Chazen Museum of Art Feasibility Study - Facilities, Planning ...

UNIVERSITY OF WISCONSIN, MADISON 

EAST CAMPUS ARTS FEASIBILITY STUDY 

CESAR PELLI & ASSOCIATES 

JULY 2005

TABLE OF CONTENTS 

Executive Summary 3 

General Site Planning Strategies & Assumptions 9 

New Campus Green Spaces 11 

New Buildings: Phase I 13 

New Buildings: Phase II 15 

Architectural Expression & Exterior Materials 21 

Chazen Museum of Art 23 

School of Music 27 

Building Planning Guidelines 29 

Chazen Museum of Art 31 

School of Music 39 

Preliminary Cost Reports 45 

Base Assumptions 47 

Project Budgets 48 

Vermeulens Cost Consultants Cost Reports 51 

Architectural Narrative 57 

Appendices 63 

A. East Campus Mall Summary 65 

B. Additional Site Planning Strategies Reviewed 68 

C. Bridge/Landscape Character Overview 80 

D. Revised Program, Chazen Museum of Art 87 

E. Revised Program, School of Music 90 

F. Acoustic Narrative 97 

G. Theater Planning Narrative 108

EXECUTIVE SUMMARY 

University of Wisconsin East Campus Arts Feasibility Study | 1

Diagram A: Existing Conditions 

Memorial Union 

Red Gym 

Pyle Center 

LANGDON STREET 

Science Hall 

Bascomb Hill 

Music Hall 

Chadbourne Hall 

905 University Avenue 

PARK STREET 

PARK STREET 

State Historical Society 

Humanities Building 

Villas Communication Hall 

University Club 

Elvehjem Museum of Art 

Library Mall 

MURRAY STREET 

Pres House 

UNIVERSITY AVENUE 

FITCH COURT 

Memorial Library 

University Bookstore 

Future Pres House 

Extension Building 

Peterson Office Building 

Retail Storefront 

University Square 

LAKE STREET LAKE STREET 

STATE STREET 

Phase 2 Site 

Area 

Phase 1 Site 

Area 

University of Wisconsin 

East Campus Arts Feasibility Study 

Cesar Pelli & Associates, Inc Architects 

This diagram is a conceptual layout, based on various site plan and campus maps provided by the University of Wisconsin. The final building layout 

should be verified based on final surveyed information prior to final building design. 

2 | Cesar Pelli & Associates

Executive Summary 

This report is the result of a conceptual study of the east end of the University of Wisconsin campus 

to define an architectural district that is the heart of the visual and performing Arts program on 

campus. The improvements proposed for the block between University Avenue and State Street, 

Murray and Lake Streets will be a marked enhancement to the campus infrastructure, and a critical 

improvement of facilities for the Arts on campus. Key features to these improvements are both 

new buildings as well as new open spaces that will integrate and enhance the traditional campus 

environment. CP&A was privileged to join in a collaborative effort to design the strategies for this 

block on campus, concurrent with campus wide review of improvements to the infrastructure and 

quality of life on campus. 

One of the primary features to the campus improvements, already under development by the University, 

and therefore an inspiration to the site strategy on this block, is the development of the 

East Campus Mall. The existing Murray Street will become the East Campus Mall, a pedestrian 

hardscape/ softscape thoroughfare that will cross the University campus from Lake Mendota 

south to Regent Street, starting at the south end of this street (currently under construction). This 

pedestrian access way will bridge together what is currently a variety of University buildings and 

properties that are not well linked. Currently, the Park Street Office Building and Smith Hall are 

near completion, as is the block of the Mall associated with these buildings. The site for this study 

will be the block that will ultimately tie these two open space systems together - the new axis of 

the East Campus Mall as well as the original campus at Library Mall. See Appendix A for more 

information. 

This block will be a prominent edge to campus. Due to the ambitious program outlined for this site, 

every effort was made to create a humane campus environment within a very urban massing. The 

exterior spaces as outlined in this plan, and how they contribute to the overall built infrastructure 

of the campus is a critical element to making the overall sense of place feel like a continuation of 

campus. We designed building volumes that would integrate into the campus, as well as complement 

the more urban surrounding buildings on University Avenue. University Square is now under 

construction, with retail and housing to be complete in June 2008. UW Tower will be complete in 

December 2008. 

