLL

PIT AUDIENCE MIX CONTROL
ROOM
ACCESS
SLL

STORAGE
SLL

CATWALK ACCESSRIGGING
STAGE
35' x 85'
ORCH
SHELL

STORAGE
CROSS-
OVER

STORAGE
SLL

CATWALK ACCESS
SLL

PIT AUDIENCE MIX CONTROL
ROOM
ACCESS
SLL

STORAGE
SLL

OPEN TO

BELOWCIRC

CATWALK ACCESS

CATWALK ACCESS
SLL
SLL

OPEN TO
BELOW

BALCONY

RIGGING

STORAGE
STAGE
35' x 85'
ORCH
SHELL

STORAGE
CROSS-
OVER

STORAGE
SLL

CATWALK ACCESS
SLL

PIT AUDIENCE MIX CONTROL
ROOM
ACCESS
SLL

STORAGE
SLL

CATWALK ACCESSRIGGING
STAGE
35' x 85'
ORCH
SHELL

STORAGE
CROSS-
OVER

STORAGE
SLL

CATWALK ACCESS
SLL

PIT AUDIENCE MIX CONTROL
ROOM
ACCESS
SLL

STORAGE
SLL

CATWALK ACCESSRIGGING
1" = 10'-0"1 BALCONY LEVEL ABOVE
1" = 10'-0"2 STAGE LEVEL - THEATER SEATING
1" = 10'-0"3 STAGE LEVEL - CABARET SEATING
RADIUM THEATER|
5' 10'0'THEATER FLOOR PLAN
5 WHEELCHAIR SPACES
90 CABARET SPACES
215 FIXED
150 BALCONY LEVEL
460 SEATING TOTAL
5 WHEELCHAIR SPACES
20 LOOSE SPACES
330 FIXED
150 BALCONY LEVEL
505 SEATING TOTAL
150 SEATING TOTAL
2 WHEELCHAIR SPACES
148 FIXED SEATING
Cabaret Seating Layout
Theater Seating Layout
6 Studio Theater - 200 Seats
In addition to the Main Theater, the Arts Center features a flexible Studio Theater with a flat floor, accommodating up to 200 people.

Outfitted with technical systems, this space becomes an ideal venue for a variety of performances. The sprung floor allows for dance, music, and theatrical events, as well as rehearsals, teaching sessions, banquets, receptions, and community
gatherings. The Studio Theater has dedicated dressing rooms and technical support spaces, allowing it to operate simultaneously and independently from the Main Theater.

PROPOSED USE
Rehearsal Room
Beyond the performance spaces, The Center includes a Rehearsal Room with a sprung floor, matching the dimensions of the main stage’s performing area. This allows performers to rehearse while another event occupies the stage. Adjacent to the lobby on the ground floor, the Rehearsal Room becomes an excellent space for educational purposes such as dance, music, and movement classes, as well as community gatherings.

Below + Right: The dance rehearsal space at Portland State University’s College of the Arts (designed by Bora) also serves as an important venue that hosts a wide variety of university and community events throughout the year.

7 Lobby and Public Amenities
A spacious two-level lobby serves as a shared gathering space, connecting the Main Theater, Studio Theater, and Rehearsal Room to the Outdoor Public Plaza. Large operable doors create a seamless flow between the lobby, Plaza, and Waterfront Park, enhancing accessibility and flexibility. With ticketing, concessions, a café on the main level, and a catering support space, the lobby also accommodates social events like receptions and banquets.

With table seating for up to 300 people and a reception capacity of 500, the lobby becomes a hub of activity.

On the second floor, the upper lobby leads to the Radium Bar, offering breathtaking views of the San Francisco Bay and skyline.

Discrete and separate from the main lobby, the Radium Bar functions independently, serving as a social space with table seating for 150 and a reception capacity of up to 250.

Technical and Operational Support Spaces
The Center provides essential administrative offices to manage and operate the facility efficiently. Prioritizing functionality, the loading and service area is strategically located on the west side, facilitating seamless truck access for load-ins directly to the main stage. With storage, backstage support, dressing and green rooms, as well as shop and wardrobe maintenance spaces, The Center caters to a broad range of events, from dance recitals and theatrical productions to touring music acts. This versatility allows The Center to cater to diverse performance types and accommodate a wide array of artistic endeavors.

The program for The Center includes performance, rehearsal, social and support spaces for audiences, performers,
administration, and production. Collectively, we believe these will form a vibrant new facility that will serve a variety of performance, educational, social and community uses, a welcoming and sophisticated venue that will become an active and lively part of the Alameda Point and a catalyst of community activity throughout the day. Please see Appendix 4 for a more thorough view of our outreach and market analysis.

PROPOSED USE CONTINUED
8 Design Goals
After carefully reviewing the City’s Request for Qualifications and conducting extensive outreach, our design team has formulated the following design goals to guide the preliminary designs for The Center at Alameda Point.

PROPOSED USE CONTINUED
Establish a Vibrant Community Amenity and Destination
The Center aims to become a thriving community destination, offering more than just performances. An inviting outdoor plaza will serve as a versatile space for formal and informal gatherings, festivals, events, and various performances. To foster a lively atmosphere, the building will include amenities like an independent café and bar, ensuring The Center remains a dynamic and active place even when performances are not taking place.

Complement the Historic Architectural Character of
Alameda Point
Taking inspiration from the historical charm of Alameda Point, The Center will boast a contemporary design that pays homage to the scale and character of the large airplane hangars and Art Deco elements of the historic Alameda Naval Air Base. By striking a balance between modernity and historical relevance, The Center will seamlessly fit into its surroundings.

Embrace Monumental Presence within the Vast Air Base Space Recognizing the unique scale of the former naval air base with its massive buildings and vast open space adjacent to the San Francisco Bay, The Center aspires to hold its own with a sense of grandeur and significance. Positioned as one of the first buildings on the runway, it will be appropriately scaled to fill the space and stand proudly alongside the industrial hangars surrounding it.

Reflect the Aviation History of Alameda Point
Acknowledging the rich aviation history of Alameda Point, The Center will use materials and design elements that pay tribute to the site’s past as a former runway and seaplane lagoon.

Thoughtful forms and unique details will evoke memories of this vibrant aviation history.

Build a Highly Adaptable Theater Environment
The theater’s design emphasizes versatility, accommodating a wide range of performance types and audience experiences. From formal theater and opera performances to community artists and student showcases, the theater’s flexible layout will easily transition between various settings, including a more formal audience arrangement or a casual cabaret setup, ensuring a welcoming environment for diverse audiences and uses.

Create an Immersive Connection with the Natural Surroundings Seamlessly integrating with the stunning natural surroundings of the San Francisco Bay, The Center’s design maximizes connections to the outdoors. The building’s lobby will feature a large window wall, offering a direct link to the outdoor plaza while also providing shelter from western winds. Glazed corridors encircle the theater, providing scenic views from all sides of the building. The upper floors will house gathering spaces and an outdoor rooftop terrace, offering breathtaking vistas of the iconic San Francisco skyline and Bay Bridge to the west. Additionally, the site will anchor to the new linear waterfront park along the Seaplane Lagoon, ensuring a memorable and immersive experience that celebrates the power and beauty of the natural surroundings.

Promote Inclusivity and Accessibility
At the heart of The Center’s design philosophy and vision lies a profound commitment to accessibility. The project places a strong emphasis on inclusivity, actively involving stakeholders from the greater disability community at every stage, from research and planning to the final design. By valuing and incorporating their valuable perspectives and experiences, our goal is to craft thoughtful enhancements. These include expanding ADA seating in the main theater, strategically situating elevators to facilitate technician access, and seamlessly integrating innovative assistive features catered to the needs of the hearing and visually impaired.

9 Site Context
Alameda Point, NAS Historic District
The NAS Alameda Historic District holds significant historical importance, not only for its role during WWII but also for its unique characteristics in design and planning. Embodying a strong Beaux Arts style plan that shaped its layout and function, the district stands as a testament to its era. Particularly striking are the prominent buildings, which feature the streamlined geometry and elegance of the Moderne architectural style from the 1930s, showcasing the period’s emphasis on modernity and technological advancement through the use of contemporary construction materials.

Located within the Hangars Area of the NAS Historic District, Blocks 12 & 13 are surrounded by a rich historical context. The Hangars Area operated for over fifty years, witnessing pivotal moments in history. Hangar 41, the closest structure to Blocks 12 & 13, holds its own historical significance. Additionally, Building 77, known as the Radio-Radar/Air Terminal, currently serving as the NAS Museum, stands adjacent to and faces Blocks 12 & 13.

Erected in 1942, Building 77 showcases a simplified Moderne style, further contributing to the district’s architectural diversity and historical significance.
38 3/8 mile1/ 4 mile1/8 mile0’
1” = 1/ 4 mile

NAS ALAMEDA HISTORIC DISTRICT
The NAS Alameda Historic District
(Historic District) is listed in the National
Register of Historic Places. Approximately
645 acres of land and all 115 acres of water
within the Waterfront Town Center Area
are also within the Historic District. The
Waterfront Town Center includes the
following major contributing features of
the Historic District: the Seaplane Hangar
Buildings 39, 40, and 41; Building 77; the
Seaplane taxiways; the Seaplane Lagoon;
and the Seaplane Lagoon ramps.

Existing Historic District Contributing Building
NAS Alameda Historic District
Other Existing Building
Existing Open Space
Precise Plan Boundary

NAS ALAMEDA HISTORIC DISTRICT

PACIFIC AVENUE

ORION AVENUE
R. APPEZZATO PARKWAY

CENTRAL AVENUE
WILLIE STARGELL AVENUEW. MIDWAY AVENUE

MAIN STREET

REDLINE AVENUE

NATURE RESERVE

VA HEALTH CLINIC

AND COLUMBARIUM
W. TOWER AVENUE
W. HORNET AVENUE

SEAPLANE LAGOON

SAN FRANCISCO BAY

FERRY POINT ROAD

MONARCH STREET

LEXINGTON STREET

MAIN STREET

SARATOGA STREET

PAN AM WAY BAYPORT
WEST

ALAMEDA
20 4
2 21 363
5 400
11 12 39
10 6
1 31
94 525
585
135 137
6075A
18 16
7 115
130 17
116
114 101
72A
72B
607 35191
8 92
9 91
32 40 41
77 400A
405
6243
42 44
22 23
24 19
(Note: Abbreviated NAS Alameda Historic District description from “Combined Specific Buildings Survey and Evaluation Report/Cold War ERA Historic Resources for Naval Air Station Alameda, August 2010 – JRP Historical Consulting”)

PROPOSED USE CONTINUED
10 Alameda Point Waterfront Precise Plan/Zoning
The Alameda Point Waterfront Precise Plan, adopted by the City of Alameda in 2014, serves as a comprehensive blueprint for the planning, development, land use, and zoning regulations within the Precise Plan area. This visionary plan aligns with the community’s aspirations for a dynamic waterfront district that is transit-oriented, visitor-serving, and characterized by a mix of uses. Emphasizing economic diversity and environmental sustainability, the plan also underscores the importance of compatibility and support for the NAS Alameda Historic District.

Within the Transit Village Center planning subarea of the Precise Plan lies Blocks 12 & 13, strategically positioned adjacent to the Seaplane Lagoon Promenade and the NAS Museum. The City, in accordance with the Request for Qualifications (RFQ), seeks a community-driven project that will bring cultural, educational, and economic benefits to the city, making use of the 2.13 acres of land available in Blocks 12 & 13.

In direct response to the City’s request, the proposed performing arts center perfectly aligns with the goals and vision outlined in the Alameda Point Waterfront Precise Plan. It demonstrates consistency with the underlying planning, zoning regulations, and the City’s objectives for the site, embodying a project that promises to enrich the community culturally, educationally, and economically.

