Music has always been a part of my life, and now as a professional focused on the construction of arts venues, I’ve experienced firsthand what makes these projects both gratifying and challenging. I’ll never forget being on stage and marveling at the connection I felt with the audience but also the amazing spaces where we played. From an early age it struck me how much thought and planning went into creating these places where art could thrive.

Fast-forward a few decades to this past July, when Mortenson proudly placed the uppermost beam for the Rothko Pavilion “topping out” ceremony as part of the Portland Art Museum’s campus transformation. In this project Mortenson was engaged from concept to construction, and I couldn’t help but reflect on all the people and the many years of planning that are coming together to make this new arts space a reality.

When it comes to concert and performing arts venues, one thing is undeniable: you only get one chance to get things right. There are many elements that must be in place to ensure that an arts venue performs as planned and expected. In this case, there were so many small details to consider, like humidity control, light and noise sources, room flow and how the addition tied into two existing structures of very different architectural periods.

It also meant being immersed in the community, which helped give us a clear picture of the project’s funding sources, the city’s political environment and the enthusiasm of the museum’s supporters. All these things are intertwined in conceptualizing, planning and building a space that will long outlast those of us involved in their creation. Mortenson has guided many communities through this process over the decades, and has partnered in the construction of some pretty significant arts and performance spaces, which include:

Arlene Schnitzer Concert Hall (Portland)

The “Schnitz” is one of the city’s last remaining grand theaters from the heyday of motion picture and performance halls. Here we partnered with a team of acoustical specialists, historic building experts and lighting pros to bring this grand dame into the modern era. The Schnitzer Concert Hall stands today as one of Mortenson’s proudest examples of modernizing historical structures.

Walt Disney Concert Hall (Los Angeles)

Take one look at the exterior of this building and you might ask yourself: “How could they possibly make this amazing building work as an advanced performance space with world-class acoustics?” The design, by internationally recognized architect Frank Gehry, was an instant icon in downtown Los Angeles. Working with the top experts in their fields, we accounted for the needs of performers, patrons and community stakeholders to produce a masterpiece of design and function that is unmatched the world over.

Field Arts & 91��Ƶ Hall (Port Angeles, Washington)

The project team’s commitment to the Field Arts & 91��Ƶ Hall has always been about more than just creating a space but about creating a community where people can come together and strengthen their bonds. The design process was a collaborative effort, deeply engaging community members and a diverse group of stakeholders. Their input and ideas were instrumental in celebrating the site’s history through the design. The project maximizes the economic impact on the city and surrounding area by using locally sourced materials that reflect the city’s timber industry history. By supporting local businesses and materials, the events hall reinforces the community’s connection to the space, making it a true community-led facility.

So, what do all these successful projects have in common? They all began well before a building design was even considered, when we ask some very important questions, like whether the need matches the desire (validation phase), and whether the funding there to support and sustain it (feasibility phase).

Based on the answers to these questions, we begin working to ensure that we not only create a wonderful space, but that it pencils out financially in the long run. While the client might be thinking about the building purely as a space to celebrate the arts, we help it look at the challenge and full potential.

For instance, can the interior spaces be turned into an enhanced revenue generator, whether for concessions, merchandising or non-arts event rental? And is the building balancing function (such as location and size of the loading dock or back-of-house spaces) with aesthetics (both visual and aural)?

In addition, we must look to the future and consider what performance or arts spaces could be like 50 to 75 years from now. Some say that the evolving digital world and today’s ability to access content from any place and any time will impact how people consume the arts. To me, it’s like pro football: there are dozens of ways to see a game without being there, but people will still want to do just that. Our challenge is to make the experience far more enticing than just watching performers or viewing an exhibit.

That’s why we work with stakeholders to anticipate an audience’s entire encounter, from entering the lobby where there is a clear sense of arrival and direction, to taking their seats and marveling at the grandeur of the interiors, how the lighting sets a mood and how the stage feels. What they don’t necessarily see are those touches that contribute to an overall feeling – the fabric and finishes that absorb distractive noise, or panels placed to redirect sound to every seat in the house.

In the end, it’s like being the conductor of a symphony, with artisans, technical specialists and tradespeople all working together toward a common goal.

It is so gratifying to draw from my experience performing in and building halls, auditoriums and museums to help organizations and municipalities create homes for the arts in their communities. If your organization is in the process of planning for a new venue, we can help guide you through the many steps. Learn more by visiting .

Carolyn Sizemore is a market director in Mortenson’s Portland office. Contact her at 971-202-4100 or carolyn.sizemore@mortenson.com.

The opinions, beliefs and viewpoints expressed in the preceding commentary are those of the author and do not necessarily reflect the opinions, beliefs and viewpoints of the Daily Journal of Commerce or its editors. Neither the author nor the 91��Ƶ guarantees the accuracy or completeness of any information published herein.

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