The final strategy begins with the open space concept for this block. The proposed court along 

University Avenue that would framed by the Elvehjem Building, the addition creating the Chazen 

Museum of Art, and Music Phase I is proposed as the ‘East Campus Arts Piazza’. This is a critical 

component of the design strategy for this block, and its landscaping should be addressed and 


designed as an elegant face to the campus. The main entries for both the Chazen Museum of 

Art, and the Music Performance Facility would be directly located on this piazza. The day-to day 

entrance to the School of Music is envisioned to be both from Lake Street, as well as an entrance 

at the corner of the Arts Piazza. 

Secondary to the open space design, and building massing, was the solution for building servicing. 

The service court at the interior of the block will be primarily accessed from Lake Street. Although 

the court itself is ample, turning radii are tight and building perimeter should be carefully coordinated 

with this service access path. Since the creation of this plan, the Pres House addition (residential) 

to the north of the service court has been finalized and begun construction. 

The massing of the buildings was designed to enhance the pedestrian experience throughout the 

block while providing ample space for the program functions. The massing at the block perimeter 

is measured to respond to program and adjacent structures. The primary addition to the Chazen 

Museum of art will be a ‘fraternal twin’ to the original building. The Music Performance building 

will complete the Arts Piazza to the East. The bulk of the program, resulting from the significant 

addition for Phase II Music that will replace existing space, will be stacked to the interior of the 

block. 

Although fenestration on the buildings will need to primarily respond to program at the Chazen 

Museum addition to the existing Elvehjem building and in the Music Performance facility, it is a 

key feature at the ground level, lobbies and entries, and the pedestrian bridge connecting the two 

art wings. The glazing at these critical locations will create a welcoming and accessible gesture 

to the public. Fenestration and architectural expression of the buildings should be considerate of 

the campus context and be in keeping with the materials, character and detail of the remainder of 

the campus. 

Duration 

In late 2004, The University of Wisconsin commissioned CP&A to review the possibilities for development 

on the east end of Campus, specifically the development for the block bounded by University 

Avenue and State Street, between Murray Street and Lake Street. The university identified 

that a new ‘addition’ to the (at the time) Elvehjem Museum of Art and a new building for the School 

of Music. The Study lasted from Late 2004 through the late spring of 2005. Public presentation of 

the site strategies represented here began in May of 2005. 

Study Parameters (Please review the campus existing conditions diagrams, Diagram A.) 

The site contains existing University and private buildings that had to remain in place. The new 

buildings were to be planned for the site areas as identified on the existing conditions diagram. 

The Phase I build out could include the area currently occupied by the Peterson Building, and the 


etail buildings at the corner of Lake and University, but that the full build out of the site would 

have to wait until the Extension Building would come down once those functions were transferred 

to other buildings. Adjacent to this block of work is the existing Elvehjem building, designed by 

Harry Weese in 1967, and one of the most well loved institutions on campus, and in Madison. This 

building, obviously, needed to have a direct tie to any future addition in this study. Adjacent to 

that building is arguably the most controversial building on campus, the Humanities building, the 

location of the current School of Music. This building is considered insufficient space and quality of 

space for the future of the School of Music. Across the University Avenue from the project focus is 

the existing University Square facility that will soon become a very large development containing 

shops, student services, as well as housing units. Adjacent to the site, to the north, are the existing 

buildings that will remain along this edge of State Street. 

Per agreement with UW Facilities, parking analysis and improvements to the existing Elvehjem 

building were not considered as they were being done by other entities. As well, due to the conceptual 

nature of this massing strategy study, we did not review detailed code/life-safety design, 

mechanical or structural engineering assessments (other than to make assumptions for cost 

review), environmental assessment, or survey work during this process. 

Stakeholders & Contributors 

CP&A primarily met with University of Wisconsin Facilities Planning & Management, as well as the 

directors of both the Chazen Museum of Art and the School of Music. CP&A also met informally 

with other heads of arts organizations on campus, as organized by UW Facilities. Information was 

exchanged with Ayers Saint Gross, the campus Master Planners, Potter Lawson, Architects (Architects 

for University Square Development), and UW Facilities. Consultants who worked closely 

with CP&A and the user groups were Theatre Projects Consultants (theater planners), Akustiks 

(acousticians), Vollmer Associates (traffic planners), and Vermeulens Cost Consultants. 