PROPOSED USE CONTINUED
26 CONCEPTUAL PLANNING SUB-AREAS

PLANNING SUB-AREAS
The Town Center and Waterfront area
is comprised of several sub-areas, each
defined by uniquely distinguishing
characteristics, including: transitions to
adjacent neighborhood, the NAS Alameda
NATURE

RESERVE

TAXIWAYPARKING LOT

TRANSIT VILLAGE
CENTER

ATLANTIC
ENTRY
EAST

WATERFRONT
WEST

WATERFRONT

NORTH WATERFRONT
Historic District, the natural, recreational
and commercial character of the three
distinctly different edges of the Seaplane
Lagoon (West, North and East Waterfront).

The following pages describe the key
features of each sub-district.

ENTERPRISE
1000’500’0’
1” = 667’-0”
250’ 750’

SEAPLANE LAGOON

MAIN STREET

PAN AM WAY

SARATOGA STREET

LEXINGTON STREET

MONARCH STREET

PACIFIC AVENUE

FERRY POINT ROAD
W. TOWER AVENUE

ORION AVENUE
R. APPEZZATO PARKWAY
11 Site A - Development Plan
In July 2022, the City of Alameda adopted the Second Amendment to the Site A Development Plan, specifically designating blocks 12 & 13 for retail commercial uses, incorporating a 50,000+/- square foot performing arts theater as depicted in the Site A Illustrative Site Plan and Land Use Diagram below.

As of the current situation, Blocks 12 & 13 do not have access to public utilities, apart from those available within the Pan Am Street Right of Way. The Site A Developer bears the responsibility of providing infrastructure to Blocks 12 & 13. However, due to uncertainties surrounding the timeline for the completion of this infrastructure, the project will explore the economic and physical feasibility of constructing the necessary utilities and site preparations independently. This investigation will include the potential of establishing a cost reimbursement agreement with the Site A developer to expedite the construction timeline and ensure efficient progress.
901 Battery Street, Suite 300 | San Francisco, CA 94111 | 415 293 5700 | www.bararch.com

ALAMEDA POINT ALAMEDA, CA
14072
COPYRIGHT © BAR architects 2014

ILLUSTRATIVE SITE PLAN - ALL PHASES
0 50 100 200 300 8

05.11.15 (E) BLDG 41
+/- 60’
(E) BLDG 40
+/- 60’
(E) BLDG 77
+/- 42’
(E) BLDG 14
+/- 30’
(01a)
(01b)
(02)
(05)
(19)
(07)
(08)
(09)
(03)
(10)
(11)
(04)
(18b) (18c)(18a)
(17) (16) (15)
(14)
(12a)(12b) (13)

ORION STREET

A STREET

B STREET

C STREET

E STREET

SEAPLANE LAGOON

F STREET

D STREET
W. TOWER AVE

G STREET

RALPH APPEZZATO MEMORIAL PARKWAY

PAN AM WAY MAIN STREET

FERRY POINT WAY
(E) (E)
(E)
(E) (E)
(E)
(06)
*THIS SITE PLAN & BUILDING CONFIGURATIONS ARE
ILLUSTRATIVE ONLY . ALL IMPROVEMENTS SUBJECT TO DESIGN
REVIEW APPROVAL.
*EXISTING BUILDINGS AND/OR SITES MAY BE OCCUPIED WITH

USES CONSISTENT WITH THIS PLAN DURING ANY PHASE

EXISTING CARTWRIGHT SUBSTATIONLEGEND

RESIDENTIAL OVER GROUND

FLOOR RETAIL & PARKING

RESIDENTIAL OVER ADAPTABLE

GROUND FLOOR & PARKING

RESIDENTIAL TOWNHOME

EXISTING BUILDING

BLOCK NUMBER

SURFACE PARKING

OPEN SPACE - COLORS VARY

COMMERCIAL (OFFICE/MANUFACTURING)

PUBLIC PARKING

RETAIL (SHOPS & RESTAURANTS)
(##)
P
P
P
PP
PP
P
P
P
(E)

POTENTIAL PARKING GARAGE
*
*
*

NAS ALAMEDA HISTORIC

DISTRICT BOUNDARY
COPYRIGHT © BAR architects 2014
901 Battery Street, Suite 300 | San Francisco, CA 94111 | 415 293 5700 | www.bararch.com

ALAMEDA POINT ALAMEDA, CA
14072
COPYRIGHT © BAR architects 2014
901 Battery Street, Suite 300 | San Francisco, CA 94111 | 415 293 5700 | www.bararch.com

ALAMEDA POINT ALAMEDA, CA
14072
ALAMEDA POINT • RESIDENTIAL MIXED-USE • SITE A
Alameda Point
Partners • JUNE 16, 2014

LAND USE DIAGRAM
11 05.11.15
COPYRIGHT © BAR architects
COPYRIGHT © BAR architects
2014
COPYRIGHT © BAR architects
+65’
+65’
(E) BLDG 41
+/- 60’
(E) BLDG 40
+/- 60’
(E) BLDG 77
+/- 42’
+50’ +40’ +40’
(13) (12a)(12b)
(11)
(19)
(14)
(17) (16)
(18a) (18c)(18b)
(15)
(09) (08) - EDEN (07) (06)
(05) (04) (03) (01a)
(01b)
(02)
(E) BLDG 117

COMMERCIAL
(E) 106,618 SQ.FT.
+/- 35’
(E) BLDG 118

COMMERCIAL
(E) 179,834 SQ.FT.
+/- 35’

ORION STREET

RALPH APPEZZATO MEMORIAL PARKWAY

WEST TOWER AVENUE

MAIN STREET

G STREET

A STREET

B STREET

C STREET

D STREET

F STREET

E STREET

C STREET

PAN AM WAY

FERRY POINT WAY

MIXED USE
+/- 220 RESIDENTIAL UNITS*
+/-50,000 SQ.FT. RETAIL
+65’ **
+65’ **
PRVT ST. / VIEW EASEMENT
PRVT ST. / VIEW EASEMENT

PARKING
+65’

COMMERCIAL
+/- 69,000 SQ.FT.
+50’

MIXED-USE
+/- 6,000 SQ.FT. RETAIL

AND HOTEL
*NOTE: RESIDENTIAL UNIT DESIGNATIONS ARE

APPROXIMATE, PER BLOCK, BUT TOTAL SHALL NOT
EXCEED 800 RESIDENTIAL UNITS ACROSS “SITE A”
** PER PRECISE PLAN, HEIGHT MAY EXCEED 65’

WITH SPECIAL CONSIDERATION, IF THE FOLLOWING
FINDING CAN BE MADE: THE BUILDING EXHIBITS

EXCEPTIONAL ARCHITECTURAL DESIGN AND IS

TRANSIT SUPPORTIVE
OPEN SPACE AND +/-20,000 SQ.FT.

STATE LANDS COMPLIANT RETAIL
(E) BLDG 113 +/- 38’

OPEN SPACE
RETAIL
+/-13,000
SQ.FT.
+35’
RETAIL
+/-20,000
SQ.FT.
+35’
OPEN
SPACE
RES. PODIUM
+/-182 RESIDENTIAL UNITS*

OPEN SPACE

AFFORDABLE
PODIUM
128 RESIDENTIAL
UNITS*

TOWNHOMES
+/-15 RESIDENTIAL UNITS*
+40’

TOWNHOMES
+/-27 RESIDENTIAL UNITS*
+40’
RES. PODIUM
+/-104 RESIDENTIAL UNITS*

TOWNHOMES
+/- 64 RESIDENTIAL UNITS*

TOWNHOMES
+/- 60
RESIDENTIAL UNITS*

OPEN SPACE OPEN SPACE OPEN SPACE

CARTWRIGHT SUBSTATION

RESIDENTIAL TOWNHOME

GROUND FLOOR RETAIL FRONTAGE

EXISTING BUILDING

BLOCK NUMBER

OPEN SPACE - NEIGHBORHOOD PARK

PUBLIC PARKINGOPEN SPACE - PARK / PLAZA

RETAIL, FOOD AND BEVERAGE, ENTERTAINMENT

ADAPTABLE GROUND FLOOR FRONTAGE
(##)
(E)
URBAN PARK+RETAIL
+/-46,000 SQ.FT. RETAIL
(E) BLDG 67 +/- 28’
(E) BLDG 98 +/- 18’
(E) BLDG 398 +/- 18’
(N) BLDGS +35’
(10)
LEGEND

RESIDENTIAL OVER GROUND

FLOOR RETAIL & PARKING

RESIDENTIAL OVER ADAPTABLE

GROUND FLOOR & PARKING

COMMERCIAL (OFFICE/MANUFACTURING)

PROPOSED USE CONTINUED
12 PROPOSED USE CONTINUED
The Performing Arts Center at Alameda Point Design Response Drawing inspiration from the neighboring buildings’ utilitarian qualities and the Streamlined Art Moderne characteristics of the adjacent Naval Air Museum, the design reflects simplicity in massing, unadorned surfaces, sweeping curved walls, large openings, and a scale that harmonizes with the historic hangars (Buildings 40 and 41) and Naval Air Museum (Building 42) in close proximity to Blocks 12 & 13.

Carefully situated within the district’s organizing grid, The Center maintains the north/south view corridor to the west of Building 41 by aligning its western side with the edge of Building 41.

Positioned with consideration for the Pan Am Way right-of-way, the building’s footprint creates a welcoming Community Plaza, serving as a point of arrival to the district and The Center. This plaza serves to demarcate the boundary between the new commercial development to the east and the historic district to the west while fostering a strong public connection to the waterfront park, with the existing Naval Air Museum (former Passenger Terminal) framing the plaza’s northern edge.

The theater takes center stage within the building, featuring a fly tower and a continuous parapet at a height of approximately 43 feet, echoing the massing of the historic hangars. At the front of the building, a striking double-height gridded glass wall facing the plaza and Pan Am Way provides ample light and scenic views to the lobby, reminiscent of the historic hangars’ large operable stacking track doors. This glass wall will incorporate numerous operable sections, facilitating seamless indoor-outdoor integration, enabling activities within the building to spill outward into the plaza, enhancing the overall visitor experience. Above the glass, a projecting canopy gracefully extends from the building massing, drawing inspiration from similar conditions found in other historic buildings within the district.

The design ethos of The Performing Arts Center is one of contemporary innovation, while maintaining a respectful nod to the historic charm of Alameda Point’s district. The proposed design thoughtfully reflects and incorporates the defining characteristics of the district and the Streamline Moderne architectural style prevalent in many of its buildings, aligning with Rehabilitation Standards for new construction in a historic district.

To create a cohesive and inviting experience, the plaza area’s elevation will be raised above the existing grade, aligning it with Pan Am Way’s elevation, resulting in an open, essentially level plaza that nearly matches the theater’s stage level. This design choice facilitates the smooth transfer of production materials, such as sets and musical instruments, as they can be loaded onto a raised dock at stage level directly from the western side of the theater, where the access remains at the existing grade.

Continuing the theme of connection and vibrancy, large window openings on all sides of the building, akin to those found in the historic hangars and other district buildings, will establish visual links between activities within the center and the surrounding environment. This design decision not only enhances the connection between indoor and outdoor spaces but also adds vibrancy and energy to the area, creating a dynamic and engaging cultural hub at Alameda Point.

EXTERIOR MASSING

EXTERIOR MASSING
13 Operations
The Center is anticipated to host 500 use days of the theater and supporting rental facilities, creating a vibrant hub of activity throughout the day and evening. Beyond captivating performances, the center’s rehearsal spaces, administrative offices, second space, and café will keep the surrounding area bustling with energy, particularly during Alameda Point’s peak hours - from mid-day through evenings and on weekends. Building on the success of the 2022 Radium Runway activities, the center holds the potential to attract visitors to other businesses in Alameda Point, contributing to the area’s overall economic growth.

Furthermore, the rental of facilities for weddings, banquets, and corporate events will draw diverse audiences, expanding the center’s outreach and generating increased foot traffic and revenue.

In terms of accessibility, the parcel’s strategic location ensures easy reachability via multiple transportation nodes. Adjacent to the Seaplane Lagoon Ferry Terminal, the existing parking area offers convenient access to The Center, particularly during off-peak ferry times. Moreover, the theater’s proximity to public transportation, being just one block from AC Transit line 96 and adjacent to the Cross Alameda Trail, aligns perfectly with Alameda’s goal of promoting access via active and public transportation. The ease of reaching The Center by ferry provides an exceptional and appealing experience, positioning it as an alluring destination for both local patrons and visitors alike.

Community Benefits
Economic Benefits
The envisioned performing arts center is poised to become a powerful economic anchor for Alameda Point, projected to attract approximately 100,000 visitors to the neighborhood. This surge in visitors will yield substantial benefits for the community, boosting foot traffic to hotels, restaurants, and local businesses. Moreover, the ongoing marketing efforts required to support The Center’s programs will enhance Alameda Point’s regional profile as a thriving destination for arts and culture.

Citing the most recent Americans for the Arts study, the nonprofit arts and culture industry in the United States generated a staggering $166.3 billion in total economic activity. This comprises $63.8 billion in spending by arts and cultural organizations, along with an additional $102.5 billion in event-related spending by their audiences. This substantial financial circulation results in $96.07 billion in resident household incomes, $27.54 billion in government revenue, and the creation of 4.6 million full-time equivalent jobs.

The Americans for the Arts (AFTA) “Arts and Economic Prosperity” study serves as a potent tool for arts and cultural organizations to articulate their value to their communities. The study meticulously considers both direct audience spending, such as admission costs, and indirect audience spending. The latter refers to the financial contribution made by arts audiences to local businesses and individuals beyond the arts organization itself. This includes expenditures on dining out, parking fees, and childcare expenses.

On average, arts and cultural patrons spend $31.47 per event, in addition to the cost of admission.

AFTA also offers an “Economic Impact Calculator,” enabling individual entities to gauge their potential impact. When estimated The Center’s audiences and expenditures from the AMS forecast were input into the calculator, it projected total expenditures, jobs, household income, and government revenues, revealing a potential economic impact of over $3 million annually.

This data substantiates that the total economic impact is not solely driven by population but rather by the content and offerings of the arts and cultural sector. Thus, continued investment in the arts promises to yield higher impact for Alameda, further enhancing the quality of life for both residents and visitors alike.

The Center’s potential to attract a significant number of visitors and its capacity to stimulate economic growth underpin its pivotal role in enriching the community and establishing Alameda Point as a thriving hub for arts and culture.
[1] Arts & Economic Prosperity V (June 2017); 2015 data. [2] Based on estimated ‘long-term’ attendance and primary market definition as presented in the AMS’ Little Opera House Feasibility Study Final Report (April 2018).

PROPOSED USE CONTINUED
14 PROPOSED USE CONTINUED
Cultural Benefits
Establishing a new performing arts center at Alameda Point not only aligns with the City’s vision outlined in the 2040 General Plan but also opens up tremendous educational possibilities.

Beyond being a mere performance venue, this project holds the potential to inspire and engage future generations of Alamedans. The theater and second performance space are designed to accommodate both professional and community performances, offering an accessible and enriching platform for local schools and students. By organizing field trips, internships, and educational programs, young minds can immerse themselves in the arts, igniting creativity, and providing insights into diverse career paths within the performing arts.

Through collaborative discussions, a sense of shared ownership and excitement has been cultivated, laying a strong foundation for a vibrant cultural ecosystem in Alameda. The second space, rehearsal room, lobby, and expansive plaza offer multiple use cases, allowing the venue to host event rentals, community gatherings, café operations, and gallery exhibits, activating the space throughout the day and night.

Ultimately, The Center will act as a cultural anchor for Alameda Point, nurturing artistic talent and fostering a sustainable arts community that will flourish for years to come.

Addressing the Needs of the Local Arts
Community
The establishment of a new performing
arts center in Alameda addresses several
critical needs of the local arts community.

It will provide professional performance
spaces that are currently lacking, enabling
local arts organizations, including high
school groups, to showcase their talents
on a dedicated platform. This will elevate
the quality of performances and enhance
the overall cultural landscape of Alameda.

Additionally, having a suitable venue will
enable groups like the Alameda Civic Ballet
to host their events locally, fostering a
stronger sense of community pride and
support.

Accessibility
The project goes beyond meeting ADA
requirements and places accessibility at
the forefront. From the early research and
planning phase, stakeholders from the
disability community have been actively
engaged to understand their needs
and experiences in performing venues
worldwide. This has informed the design,
leading to thoughtful considerations
like increased ADA seating in the main
theater, strategically placed elevators for
technician access, and integrated assistive
experiences for the hearing and visually
impaired.

Affordable Access for Non-Profits and
Schools
The Center intends to maintain affordability
for Alameda’s local non-profits and
school groups. A dual-rate card system
is envisioned, offering competitive rates
for corporate events while ensuring
accessible pricing for local non-profits and
schools, enabling them to utilize the facility
effectively.

By fulfilling the objectives outlined in
the 2040 General Plan and prioritizing
accessibility, affordability, and community
engagement, the new performing arts
center will undoubtedly enrich the cultural
fabric of Alameda, providing a lasting and
impactful asset for the entire community.

Below Left: The 600-seat multi-purpose theater at Adrienne Nelson High School in Happy Valley, OR.

Below Right: A community dance rehearsal space at Mesa Arts Center in Mesa, AZ. 15 PROJECT TEAM
Christopher handpicked individuals known for their extensive expertise and enthusiasm in the arts, with the vision of creating a collaborative organization capable of conceptualizing, executing, and managing a cutting-edge performance venue catering to both local and international artists.

In a similar vein, the Radium consultant team was meticulously assembled based on their professional prowess and impressive track records in successfully creating outstanding Performing Art Centers across the United States and globally. The team comprises specialized architects, theater planners, and fundraising experts, each contributing their unique skills to craft an unparalleled arts facility and enduring community space. Furthermore, seasoned development consultants and engineers with proven expertise in handling the intricate challenges of redeveloping former military installations, such as the Alameda Naval Air Station, are integral members of the Radium team.

Brief biographies of the esteemed Radium Board, Staff, and Consultants are presented below, showcasing their exceptional qualifications and accomplishments. Additional information, along with the team members’ relevant project experiences, can be found in the attached documentation.

Rachel Campos de Ivanov will be the Radium team’s primary contact for the City during the RFQ process. Her contact information is (650) 438-8780 / [email protected].

Soon after conceptualizing a new performing arts theater for Alameda, Christopher Seiwald proactively sought out and invited exceptionally talented and passionate local and regional arts leaders and professionals to form the core of the Radium Board and Staff.

Radium Boardmembers And Staff
Christopher Seiwald
Board President
Christopher Seiwald is an entrepreneur
and lover of the arts. He spent most
of his adult life pursuing one software
project or another, culminating with
founding and running award-winning
Perforce Software, based in Alameda,
California. During his successful 21
years he saw the product adopted by
some of the most innovative and influential companies today.

Ever thankful for the people and communities which helped him along, in his post-CEO life he has focused on giving back in the form of angel investing, philanthropy, and leading the charge to build a performing arts theater in his hometown of Alameda.

Allison Bliss
Allison Bliss brings a background in
arts, media, and business. Her firm,
Allison Bliss Consulting, provides
marketing direction and services for
businesses and non-profits. The first
business she founded and successfully
sold in San Francisco was a film/TV
lighting company. Allison produced,
directed, and managed projects for
broadcast television, Hollywood feature films, commercials, and events including the Northern California Emmy Awards, live concerts, corporate events, and videos.

Besides advising organizations on strategic growth, Allison teaches marketing in San Francisco, while serving on the Board of Directors for the Oakland Rotary, Radium Presents, and on Advisory Councils for the Piedmont Yoga Community and Awesome Orchestra, with whom she occasionally performs.

Robert Boyd
Robert Boyd is a software engineer
and entrepreneur who co-founded
Island City Opera along with his wife
Eileen Meredith, producing opera
performances in Alameda for many
years at the Elks Ballroom. Robert
holds an undergraduate degree in
finance and computer science from
the University of Massachusetts and
an MBA from University of California, Berkeley. Robert became interested in the performing arts in general and opera in particular, gradually at first and then rather suddenly. Currently, he sings in opera choruses around the Bay Area.

As a member of the Radium Board, Robert brings a combination of business acumen, finance and systems expertise, and a love for and participation in the performing arts.

Ken Carvalho
Ken is a licensed Class “B” General
Building Contractor and Certified Green
Building Professional. He lends his
experience in design coordination,
estimating, and pre-construction
administration to advise and help
shape the future of the Performing Arts
Center.

16 PROJECT TEAM CONTINUED
Kumi Hodge
A seasoned real estate agent and an
Oakland/Alameda local, Kumi is a
long-time East Bay resident with a deep
love for the community, the arts, and
connecting with great people. He has
a wide network within the East Bay
arts community. He looks forward to
making some friends and sharing his
passion with the Radium family.

Eileen Meredith
Eileen Alonso Meredith has made
a name for herself in the Bay Area
music scene as a vocalist, an arts
entrepreneur, a skilled fundraiser, and
an advocate for performing arts. She
founded Island City Opera in Alameda
and served as Artistic and Executive
Director. Firmly rooted in Alameda
for over twenty years, Eileen has
taught classical voice, served as Music Director for many school musicals, and is a cantor and choir leader at Christ Episcopal Church. Eileen is dedicated to using music to build community.

Eileen holds a Masters in Public Administration from New York University.

Jan Mazyck
Jan Mazyck currently works for the
Department of the Treasury’s Office
of Technical Assistance. Jan’s 30-year
career began as an investment banking
analyst and expanded to advise
governmental, special revenue and
non-profit clients on various financial
and management solutions. With a
focus at the nexus of public policy,
infrastructure, and the capital markets, she assisted clients deliver on over $15 billion financings for infrastructure in the public interest.

Complementing financial advisory experiences, were her roles in the public sector as chief financial officer, treasurer and chief operating officer, solving strategic and operational challenges that are at the core of day-to-day service and performance deliveries.

Joel Plaisance – Board Treasurer
Joel has a long-standing connection
with Christopher and has been
working with us as Treasurer for
several years now. Joel has a broad
range of experience in engineering,
law, and business. He holds a B.S.
in civil engineering and an M.S. in
environmental engineering from
Stanford. He also has a J.D. degree
from Loyola Law School of Los Angeles and an M.B.A. from UCLA.

Tara Pilbrow
Dance artist and choreographer Tara
Pilbrow came to Alameda after 15
years performing and creating work in
Paris, London and Argentina. In 2018
she partnered with local nonprofit
West End Arts District (WEAD) to
launch “Animate Alameda,” an outdoor,
site-specific dance festival in Alameda
Point. Two years later she accepted
a role as executive director of the nonprofit, expanding and diversifying the organization. WEAD produces free community dance and music events, visual arts projects, and provides financial support to local artists. Both as an artist and as an arts administrator, Tara plays a pivotal role in the Alameda arts ecosystem.

Ruby Peckford
Ruby Peckford is a seasoned
international media consultant, writer,
and editor with over 30 years of
experience in TV and video productions
across 20 countries and four
continents. Her portfolio encompasses
a diverse range of programs across
television and video, including local and
international primetime documentaries,
children’s programs, news features, PBS arts programs, and educational videos. She has also excelled in radio program management.

Ruby is highly regarded for her exceptional leadership skills, project management expertise, effective communication abilities, and unwavering commitment to community service. She has dedicated her strengths to various boards, arts councils, and fundraising initiatives throughout her career.

17 Lauren Rosi –
Lauren Rosi is an award-winning
theater educator, cultural competency
consultant, actor, and director based
in the SF Bay Area. She has taught
and performed at nearly every theater
in the Bay Area over the last decade.