Process 

Cesar Pelli & Associates began the study by reviewing the programs created for the two departments 

in earlier studies. Based on this preliminary information, as well as follow up conversations 

between December and February 2005, CP&A assembled a working program on which this feasibility 

study was based. Between February and March of 2005, preliminary site planning solutions 

(approximately 6) were established as options. The final site plan, as described in the next 

chapter, is one that developed over conversations with many of the key stakeholders, as well as 

in conversation with Chancellor John Wiley who reviewed the site planning schemes in a formal 

presentation on March 9 in Wisconsin. Based on the comments at this meeting, during March and 

April, Cesar Pelli & Associates finalized the conceptual layout and arrangement of the building 

program on the site based on that preferred site strategy. These developments were reviewed 

with the various stakeholders during meetings in New Haven, prior to presenting the designs to 


the public, including the Board of visitors for the UW School of Music and the Chazen Museum of 

Art, in May of 2005. 

Next Steps: Design Process 

CP&A recommends that the University commission a PreDesign Phase prior to the beginning of 

Schematic Design. Ideally to be done by the Architect and Design team that will be hired for Basic 

Services, this period would be valuable time to revisit the conclusions reached above (in the context 

of actual raised funds) to identify any potential changes to those assumptions on which the 

study was based, and to verify some of the critical space planning issues that will be necessary to 

solve quickly, prior to really jumping into the design process. This predesign study would also be 

a good time to review the program with other University Stakeholders, including larger groups of 

faculty and building staff, as well as coordinate facilities with other planned projects. This review 

of the program would also include final reconciliation with building budget (which may differ from 

what was assumed here, especially as the market conditions are in a state of flux). Finally, there 

are a number of site issues, related to survey, geotechnical investigation, and code/building regulation 

issues that would be ideally identified and accomplished prior to beginning the building 

design. The designers will need to review traffic patterns, massing, site layout, etc. with University 

and city officials. 

Additionally, from the building layout perspective, there were a few program issues that will need 

to be addressed prior to the design of the buildings. These include issues such as a review of potential 

program overlap (to reduce building area), integration with a campus wide ticketing system, 

relationship with University Library systems, and final ability to solve a true ‘green room’ or public 

function room at the School of Music Performance Facility as desired. Also, it will be critical during 

the predesign phase to address the program for the green spaces that will be created. These green 

spaces are critical to the success of the concept for this block, and will need their own program to 

generate future designs for these spaces. Coordination with the East Campus Mall Utility Tunnel 

will affect the final building connection at the lower level. 

Finally, it would be ideal, as well, given the climate and the progressive nature of the City of Madison, 

and environmentally conscious population at the University of Madison to include an environmental 

and sustainability assessment to this Pre Design phase scope as well. 


Existing Site Photos 

View to north at Lake Mendota, across Library mall 

View to South along Murray Street (Future East Campus Mall) 

View of Peterson Building 

View to west at Elvehjem Building, towards Humanities 

View to east From Future East Campus Mall (pres House site) 

View to west along University Avenue 


Humanities Building on left 

Existing Elvehjem Building 

View to north, Peterson on right 

Music Phase i Site along University Avenue 

View to North on Lake Street 

View South along Lake Street

GENERAL SITE PLANNING STRATEGIES & ASSUMPTIONS 

After reviewing multiple site planning options (located in the appendix), the team, with Chancellor 

John Wiley, chose the option that is described herein, and shown on Diagrams B-D. Following are 

some key concepts of this plan: 

• Reinforce Campus Green Spaces network by including new green spaces 

• Accommodate all program for the Chazen Museum of Art and the School of Music in a serviceable, 

functioning plan, while preserving a scale and massing that will be commensurate 

with more traditional campus spaces 

• Establish a new building for the Chazen Museum of Art that creates a gateway to the main 

campus 

• Establish visible and publicly accessible performance spaces, providing a unique identity for 

the School of Music 


Diagram B: Landscape Concept 


Red Gym 

Pyle Center 


Science Hall 

Music Hall 



PARK STREET 

PARK STREET 





REAR COURT 

ELVEHJEM BUILDING 

EAST CAMPUS MALL 


Pres House 

NEW PRES HOUSE 

SERVICE COURT 

CHAZEN MUSEUM OF ART 

60,520 sqft. 

3 floors 

ENTRY 

EAST CAMPUS ARTS "PIAZZA" 

SERVICE COURT 

ENTRY 

FITCH COURT 



MUSIC PHASE 2 

168,425 SQFT. 