For 4 years, she served as President
of the Board of Directors at Town Hall
Theatre Company, earning recognition
by Contra Costa County for her contribution to the arts. Lauren currently serves as the Director of the Theater Department at St.

Joseph Notre Dame High School in Alameda as well as an Adjunct Faculty member at Contra Costa College.

Julie Pond
Born and raised in Alameda, Julie has
always been an active member of the
community. She found her passion
for event planning over 25 years ago
when she volunteered to help run the
yearly fundraiser for her daughters’
elementary and high schools. After
that, there was no stopping her. She
has built relationships with people and
organizations across the community creating memorable events that have raised millions for local arts programs, non-profits, and schools. Currently the Director of Community Development at Alameda Family Services, Julie works to educate others about the importance of building a healthy, healing, and resilient community providing resources for local families. She is eager and ready to bring her extensive experience and excitement to Radium.

PROJECT TEAM CONTINUED
Sabrina Svendsen –
Sabrina Svendsen, an Alameda native,
oversees the Northern California sales
territory for IX Medical - a leading
provider of radiology accessories for
hospitals, clinics and other health care
facilities. Her sales and marketing
experience spans three decades and
encompasses the sports, media, and
automotive industries. Ms. Svendsen is
a graduate of Chapman University and has served on the Board of Directors for the Alameda Marina real estate development project, the Alameda Boys & Girls Club, in addition to Radium. Sabrina is a lifelong dance and theater performer and patron of the arts.

Frederica Von Stade Gorman
Frederica von Stade, is a world-
renowned American mezzo-soprano
celebrated for her captivating
performances and exceptional
artistry. With a career spanning over
four decades, von Stade has graced
opera houses and concert stages
worldwide, enchanting audiences
with her rich, expressive voice and
compelling stage presence. Her repertoire spans a wide range of roles, from classical masterpieces to contemporary works, earning her critical acclaim and adoration from music enthusiasts worldwide. Internationally recognized for her versatility, von Stade has collaborated with leading conductors and musicians, leaving an indelible mark on the opera world. Beyond her artistic achievements, she is admired for her warmth, humility, and dedication to promoting musical education and nurturing young talents.

Radium Staff and Primary Contact
Rachel Campos de Ivanov –
Manager, Operations and Community
Engagement
Rachel’s career launched in sales
and marketing within the games and
entertainment industries. In 2014, with
a desire to see Alameda Point thrive, she shifted her professional focus towards placemaking, marketing strategy, and business development, leading a successful three-year community-building initiative for the first redevelopment project at Alameda Point, which succeeded in attracting over 25,000 visitors to the site.

She has gone on to apply her experience to multiple large-scale commercial projects and business districts throughout Northern California. Rachel earned her B.S. degree from the Haas School of Business at UC Berkeley. Presently, she leads the operations and community engagement efforts for Radium.

18 Radium Consultant Team
CSTAR – Creative Stage Arts
Development
Greg Phillips of CSTAR Development
has over 35 years experience in
performing arts management,
programming, planning, financial
analysis, marketing, PR and branding,
fundraising, and board development.

During his varied career, Phillips
has started, turned around, led, and
grown several producing and presenting organizations and has led capital campaigns for numerous projects, renovations, and construction of performing arts venues. Phillips planned and executed campaigns and secured extraordinary contributions for the Osher Marin JCC in San Rafael, CA, Portland Center Stage in Portland, OR, the Argyros Performing Arts Center in Ketchum, ID among others. He is currently working on capital campaigns for the Southwest Washington Center for the Arts in Vancouver, WA and the Miners Alley Playhouse in Golden, CO. “

PROJECT TEAM CONTINUED
Creative Consultants
Creative Consultants guides award-
winning playwrights, directors,
producers, executives, and
entrepreneurs to commercial and
artistic success in competitive stage,
film, and television markets worldwide,
including New York, London, Los
Angeles, and San Francisco. Co-
Founders Laura Lundy (NYC) and
Randy Becker (LA) are experienced
in raising independent capital for
commercial projects on Broadway, film
& television, as well as independent
projects on stage and screen.

AMS Planning & Research
Bill Blake is a director and heads the
Sacramento office of AMS Planning
and Research. Drawing on over two
dozen years in the field as a leader,
advocate, manager, educator and
consultant, Bill guides clients large
and small through strategic business
planning, facility feasibility and policy
development. Among the many Arts
Centers’ Bill has been involved with, he recently led the planning, fundraising, design and development of the $28 million mixed use performing arts complex, The Sofia Tsakopoloulos Center for the Arts in Sacramento, and was previously the general manager of Everette Performing Arts Center in Washington State.

The Shalleck Collaborative
Adam has been a theatre consultant
for over 30 years, coming from an
education in architecture and theatre at
Virginia Tech. Adam became a licensed
architect along the way and has spent
the entirety of his career equally
steeped in the conception, design and
implementation of auditoria and other
performing arts, entertainment and
educational spaces, and technical production systems. Adam founded The Shalleck Collaborative in 2003, and with his mighty staff of seventeen has since worked on hundreds of projects of all scales and types in the US, Canada, and Asia.

BORA Architecture + Interiors
Bora Architecture + Interiors is a
65-person award winning design
practice based in Portland Oregon
with a focus on designing spaces for
education and the arts. They place
health, equity and sustainability as
essential to their pursuit of inspiring
architecture, creating transformative
environments that shape communities
and elevate the human experience. Design for the arts has been a core focus of their practice for the last four decades with projects across the country. Relevant examples include the Dean Lesher Center for the Arts in Walnut Creek CA, the Mondavi Center at the University of California, Davis and the McMurtry Building for the Departments of Art and Art History at Stanford University. All these projects were led, beginning to end by Bora including administration of on-site construction activities. Their staff has deep knowledge in both the unique design requirements of performing arts centers as well as the specialized technical details that make them successful. As art centers have evolved from temples of culture to centers of community Bora has been a leader in the conversation about their expanded role and how it impacts the traditional approach to the design of these specialized environments.

Leading the Bora team is Principal Michael Tingley, FAIA who has focused much of the last 30 years of his career on the design of performing arts and community projects around the country, including theaters in California, Arizona, Texas, Arkansas, Michigan, and New Hampshire. He knows how to successfully guide teams to complete these complex projects. He served as the Architecture Commissioner for the United States Institute of Theater Technology (USITT) and lectured on the state of theater design in the U.S. at the PQ International exhibit in Prague, CZ. 19 PROJECT TEAM CONTINUED
CBG - Carlson, Barbee, Gibson
A principle with CBG, Angelo Obertello,
PE, LEED, AP , QSD will serve as
Radium’s civil engineer. Angelo has
extensive experience at Alameda Point.

Since 1989, Carlson, Barbee & Gibson,
Inc. (CBG) has provided Northern
California with top-tier civil engineering,
surveying, and land planning services
for private and public land development
firms and public agencies. CBG is committed to serving the client’s needs above all else, and our focus on cultivating a team of engineers whose attention to detail and dedication to efficient design is unmatched. Our familiarity with the region, market, and agency requirements, coupled with our expansive design experience has helped to build a reputation of timely solutions that add value to the most challenging projects.

ENGEO
A principle with ENGEO, Jeff Fippen,
GE will serve as Radium’s geotechnical
engineer. Jeff has extensive experience
at Alameda Point and has been
practicing geotechnical engineering
since 1997, coordinating complex
field investigations, providing design
recommendations, and communicating
with various stakeholders for both
public and private sector clients. His experience includes waterfront and marine engineering, hydraulic structures, industrial facilities, transportation and infrastructure improvements, and residential and commercial developments.

UrbanMix Development/Consulting
Scott Ward and Keith McCoy, co-
founders of UrbanMix Development/
Consulting, bring invaluable
development expertise and project
management services to the Radium
team. With a combined experience of
over 60 years in the real estate industry,
they have demonstrated proficiency
in planning, entitling, and developing
a diverse array of projects. Their
portfolio encompasses master-planned
communities, mart growth/new
urbanist initiatives, historic adaptive
aeuse, military base redevelopment,
mixed-use town centers, single family
and high-density residential infill,
walkable “pocket” neighborhoods, and
commercial neighborhood centers,
among others.

UrbanMix Consulting is presently
advising the Alameda Point/W. Midway development team and has a long track record of collaboration with the City of Alameda on numerous projects. Of particular significance, Keith McCoy, as a resident of Alameda, serves as the current Board Chair of the Alameda Point Collaborative and is a Board member of the Academy of Alameda. His intimate local knowledge further strengthens the Radium team’s understanding of the community and its unique needs.

Scott
Keith
20 OPERATIONS PLAN
Financial Strategy and Schedule
The Center’s financial strategy combines sustainable operational revenue projections with philanthropic donations to ensure a strong foundation for success. While we anticipate substantial operating revenue (see Operating Financial Projections below), we acknowledge that both construction and operational funding will be supported through philanthropic contributions. We recognize the profound impact of the arts on society and believe that donations provide a consistent and sustainable funding source. This approach enables The Center to focus on artistic excellence and community enrichment without compromising its mission. By fostering a sense of collective ownership and pride among donors, including individuals, corporations, and foundations, we strengthen The Center’s connection with its supporters. Emphasizing philanthropy aligns with our belief that the arts are a shared cultural heritage accessible to all, ensuring it’s vitality and accessibility to the widest possible audience.

Embarking on a Visionary Capital Campaign
Over the past seven years, our committed team of Board members, staff, and consultants has diligently conducted studies, research, and planning to explore the possibility of establishing a new performing arts center in Alameda. As a significant milestone, we hope to secure Blocks 12 & 13 at Alameda Point by the fall of 2023, which will allow us to enter the “quiet phase” of our Capital Campaign.

Guided by visionary Founder Christopher Seiwald, esteemed opera singer Frederica von Stade, committed Board member Sabrina Svendsen, and CSTAR Development’s Greg Phillips, the Capital Campaign Committee is actively immersed in recruiting additional campaign leadership. Simultaneously, we are crafting a compelling case for support and formulating a comprehensive campaign plan, schedule, and budget. Our overarching aim is to raise $65 million to cover construction, soft costs, and establish an operating reserve.

Although we acknowledge that this amount falls short of the estimated project cost (as detailed in Appendix 3 – Construction Budget), we are confident that the funds raised through our capital campaign, combined with other sources such as arts and cultural grants, tax credits and incentives, corporate sponsorships, and city, state and/or federal subsidies will bridge the gap. Furthermore, we firmly believe that the philanthropic landscape will adapt to the reality of increased costs for such venues over time, thus augmenting the impact of our capital campaign.

With unwavering determination and the support of our community, we are poised to bring this ambitious performing arts center to life and enrich the cultural landscape of Alameda for generations to come.

The Center presents a remarkable opportunity for a capital campaign, and several factors contribute to its potential success:

Prime Waterfront Site: The center’s breathtaking location with stunning views of San Francisco and the Bay will make it an unparalleled attraction.

World-Class Venue: Donors will have the unique chance to support a state-of-the-art venue that befits Alameda’s rich cultural scene.

Innovative Curatorial Vision: Our proposal includes hosting renowned performing artists, nurturing emerging talent, engaging local arts organizations and students, and redefining access and arts education in the region.

Experienced Team: We have assembled a dedicated and capable team to execute the vision, ensuring the commitment of major philanthropists.

Visionary Founder: The early commitment from our visionary founder sets the stage for inspiring others to contribute.

Given all these favorable factors, we anticipate securing significant contributions to support the project, including five seven and eight-figure donations, 10 six-figure contributions, 15 five-figure contributions, and over 500 four-figure contributions. Our strategy involves a “quiet phase,” focused on securing the five largest naming gifts, which we plan to initiate during the last quarter of 2023 and the first half of 2024. Subsequently, the public phase will commence in mid-2024 and extend throughout 2025, aiming to secure the remaining contributions.

Our solicitation approach prioritizes engaging those closest to the organization, including Board members, Campaign leadership, and potential donors already familiar with the project and eager to participate. Following this, we will approach major philanthropists, foundations, and corporations in the East Bay and Bay Area to join us in this transformative endeavor.

Before acquiring rights to the property, we were fortunate to secure an impressive $11 million commitment from our Founder, in addition to an extra $1 million from a developer. With the City of Alameda’s anticipated contribution to the project, we could potentially have the first $15 million committed even before the quiet phase of the Campaign begins.

We firmly believe that our vision for The Center will inspire major philanthropists to make transformative contributions.

Our commitment is to create a unique, world-class Center that embraces the community on this waterfront site, showcasing both established performing artists developing new works and extraordinary emerging talents. Furthermore, we aim to redefine arts education, positively impacting the lives of young people, and fostering an inclusive Center for Everyone that values diversity, equity, and inclusion. Accessibility will be a top priority, ensuring that the Center is fully accessible to individuals with physical, mental, or developmental challenges.

As we proceed with the proposal, it is worth mentioning that a Capital Campaign Feasibility Study was conducted alongside other studies over the past several years. This study involved focus groups and interviews with potential donors, board members, volunteers, and staff to assess the likelihood of a successful campaign. This insightful study has guided our strategic approach and reinforced our confidence in the project’s viability.

By adhering to this comprehensive approach, we are confident that The Center will secure the necessary funding to flourish and fulfill its mission of enriching the community through the transformative power of the arts.
21 Operating Financial Projections
A preliminary operating financial forecast for The Center has been generated based on extensive industry knowledge and market- based research. Projections include operation costs and revenues for the 500-seat main theater, the 210-seat studio theater, and other functional spaces included in the facility program. In total, the facility includes over 62,000 square feet of space. Radium will own and operate the facility.

The programming of The Center will be primarily driven by rental activity, which will account for over 500 use days of the various spaces within the facility including rehearsals, classes, load-in/ load-out days, and performances and special events. Spaces will be rented to local and East Bay performing arts organizations, educational institutions and community groups. Radium is presently in discussions with several organizations who could become ‘resident users’ or anchor tenants of the building who would utilize The Center as their home venue.

According to AMS’s research, the facility can also expect to be rented for a number of corporate and private events, such as business retreats, weddings, corporate meetings, and banquets.

The location and views available from the facility will make it a highly desirable destination for these kinds of events. However, this corporate and meeting use will be secondary to the main purpose of the facility, which is to be a performing arts center serving the Alameda and East Bay communities.

In addition to being a rental and host facility, The Center will present its own season of performances by touring and visiting artists. The operating plan forecasts 53 Radium-presented performances ranging from music and family acts to comedy and circus performances.

Operating Revenues
Fifty-four percent of earned revenues will be derived from ticket sales from events presented by the Performing Arts Center. These performances would include signature artists from around the globe in the genres of music, dance, theater, and film. Like many performing arts centers, patrons will be able to purchase season packages, flex-tickets, and single event tickets are varying price points. AMS has established a conservative ticket price range of $25 - $100 with an overall average of $53. However, actual ticket prices may vary even more widely and will be adjusted as market conditions and costs fluctuate over time.

Additional earned revenue streams include rentals, including related fees for chargebacks (fees charged to facility users over and above the base rent), and ancillary income from ticket fees and concessions. In total, approximately $1.5 million in earned revenues are forecasted; the chart below demonstrates the relative breakdown of earned revenues.

To balance operating and programming costs, Radium Presents will need to generate $630,000 in contributed revenue per year.

Contributed revenue sources will include a mix of sponsorships, grants, government contributions, endowment earnings, individual

OPERATIONS PLAN CONTINUED
donations, and special event proceeds. Contributed revenue of $630,000, plus $1.5 million in earned revenue equates to a total income of $2.1 million in a normalized year of operation (assumed to begin the third year following building opening).

Operating Expenses
rogram and personnel expenses necessarily drive costs. The Performing Arts Center’s season of featured performances and touring events will have direct costs in the range of $645,000 (30% of total expenses), which includes artist fees, marketing costs, and other production costs directly related to shows; Personnel costs are projected at $884,000, which will support a staff of 12 full-time equivalent employees. The remaining costs are split between administrative overhead, occupancy costs (for utilities, insurance, maintenance and cleaning) and a 5% expense contingency bring total expenses just over $2.1 M.

Operating Net Results
So long as an adequate level fundraising occurs, the current projections result in a break-even budget. This equates to an earned to contributed revenue ratio of roughly 70% earned to 30% contributed. This ratio places greater reliance on earned revenue than many performing arts organizations. But we believe this is still a conservative and reasonable ratio given the rentable spaces of The Center, its special location facing the San Francisco Bay, and the unique nature and accessibility to arts users of the facility in the East Bay.

Ancilliary
Revenue 24%
Rentals
22%
Presentations
54%
Earned Revenue $1.5 million
Presentation
Expense
30%
Sub Total, G & A
46%
Sub Total
Occupancy
19%
Expense Contingency
5%
Expenses $2.1 million
22 OPERATIONS PLAN CONTINUED
SCHEDULE 2:

SUMMARY BASE PRO FORMA BASE YEAR
Earned Revenue
Rentals $330,000
Presentations $810,000
Ancilliary Revenue $350,000
Total Earned Revenue $1,490,000
Contributed Revenue
Individuals & FAmiklies $300,000
Endowment Earnings ($1mm) $50,000
Grants/Sponsorships $280,000
Total Contributed Revenue $630,000
Total Operating Revenue $2,120,000
Operating Expenses
Presentation Expense $650,000
Personnel $880,000
G & A $90,000
Occupancy Costs $400,000
Subtotal Operating Expenses $2,020,000
Expense Contingency (5%) $100,000
Total Operating Expenses $2,120,000
TOTAL ANNUAL RESULT $0
Earned Revenue as a % of Expenses 70%
% Contributed 30%
Below is a top-line summary of the financial forecast.
23 2023 2024 2025 2026 2027

QUARTER QUARTER QUARTER QUARTER QUARTER
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
TASKS
RFQ
Land Transaction
Execute ENA
Design Development +
Entitlements
Execute DDA
CDS + Construction
Building Permit
Occupancy
Fundraising
Preliminary Schedule
The project schedule below outlines a comprehensive plan for the development and realization of The Center at Alameda Point. This schedule reflects the culmination of collaborative efforts and meticulous planning, with the primary objective of bringing to life a dynamic and accessible space that fosters artistic excellence, supports educational opportunities, and stimulates economic growth. Guided by the city’s vision and in alignment with the 2040 General Plan, this schedule outlines the key milestones, critical tasks, and timelines that will propel the project towards its successful completion, enriching the cultural landscape of Alameda and leaving a lasting legacy for generations to come.

OPERATIONS PLAN CONTINUED
24 APPENDIX 1
Consultant
Qualifications

AMS Planning &
Research
Corporate
Profile
March 2023

Table of Contents

AMS Planning & Research ................................................................................................ 2 Our Commitment to Equity, Diversity, Inclusion, Access and Racial and Social Justice ........................................................................................................................ 3 Cultural Facility Feasibility ............................................................................................... 4 Business Planning & Strategy ......................................................................................... 5 Benchmarking ..................................................................................................................... 6 Audience & Market Research .......................................................................................... 6 Policy & Cultural Planning ............................................................................................... 7 Our Team ............................................................................................................................... 8 Selected Projects .............................................................................................................. 18

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A MS Planning & Research
AMS was founded in 1988 with a deep commitment to the role of the arts in our communities.

Each year, we measure and analyze the operations of hundreds of arts organizations and facilities across North America and are deeply involved in innovative change to help producers, presenters, artists and service organizations succeed in these complex times. We develop and apply sophisticated consumer and audience research methodologies to assess market behavior and preferences. We track long-term industry and societal trends to understand the future environment in which our clients will operate.

Since our founding in 1988, AMS has gained particular recognition for our work on important facilities planning projects. Our team has participated in the successful development of $11 billion in capital facilities for the arts, ranging from small projects to those costing hundreds of millions of dollars.

We have guided feasibility studies, project development efforts, and provided implementation planning on arts and cultural projects of every type and every scale.

Our notion of moving organizations beyond “sustainable” to “vital” enterprises is built on fundamental changes in how success is defined for arts and culture, how arts enterprises engage with their communities and their partners, and how a next-generation business model might work. As a result, success is measured not only by the level of activity and excellence, but also by the effectiveness and entanglement in the community; the creation of lasting public value.

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Our Commitment to Equity, Diversity,
Inclusion, Access and Racial and Social
Justice
AMS Planning & Research has long been committed to EDIA, both within our firm, as well as with our clients. Internally, our EDIA committee keeps a pulse on what is happening in the field, leads conversations, suggests action plans and implements engagement that keeps staff informed and forward thinking on these issues. AMS staff has completed conscious/unconscious bias training, in addition to other relevant training.

Notably, after extensive inquiry, planning and investment, in 2019, AMS launched our Pathways to Consulting Fellowship Program, the only program of its type in our sector. The program was initiated to encourage, support, and increase the involvement of those who have been historically underrepresented in arts and culture consulting.

Externally, AMS has been holding the space and facilitating conversations, which include EDIA and racial and social justice topics among the leadership of a number of theaters and performing arts institutions across the country. These conversations help lead to important dialogue, which can result in decision making and implementation.

As a partner with our clients, we will continue to engage in conversation and joint action planning to inform how EDIA priorities help shape the sector and can manifest in the way organizations (staff and board) operate, impacting internal stakeholders, as well as the community. We recognize this work as critical, requiring long-term commitment to time and resources.

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CONSULTING SERVICES
Cultural Facility Feasibility
AMS understands the significant investment associated with building, renovating or restoring a performing or visual arts facility. In our experience, careful planning can greatly enhance the organizational and community-wide benefits of this investment and contribute to the project’s long-term success. AMS works with non-profit and commercial presenters and producers, universities, foundations and state and local governments from across the US to develop a rigorous and objective analysis of market and economic feasibility for new theaters, concert halls, museums and performing arts centers.

Our feasibility services include:
 Vision and mission definition
 Market analysis, competition and potential
 Comparison facility case studies
 Community facility needs assessment
 Facility use projections, space programming and site assessment  Business planning, financial projections and project financing  Historic preservation and adaptive re-use analysis

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Business Planning & Strategy
Today’s environment poses numerous short- and long-term challenges for arts organizations. With many years of experience, AMS consultants have an intimate knowledge of the issues associated with the management and day-to-day operations of arts, cultural and entertainment organizations.

From strategic planning to change management, we work with clients to identify and prioritize planning issues, evaluate alternative responses and build consensus around a course of action which addresses the business opportunities of today and tomorrow.

Our business planning services include:
 Strategic planning
 Board development
 Re-organization, collaborations, mergers and shared services  Staffing and compensation studies
 Operations benchmarking and best practices
 Ticketing and information systems
 Executive recruitment
 Financial modeling and projections

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Benchmarking
Recognizing the power of performing arts centers to engage communities in positive ways and understanding the need for evidence of both efficient and effective operations, AMS has worked with hundreds of North America's theaters and performing arts centers exploring common issues, developing data to benchmark operations, learning about audiences and identifying ways to better serve our communities. Since 2002, we have collaborated with top Performing Arts Centers across North America and around the world to develop AMS Analytics Suite, a standard-setting benchmarking and performance measurement tool to serve Board and staff in planning, operations, performance measurement and business improvement.

Audience & Market Research
Accurate and ongoing understanding of consumers is at the heart of our practice. Successful programming, effective audience development, sustainable business practices, relevant long-term planning – all rely on a keen understanding of consumers and the marketplace. AMS continually invests in the development of research tools, strategies and methodologies.

Combining market intelligence with state-of-the-art research methods, we assist clients in understanding the present and future shape, preferences and behavior of their audiences and market.

Our research services include:
 Research strategy, design and methodology
 Patron file and consumer segmentation analysis
 Market definition and demographics
 Telephone, direct mail and intercept surveys
 Audience questionnaires, focus groups and interviews

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Policy & Cultural Planning
Communities across the nation are faced with a range of challenges far beyond the abilities of any one organization to address. Arts and cultural groups are addressing evolving audience behavioral trends and increased competition for the customers’ leisure time and spending. Communities are focused on “place-making” and the vitalization of the core, attracting creative residents and industries, encouraging economic development and promoting vitality. Good arts policy brings these two sets of goals together.

Thriving cultural environments have proven especially capable of promoting community growth and prosperity. AMS works with arts groups, local government, business, education and foundations in cities across the US to develop strategies which promote the long-term success of their arts, cultural and entertainment institutions, harnessing that success for the benefit of the entire community.

Our cultural planning services include:
 Cultural policy and planning
 Community-wide funding strategies
 Market analysis and visitor potential
 Arts district planning
 Cultural and historic asset inventory
 Economic impact analysis
 Tourism assessment and planning

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Our Team
Steven A. Wolff, Principal
Steven is the founding Principal of AMS Planning &
Research Corp. and AMS Analytics LLC,
headquartered in Connecticut. For 30 years, he has
provided counsel to arts, culture and entertainment
enterprises on strategic initiatives, the planning and
development of capital facilities, and arts industry
research. In addition to work with AMS clients,
Steven is a leading industry thinker and speaker
exploring topics from “ The Long Runway to Return
,” amidst the impact and
complexities caused by the COVID-19 pandemic, the role of ‘anchor cultural institutions’ and ‘re-thinking success’ for 21st century arts and cultural enterprises. He was awarded the ACQ5 Global Award as US Gamechanger of the Year in 2017 and 2018. In both years, the firm was also recognized as US Niche Planning Consultancy of the Year.

Steven has helped to guide more than $11 billion of new and renovated capital facilities for the arts working with notable architects and theater designers. Among the most recent, the Eccles Theater (Salt Lake City), the John F. Kennedy Center for Performing Arts REACH expansion in Washington, DC, and Orlando’s Dr. Phillips Center for the Arts.

Steven provides research and management counsel to drive innovative new business models, including change initiatives, governance and management evolution, strategic planning and program evaluation. He recently guided more than 50 US and Canadian Performing Arts Centers in the creation and launch of the
BIPOC Executive Leadership in the Arts
Fellowship Program f ocused on advancing the visibility and careers of People of Color working at PACs.

The firm’s longitudinal audience research project, the Audience Outlook Monitor, through a partnership with WolfBrown, has provided critical insight for dozens of PACs and arts producers as they navigate the complex path to reopening and the return of audiences.

Steven was on the faculty at the Yale School of Drama (2008 – 2017), where he received a Master of Fine Arts degree in theater administration and taught Decision Support. He serves on the Board of several arts and educational not-for-profit organizations.

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Michele Walter, Managing Director
With more than 30 years of practical experience in
the non-profit performing arts arena, Michele has a
thorough understanding of the operating issues
and opportunities facing many of our performing
arts organizations.

A 15+ year Director with AMS, Michele specializes in
partnering with clients to guide their organizations
through institutional development, as well as implementation of new arts facilities. Michele assisted the developer at Arts Commons as they determined best investment as Arts Commons expands their campus. She recently assisted in a needs assessment and feasibility study for a performing arts centre in the Vaughan Metropolitan Centre. Other recent work includes strategic financial modeling for the Ronald O. Perelman Performing Arts Center as they develop programming scenarios and plan operations for their new facility within the World Trade Center complex.

Michele also partnered with Auburn University from pre-concept through opening of the Gogue Performing Arts Center on campus.

In her recent work with the Maryland State Arts Council, Michele assisted in the development of a new strategic plan guided by the vision of its new Executive Director. She also guided the management team at The Kennedy Center for the Performing Arts through a methodology to evaluate program options for its new REACH expansion through a definition of success and desired artist, patron and institutional outcomes. Her process guides organizations to define a shared vision for success, analyzes and assesses lines of business, and creates detailed plans with recommendations for implementation. Michele’s passion is to enable organizations to adapt within an evolving environment while maximizing value to their stakeholders and community.

Michele has been engaged in equity and social justice initiatives throughout her entire career in the arts. During her tenure as Executive Director at the Richmond Symphony (1995-2002) she formed In Harmony,
an innovative partnership with Richmond area African American churches.

She also received national recognition and award of a three-year composer in residence program with Anthony Kelley
https://blackthinktank.duke.edu/people/anthony-m-kelley .

As Chief Operating Officer of the Virginia Performing Arts Foundation in Richmond, Virginia, Michele ensured minority business enterprise participation through direct contract awards, but also the development of

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apprenticeships, mentoring, and other industry building efforts under a $100 million multi-theater performing arts center construction project.

At AMS Michele has continued to advance her learning by participating in Crossroads anti-racism training, support of and engagement with AMS’s EDIA committee, and on-going participation in EDIA related conversations with many AMS clients.

A native of New Jersey, Michele earned her B.A. degree at the University of Michigan. She resides in Richmond, Virginia.

Jon Faris, Director
Jon is a Director with AMS, supporting our clients
undertaking facility development and strategic
planning. He is currently assisting Gulfshore
Playhouse in Naples, Florida, as they embark on
construction of their $60 million new performing
arts center, as well as project managing strategic
planning processes for The Old Globe in San Diego,
California, and Geva Theatre Center in Rochester,
New York.

Jon was most recently the Head of Production Operations for Category41, an immersive and experiential entertainment studio that creates experience-driven entertainment at the intersection of digital and physical.

Jon also served as Managing Director at Writers Theatre in Chicago, where, for nearly 15 years, he developed strategy and supported the marketing, fundraising, production, finance, facilities, education, and artistic departments. While at Writers Theatre, Jon led the design and construction of the company’s $34 million theatre center designed by renowned architect Jeanne Gang of Studio Gang Architects.

Jon works from his home base in Chicago.

Bill Blake, Director – West Coast
Bill Blake is a Director at AMS and heads the firm’s
Sacramento office. Drawing on over two dozen
years in the field as a leader, advocate, manager,
educator, and consultant, Bill guides clients large
and small through strategic and business planning,
facility feasibility studies, and policy development
processes. Developing plans that mobilize ideas and
aspirations into actionable steps is always Bill’s top
goal with clients. His years of experience leading and managing arts

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organizations combined with his pragmatic approach to planning gives him great insight into how to implement strategies quickly and effectively.

Between turns with AMS, Bill was the Managing Director of the B Street Theatre in Sacramento. In his 11 years there, Bill led the planning, fundraising, design and development of its new $28 million mixed-use performing arts complex, The Sofia Tsakopoulos Center for the Arts.

Bill has been involved in over 70 consulting and planning projects with clients ranging from federal agencies and municipal governments, to small and large not-for-profit organizations; he has developed strategic plans, business plans and feasibility studies for cultural facilities and organizations, including performing arts centers, theaters, museums and interpretive centers, as well as historic theaters.

Prior to joining AMS in 2000, Bill was the General Manager of the Everett Performing Arts Center and served as an administrator at the Village Theatre, both located in Washington State. Bill also worked as an arts educator at the Seattle Children’s Theatre and the Idyllwild Arts Academy in Southern California.

Bill has a Master’s Degree in Arts Administration from Goucher College in Baltimore and an undergraduate degree in Theatre Production from Principia College in Illinois. He lives in Sacramento.

Lynette Turner, Senior Associate
Lynette Turner joined AMS in 1998 and has over 35
years of experience in the arts. She frequently calls
on her past skills as Producing Director, performer,
and facilitator to understand the varied
perspectives and points of view our clients and
project participants represent.

At AMS, Lynette assists clients in the construction of
strategic and business plans as they maneuver their organizations through the complexities of the 21st century. She is currently engaged with New Jersey State Council on the Arts, as well as assisting Pacific Symphony and Baltimore Office of Promotion & the Arts on strategic plans to advance and evolve their organizatoins over the next 5 years.

Lynette is particularly committed to incorporating diverse voices and perspectives as an integral part of AMS’s study process. For six seasons, she managed the evaluation of the DanceMotion USA(sm) program for the Department of State and Brooklyn Academy of Music. The program facilitated international cultural exchange while showcasing the best in contemporary American dance abroad. Lynette has provided guidance to

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the Santa Clara Pueblo Tribe, in Rio Arriba County, New Mexico analyzing their market and determining the feasibility of implementing a cultural arts museum. She has also been engaged in the work of The Yakama Nation, in Yakama, Washington, as they considered the vision and implications of re- imagining new spaces and renovating their existing Cultural Heritage Center. Her work with these important Nations helps to enable the preservation of indigenous North American culture.

Keeping in mind the important role of equity, diversity, inclusion and accessibility (EDIA) in an organization’s culture, she is committed to bringing these issues to the forefront with engaged conversation and guidance that may lead to decision making in this important area. She has completed training in conflict resolution from American Management Association, Race Forward-Building Racial Equity Training, Cornell University, Diversity and Inclusion Initiatives, and Cultural Alliance of Fairfield County-Collective Action Against Racism and Inequality workshops. Lynette sits on AMS’s Equity, Diversity, Inclusion and Accessibilty committee and also manages AMS’s Pathways to Consulting Fellowship, created to help support and escalate the involvement of individuals from groups that have been underrepresented in the arts and culture consulting field.

Lynette is well-known for her facilitation of workshops and residencies focusing on African culture. She holds a BFA in Theatre from the University of Utah. A recipient of the Governor’s Award for Arts Advocacy in Alaska, she has been recognized by Theatre Communications Group, Alaska State Council on the Arts, and the Juneau Arts and Humanities Council. Lynette is also a Positivoligist™ and author of The 10 Be’s of Positivity, 10 Steps to A More Positive Way of Living, as well as an ordained interfaith-interspiritual minister.

Nora Fleury, Project Manager
Nora joined AMS in April 2022. She is currently
working with the AMS team in the development of a
strategic plan for Calgary Opera. She is also involved
in facility development projects in Vaughan, Canada
and at the University of South Alabama.

She brings a breadth of experience working with
multidisciplinary arts organizations, festivals, and
arts leaders across North America and globally and a
deep-seated belief that the arts play a uniquely powerful role in con necting a thriving community.

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Most recently, Nora was the Manager of Programs and Advancement at the International Society for the Performing Arts (ISPA) – a global service organization with a membership of over 500 leaders in the performing arts from 55 countries. During her tenure, she led ISPA’s leadership development and artistic exchange programs, produced multi-day conferences, and stewarded funder partnerships. Prior to ISPA, she held various roles with the Pittsburgh Cultural Trust, Carnegie Mellon University Master of Arts Management Program, 92nd Street Y, Toronto’s Luminato Festival, and Les Grands Ballets Canadiens de Montréal. She holds a Master of Arts Management from Carnegie Mellon University and a Bachelor of Arts in Political Science with minors in Management and Economics from McGill University.

Janet Starke, Consulting Associate
Janet joined the AMS team in August 2022, bringing
over 25 years’ experience in arts administration,
particularly in the performing arts and arts education.

Janet‘s current assignments at AMS include
supporting a market assessment effort for Dothan
City Center in Alabama, strategic planning for New
Jersey State Council on the Arts, and the Modlin
Center for the Arts (University of Richmond), a
market feasibility study for Cal Performances, and a community arts assessment for Lea County, NM on behalf of the J.F. Maddox Foundation.

Prior to joining AMS, Janet served as the Executive Director for the Virginia Commission for the Arts, appointed by Governor Ralph Northam. During her leadership, the agency developed and disbursed more than $2 million annually in grants, and more than $1 million in relief funding to artists and organizations, in addition to providing other supports throughout the pandemic. She was also successful in achieving a $2 million increase in funding by the state’s General Assembly, marking the largest budget in its history. Prior to that she served as the founding Director of Education and, ultimately, Executive Director for Richmond Performing Arts Alliance (formerly CenterStage Foundation), the non-profit organization behind the operations of Dominion Energy Center for the Performing Arts and Altria Theater (Richmond, VA). She spent more than a dozen years administering arts education programs at Nashville Institute for the Arts, The Orpheum Theatre (Memphis), Greater Cincinnati Television (CET), Blumenthal Performing Arts Center and ArtsTeach (both in Charlotte).

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Meg Friedman, Sr. Consultant & Knowledge Manager
Meg Friedman is Consultant & Knowledge Manager
with AMS Planning & Research. She joined AMS in
2016 and has worked on over 85 projects in
strategic planning, facility and business planning,
and program evaluation and planning.

Meg has worked with organizations throughout
North America to define, detail, and advance
strategic priorities, including Assets for Artists (a
program of MASS MoCA), the New England Foundation for the Arts, and the McConnell Foundation in Redding, California. She co-authored a white paper on a decade of performing arts center design and activation for the City of Boise, Idaho. Additional projects include the development of a chapter in Routledge’s Performing Arts Center Management; best practices research into cultural district models for Granville Island in Vancouver, British Columbia; and data for keynote presentations around the world.

Meg helps clients explore and define success by synthesizing interviews, historical data, and industry innovations to affirm existing and identify new ways of doing business.

Projects include a feasibility study for a flagship cultural space in Vaughan, Ontario; facilitation of a strategic planning process for the Wadsworth Atheneum in Hartford, Connecticut; and benchmarking for the Ronald O.

Perelman Performing Arts Center at the World Trade Center.

Meg has also conducted independent research into the arts workforce. She is the co-leading researcher of
Return to the Stage, a year-long initiative to
document the human impact of COVID shutdowns on performing arts workers. Together with collaborator David J. McGraw of Elon University, Meg developed and delivered three Arts Intelligence webinars on the findings, available at www.artsintelligence.io.

Meg has served on AMS’s EDIA committee since its inception in 2018. In this capacity, she gathers research, news coverage, and cross-industry intelligence to inform AMS’s work. She has completed Vital Smarts™ Crucial Conversations training in support of AMS’s internal and client-facing work in EDIA, and in her capacity as Knowledge Manager, she has doubled the number of EDIA-related resources in AMS’s library.

Prior to joining AMS, Meg was a freelance Equity stage manager and worked on Broadway and Off-Broadway, as well as at the Hartford Stage Company, Goodspeed Musicals, The Acting Company, and other regional theaters.

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Meg holds a Master of Arts in Arts Administration from Goucher College and a BA in Theater Design and Production from UCLA. Meg is a California native and resides in New Haven.

Rebekah Boggs , Consultant
Rebekah’s career experiences, which are often based
in community engagement and arts education, are
centered around making the arts accessible to all
members of our community. Prior to joining AMS
Planning & Research, she worked as the Tour
Coordinator and Education Assistant at the Fralin
Museum of Art. In that role, she led the museum’s
social media outreach and designed educational
and artistic resources.

Rebekah also previously served as a Summer Community Fellow at NEW INC, in partnership with the Diversity in Arts Leadership (DIAL) Program. As a Summer Community Fellow, she scrubbed, analyzed, and published NEW INC’s key performance indicators on annual demographic and economic impact, contributing to NEW INCs ongoing commitment to diversity, inclusion, and economic and creative impact. At Franklin Furnace, an avant- garde arts organization, she collaborated with others to design and construct the exhibition, “Label This”, which focused on accessibility in art.

Outside of her career, Rebekah has a strong passion for music and enjoys attending concerts. She was the president of UVA's student-led radio station, WXTJ, during her senior year of college. In 2021, Rebekah was a recipient of AMS’s Expanding Pathways to Consulting Fellowship. She is excited to work with AMS to expand her interest in engaging with the community through the arts, sharpen her skills in research and writing, and learn more about the field of consulting from her mentors. Rebekah is currently supporting the establishment of a Fellowship program for a cohort of performing arts centers. She serves on AMS’s EDIA committee.

Rebekah Boggs holds a B.A. in Art History from the University of Virginia.

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Yuwen Shen, Analyst
Yuwen Shen joined AMS in October 2022, following
her fellowship. Yuwen has a strong intersectional
interest in community development with arts and
cultural practices. As a Morningside Cultural China
Scholar and a world citizen, Yuwen started her
exploration of culture and arts for community
development in different types of organizations.

She worked as a full-time trainee in the UNESCO
Office in Kathmandu in Nepal from 2017 to 2019 in
both the culture and education units. She worked on developing, coordinating, and evaluating programs on cultural heritage digitalization, community heritage activities, indigenous cultural activities, and vocational training in community learning centers. She also researched comparative education policies and heritage protection. Yuwen has worked both in a university museum and a community museum. Her working experiences in public programs, educational activities, large-scale events, publicity, and community engagement have consolidated her understanding of how arts organizations could improve diversity, equity, accessibility, and inclusion.

Since 2019, Yuwen has also worked as the community engagement officer at SEED Social Innovation, one of China’s largest social innovation networks.

She firmly believes that arts and culture could significantly bring positive social impacts to communities through social innovation.

Born and raised in China, she holds a bachelor’s degree in law from Zhejiang University. Yuwen enjoyed a unique experience studying arts and cultural management in the US and Italy. She graduated in Arts Management at Carnegie Mellon University and Innovation and Organization of Culture and the Arts at the University of Bologna.

Lauren Frankel, Research Lead and Special Projects Manager Lauren Frankel joined AMS in September 2022. She
has a deep commitment to using data and analytics
to better understand and support arts ecosystems
and a passion for new music. Prior to joining AMS,
she was Senior Manager of Evaluation and Impact
at Yerba Buena Center for the Arts in San Francisco,
designing and implementing data collection
methods, metrics, and research strategies across
departments to aid in program development and evaluation. Before that, she worked in development for the Kronos Quartet/Kronos Performing Arts Association.

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Lauren holds a B.Mus from Rice University, and a PhD in music history from Yale University, where she completed a dissertation on institutional support for contemporary composition in Finland. She is currently based in San Francisco and her instruments include piano, voice, and chromatic button accordion.

Liz Davis, Office and Business Development Manager
Liz joined AMS in 2014. She facilitates marketing
and business development, manages office and
executive functions, and provides project support.

Prior to joining AMS, Liz independently developed a
national database of performance and event
venues. This work includes the visualization of arts
and events venues across the US, explores the
relationship between types and capacity of venues
and population, and cites industry trends. This collated data provides her with an understanding of arts and events environments across the country.

Liz serves on AMS’s EDIA committee. She explores opportunities for staff training and incorporation of inclusive practices as part of the company’s ongoing commitment to create an equitable, diverse, inclusive and accessible sector and workplace.

Liz holds a BFA in Theatrical Design and Technical Direction from the University of North Carolina.

Andrew Lane, Accounting Manager
Andrew joined AMS Planning & Research in 2019.

Prior to coming to AMS, Andrew worked in public
accounting at Price Waterhouse followed by several
positions within a private Information/Publishing
Multi-national. He also has experience with smaller
business start-ups and has worked in the non-profit
and franchise lending sectors. Andrew has studied
guitar and voice for over thirty years and is involved
in songwriting and music production.

Andrew graduated with a BS in Commerce from the University of Virginia.

18 AMS Planning & Research Corporate Profile
March 2023| AMS Planning & Research

Selected Projects
Below is a selected list of clients with whom AMS has been engaged over the last 5 years.

Audience & Market Research
Cincinnati Arts Association
New York Botanical Garden

Business Planning & Strategy
American Conservatory Theater,
San Francisco
Andrew W. Mellon Foundation
AT&T Performing Arts Center
(Dallas Center)
Arena Stage - Washington Drama
Society, Inc.

Arts Commons, Calgary, AB
Baltimore CenterStage
BAM - Brooklyn Academy of Music
Beaverton, City of
Breckenridge, Town of
Cal Performances
CAPA
Denver Center for the Performing
Arts
Dr. Phillips Performing Arts Center
Fox Fullerton Historic Theatre
Foundation
Golden Thread Productions
Gulfshore Playhouse
Historic Fox Theatre Restorations
John F. Kennedy Center for the
Performing Arts
Mammoth Lakes Foundation
MassMOCA
Maryland State Council on the
Arts
McConnell Foundation
Midland Center for the Arts
New England Foundation for the
Arts
Newport Performing Arts Center
Placer Pops Chorale
Ronald O. Perelman Performing
Arts Center
Salt Lake County
Sarasota Performing Arts Center
Tahoe Arts Regional Foundation
Tempe, City of
Tennessee Performing Arts Center
Vancouver, City of
Wadsworth Atheneum Museum
of Art

Community Cultural Planning
City of Boise
Canada Mortgage and Housing Corporation - Granville Island Saranac Lake, Village of

19 AMS Planning & Research Corporate Profile
March 2023| AMS Planning & Research

Cultural Facility Feasibility
ArtsBridge Foundation
Auburn University
Boise, City of
Cal State – Fresno
Group 4 Architecture, Elk Grove
Civic Center
Gulfshore Playhouse
Harborside Center for the Arts
Hariri Pontarini Architects – City
of Vaughan
Historic Fox Theatre Restorations
Kentucky Center for the Arts
Lansing, City of
Lethbridge, City of
Little Opera House, Inc.

Michael Baker, International,
Rancho Cordova Performing Arts
Center
Mount Shasta Performing Arts
Association
Pittsburgh Theological Seminary
Scotts Valley, City of
TheaterWorks Hartford
University of California - Davis
University of Virginia – Ivy
Corridor

Performing Arts Portfolio
Civic / Arts + Culture Higher Education K-12 Community Development Interiors / Commercial Branding + EGD Architecture | Interior Design | Branding + EGD
UC Davis Mondavi Center for the Performing Arts
Bora Architecture + Interiors is
a 72-person, award-winning
design practice based in Portland,
Oregon. With health, equity, and
sustainability essential to our
pursuit of inspiring architecture,
we create transformative
environments that shape
communities and elevate the
human experience.

Since 1958, Bora has been helping shape Portland’s
architectural design language. Our firm’s path
has been marked with growth and change, but
our devotion to excellence in design, as well as
social and personal responsibility, has always
been at the forefront. Bora’s reputation as experts
in designing buildings for community and cultural
enrichment has taken us far beyond the Pacific
Northwest, while our single office structure has
grounded us in the qualities that define this
region: progressiveness, innovation, collaboration,
optimism, and environmentalism. For 65 years, we
have sought to create designs that are engaging,
inspiring, and unexpected—finely crafted buildings
that spark intellectual curiosity and facilitate human
interaction. But nothing is more fundamental to our
work than our deep commitment to involving our
clients in the creative process.

Health
It is well-established that buildings
can heal, restore, and mitigate
disease. We address human health
by delivering superior indoor air
quality and by thoughtfully selecting
construction materials that keep
toxins out of the air we breathe,
the surfaces we touch, and the
communities that produce them.

The spaces that result from this
effort are truly nurturing, leading
to increased mental acuity and
less transmission of airborne
pathogens. With adequate oxygen,
abundant daylight, targeted
acoustics, and an inspirational
setting, a healthy environment can
unlock human potential.

Climate
In addition to our decades-
long effort at carbon reduction,
architectural design must now
also address growing climate
uncertainty. We optimistically
embrace this challenge as an
opportunity to design better
buildings. We address thermal
comfort, energy efficiency, and
resilience with the tried-and-true
elements of great architecture
that have been serving building
occupants for millennia. Passive
design, reliance on daylight,
regional and renewable materials,
and the targeted application of
technology result in buildings that
address the challenges of the 21st
century.

Equity
We take intentional steps to
expand the benefits of design.

Acknowledging the inequities
in our built environment, we are
committed to changing this
narrative—starting with ourselves
and our design process—to
advocate for equitable design
outcomes centered on people
and their lived experiences. We
seek to create a spatially just
built environment in which the
design and construction process
actively elevates underrepresented
voices, builds lasting connections,
and empowers communities for
success now and into the future.

Our role as architects and designers is to imagine
a better world—and then help our clients build it.

Crystal Springs Uplands School
PPS Lincoln High School Replacement
Absci Biotechnology Workplace + Labs
Global Innovation Exchange
TCU Music Center + Van Cliburn Concert Hall
UC Boulder Center for Academic Success + Engagement
Local Firm, National Presence

TEXAS CHRISTIAN UNIVERSITY
Music Center + Van Cliburn Concert Hall
TEXAS A+M UNIVERSITY
Innovative Learning Classroom Building

UNIVERSITY OF TEXAS, PERMIAN BASIN
Wagner Nöel Performing Arts Center

UNIVERSITY OF TEXAS, AUSTIN
Bass Concert Hall

OREGON STATE UNIVERSITY
Learning Innovation Center
Withycombe Hall Renovation

SEATTLE UNIVERSITY
Master Plan
Student Center

UNIVERSITY OF WASHINGTON
Intramural Activities Expansion
Global Innovation Exchange (with Microsoft)

AIRBNB SEATTLE

LINFIELD COLLEGE
Master Plan
Music and Theater
Nicholson Library
Miller Fine Arts Center

UC DAVIS
Mondavi Arts Center

HARVEY MUDD COLLEGE
Shanahan Center

SCRIPPS COLLEGE
Performing Arts Center

POMONA COLLEGE
Seaver Teaching Theater
Arts Precinct Study

OCCIDENTAL COLLEGE
Art Center Expansion Study

UC SANTA CRUZ
Arts Facilities Renovation + Addition
McHenry Library Renovation + Addition
GOOGLE

STANFORD UNIVERSITY
Jen-Hsun Huang Engineering Center
Yang + Yamazaki Environment + Energy
Shriram BioE ChemE
Spilker Engineering + Applied Science
Science + Engineering Quad Master Plan
Knight Management Center
McMurtry Art + Art History

UC BERKELEY
Zellerbach Hall Study

AIRBNB SAN FRANCISCO

UNIVERSITY OF ALASKA
Southeast Library
Diamond Park Community Center

UNIVERSITY OF NEW MEXICO
McKinnon Center for Management
Fine Arts Center Renovation

VIRGINIA TECH
Black Box Theater
Integrated Arts Center

OLD DOMINION UNIVERSITY
Monarch Theater
Deihn Arts Complex Addition

MICHIGAN STATE UNIVERSITY
College of Music Expansion + Renovation
– Fairchild Theater Renovation
– Cook Recital Hall

MACALESTER COLLEGE
Janet Wallace Fine Arts Center Study

EARLHAM COLLEGE
Center for Visual + Performing Arts
Science Center

UNIVERSITY OF MAINE
Cultural Arts Plan

UNIVERSITY OF OREGON
Knight Campus for Accelerating Scientific Impact
Classroom + Office Building
School of Music + Dance
College of Design Building Renovation/Addition
Student Health and Counseling Center
Tykeson Hall Programming Study

COMMUNITY COLLEGE OF DENVER
Confluence Building
Cherry Creek Building Renovation

UNIVERSITY OF DUBUQUE
Performing Arts Center Study

NORTHERN ARIZONA UNIVERSITY
Franke College of Business

DARTMOUTH COLLEGE
Hopkins Center for the Arts
Renovation Study

CU BOULDER
Center for Academic
Success + Engagement

OREGON STATE UNIVERSITY
Cascades Campus Master Plan
Tykeson Hall Academic Building

MESA ARTS CENTER
MICROSOFT BUILDINGS 40,41,83 + ESTERRA 1
Lesher Regional Arts Center
Crystal Springs Uplands School
Tacoma Theater on
the Square
Bexar County Performing Arts Center Study
Federal Reserve Bank Headquarters
Anchorage Federal Courthouse
Ft. Wainwright Fitness Center
Collin County Arts Center

PLANO ISD PERFORMING ARTS CENTER
Bas Bleu Theater Study
National Underground
Railroad Freedom Center
Nike Olympics PLAYground
Silverthorne Elementary School
NikeTown Miami
NikeTown New York
NikeTown Boston
NikeTown Las Vegas
NikeTown Los Angeles
Sacramento Kings Practice Facility
Walton Arts Center
Bull Mtn. Elementary School
Cowley Elementary School

PORTLAND STATE UNIVERSITY
Lincoln Hall, Vernier Science Center
OREGON COLLEGE OF ART + CRAFT
Master Plan
LEWIS + CLARK COLLEGE
Chapel Addition

PORTLAND COMMUNITY COLLEGE
Metropolitan Workforce Training Center

FINE DESIGN GROUP

AIRBNB CX HUB
MEIER + FRANK BUILDING
BodyVox Dance Studio
Portland Center for the Performing Arts

NORTH PEARL DISTRICT MASTER PLAN
Cosmopolitan Condominiums
The Metropolitan Condominiums
The Encore Condominiums
Vista Pearl Condominiums
Bellevue Cultural Arts Center Study
TEXAS A+M UNIVERSITY
Arts + Media Building

UW MADISON
Levy Hall Letters +
Sciences Building

UNIVERSITY OF MONTANA
School of Music Addition
Arts of Collin County
Allen, TX
Master Plan
Bexar County Performing
Arts Center
San Antonio, TX
Feasibility Study
Bodyvox Dance Center
Portland, OR
City of Fremont
Cultural Arts Center
Fremont, CA
Dartmouth College
Hanover, NH
Hopkins Center Renovation
and Expansion Study
Earlham College
Richmond, IN
Center For Fine
+ Performing Arts
Lewis + Clark College
Portland, OR
Flanagan Chapel Renovation
+ Gregg Memorial Pavilion
Linfield College
McMinnville, OR
Miller Fine Arts Center
Vivian A. Bull Center
For Music
Nicholson Black Box Theater
Mesa Arts Center
Mesa, AZ
Michigan State University
East Lansing, MI
Cook Recital Hall Renovation
Fairchild Theater Renovation
College of Music Expansion
Northwest Museum of Arts And
Culture
Spokane, WA
Plano Independent School
District Fine Arts Center
Plano, TX
Portland Arts Incubation Center
Study
Portland, OR
Portland Center for the
Performing Arts
Portland, OR
Portland Institute For
Contemporary Art (PICA)
Portland, OR
Time-Based Art Festivals
Occidental College
Claremont, CA
School Of Music
Renovation Study
Ohlone College
Fremont, CA
Gary Soren Smith Center
For The Fine And
Performing Arts
Old Dominion University
Norfolk, VA
Goode Theater
Diehn Performing Arts Expansion
Pomona College
Claremont, CA
Arts Facilities Expansion Study
Byron D. Seaver
Teaching Theatre
Portland State University
Portland, OR
College of the Arts
Renovation + Expansion
Scripps College
Claremont, CA
Performing Arts Center
Select Arts + Cultural Clients
Bodyvox Dance Center
Texas Christian University
Fort Worth, TX
Precinct Plan
New School of Music and
Performance Hall
College of Fine Arts Study
University of California, Berkeley
Zellerbach Hall + Cal
Performances Master Plan
University of California, Davis
Arts Precinct Plan
Mondavi Center for the Performing
Arts
University of California,
Santa Cruz
Arts Facilities Improvements
Music Building Addition
University of New Mexico
Albuquerque, NM
Fine Arts Center Renovation
University of Oregon
Eugene, OR
School Of Music+Dance
Renovation + Expansion
University of Texas, Austin
Austin, TX
Bass Concert Hall
Renovation And Expansion
University of Texas,
Permian Basin
Midland, TX
Wagner Noël
Performing Arts Center
Virginia Tech
Blacksburg, VA
Henderson Hall Renovation
+ Black Box Theater
Walton Arts Center
Fayetteville AR
Renovation + Expansion
Yale Union Laundry Building
Portland, OR
Arts Incubator
Adaptive Re-Use Study
Zoom Arts Incubator Studios
Portland, OR
The spaces are wonderful. This
facility will serve generations
to come with great acoustics,
design, functionality, and
community building. We are so
grateful.

Jim Forger, Dean, College of Music
Michigan State University
“
MSU Cook Auditorium
Univ. of Oregon School of Music + Dance
PSU College of the Arts
Lewis + Clark College Gregg Pavilion
Wagner Noël Performing Arts Center
University of Texas, Permian Basin | Midland, TX | 109,130 SF The University of Texas and the
communities of Midland and Odessa
challenged Bora to provide an iconic
performing arts center in the West Texas
desert. Hovering above the flat plain,
the new Wagner Noël Performing Arts
Center stands as a beacon for the arts
visible from miles around. A symbol for
the University as well as the two adjacent
cities, the center represents the entire
region’s commitment to the arts.

The arts are so much a part of this community
and for forty years people have dreamed of a
facility like this for the symphony, the ballet, and
the opera. We have been at other venues in the
community which have been lovely, but this is
so exceptional. We are so fortunate and blessed
to have this facility in which to make music.

George Pysh, Midland Odessa Symphony Chorale
“
School of Music + Van Cliburn Concert Hall
Texas Christian University | Fort Worth, TX | 62,000 SF By enabling the School of Music to serve its growing program while creating a dynamic presence for the arts, this project creates a regional performance space that will redefine TCU’s contributions to the larger artistic community. At the heart of this new building is an intimate and acoustically perfect Van Cliburn Concert Hall at TCU. The 700-seat state-of-the-art hall will host outstanding musical performances to be enjoyed by music lovers, the TCU student body, and the entire Fort Worth community.

The new Music Center for Texas
Christian University’s School of Music
fulfills a 20-year vision for TCU,
anchoring a new Arts Precinct by
coalescing scattered music facilities into
a single, iconic campus destination.

Billman Music Pavilion
Michigan State University | East Lansing, MI | 47,300 SF (incl. 38,900 SF Addition) This Pavilion builds upon Bora’s work with the MSU
College of Music, since 2001, to program, master
plan, design, and implement the transformation of
their teaching and performance facilities.

Drawing upon Bora’s deep expertise
in music education, the Billman Music
Pavilion nearly doubles the size of MSU’s
College of Music with new, acoustically
engineered space for rehearsal,
performance, teaching, and practice. The
transformative project takes place in the
heart of the campus and was planned with
sensitivity to both the arboretum-like quality
of the landscape and the historic character
of the original 1940 building.

Mondavi Center for the Performing Arts
University of California, Davis | Davis, CA | 108,000 SF The center is one of the most sustainable performance halls in the country. Exterior solar screening protects glazing and shades the lobby porch and pedestrian walkways. We used recycled fir logs recovered from the bottom of Ruby Lake in British Columbia to create the exquisite wall paneling, cabinetry and furniture throughout the facility. A displacement ventilation system under the main hall is highly energy-efficient and quiet. The result is a design that respects the campus’s commitment to the arts, advances its stewardship of the land, and provides a popular forum for campus and community interaction.

The Robert and Margrit Mondavi Center
for the Performing Arts sits at the heart
of the new entry precinct for the UC
Davis campus. Designed as a sculptural
object in the landscape, the Mondavi
Center is a dramatic beacon.

Bass Concert Hall Renovation
University of Texas, Austin | Austin, TX | 90,000 SF
Bass Hall is the centerpiece of the
University of Texas, Austin’s nine-theater
performing arts complex. In 2003,
the campus hired Bora with CCS+H
Architects of Austin to give the building an
architectural identity that communicates
its function as a significant cultural
venue. Our design called for the front
of the building to expanded, creating a
fully transparent five-floor lobby with an
outdoor space for receptions and events
on the sixth floor.

I thank you for making our joint vision become
a reality. Future generations of students, faculty
and staff, future generations of artists, future
generations of Texans will all benefit from this
great theater complex, one of the very best on
any university campus and in any city.

Pebbles Wadsworth, Director UT Austin Performing Arts Center “

Alameda City CouncilDecember 5, 2023

Alameda City Council
December 5, 2023