6 FLOORS 

ENTRY 

MUSIC PHASE 2 

4 FLOORS 

UNSURVEYED 

PROP. LINES 

MUSIC PHASE 1 

58,381 SQFT. 

3 FLOORS 

FUTURE BUILDING 

FOOTPRINT 


MUSIC ENTRY COURT 

BAND BUS PICKUP / DROP-OFF 


STATE STREET 






Primary 

Secondary 


New Campus Green Spaces 

1. East Campus Mall will be developed on the existing Murray Street, continuing in materials 

and detail the development already in process to the south. Additional design features 

unique to this area may be considered here, such as locations for exterior sculpture, special 

signage, and other site furniture. 

2. East Campus Arts Piazza was a key feature of this site plan. This space is intended to blend 

with the existing forecourt of the existing Elvehjem building, but be transformed as a well 

designed campus ‘gateway’ and activity zone for the Arts on campus. 

3. There are additional secondary green spaces that are considered as key spaces for the site 

solution. The final design of these spaces should be commensurate with the design of the 

buildings, both in material, detail, and programming. These are the front entry plaza along 

Lake Street for the School Of Music main entrance, as well as the rear service court that will 

connect the secondary faces of the new Music and Chazen Museum of Art buildings to other 

‘inner block’ development. Although these areas will see deliveries, truck access, and other 

utilitarian functions, they should be pleasant landscaped zones, with adequate lighting for 

safety. These do not have to have the same finishes as the more primary areas, but they 

should be well considered. 

4. In the design of these green spaces, as they are in large part the types of spaces that sustain 

campus life, that special considerations be made to select hardy native, low-maintenace, 

drought resistant (low irrigation requirements) plantings. It would also be nice to consider 

other innovative landscape features such as solar powered pedestrian lighting, pavers of 

natural stone material and or composite materials with a high recycled material content. 

5. East Campus Mall incorporates an underground, walkable utility tunnel that will need to be 

coordinated with green space and building improvements. 


Diagram C: New Buildings, Phase I 


Red Gym 

Pyle Center 


Science Hall 

Music Hall 



PARK STREET 

PARK STREET 






ENTRY ENTRY 


ARTS "PIAZZA" 

ENTRY 

LVM DROP-OFF 

LVM / MUSIC DROP-OFF 


Pres House 



60,520 sqft. 

3 floors 

FITCH COURT 

PEDESTRIAN BRIDGE 

MUSIC PHASE 1 

58,381 SQFT. 

3 FLOORS 

SERVICE COURT 

ENTRY 

ENTRY 



Extension Building 

UNSURVEYED 

PROP. LINES 


FOOTPRINT 




STATE STREET 







New Buildings: Phase I 

1. Building Program: This is detailed in attached spreadsheets in Appendices D & E. Building 

massing in the site strategy represents these total program areas. 

Elvehjem Addition: 60,520 GSF (incl. bridge and tunnel) 

Music Phase I: 

54,851 GSF 

Music Phase II: 

154,991 GSF 

GSF for both buildings assumes all circulation and mechanical spaces, as well as structure, 

walls and shafts. Please note that both programs were assessed based on actual net square 

foot numbers, as assignable square feet, and estimated numbers for grossing based on the 

building type, common practice for those building types, and general building layouts given 

the conceptual nature of the study. Please note that final building areas may differ based on 

design solution. 

2. The new Chazen Museum of Art addition will be placed to the east of the current building, 

across the east campus mall development, creating a ‘fraternal twin’ to the original Elvehjem 

building. This will be a 3 story building, with basement, whose floor levels should match 

the existing building,. The buildings are also intended to be connected through a pedestrian 

bridge at the third level, the primary gallery levels, and with a service tunnel below grade. The 

new lobby will face the new ‘Arts Piazza’ and stretch over towards the East Campus Mall. 

3. Phase I Music will be located in a 3-story form at the corner of Lake Street and University 

Avenue, with its main entrance facing the new ‘Arts Piazza.’ This first building for the School 

of Music will include (as noted in the program in the appendix) the 880 seat Concert Hall, the 

350 seat Recital Hall, and key front of house and back of house support spaces. Both venues 

were assumed to have a balcony, and the footprint in the building layout was verified with 

actual similar sized halls from similar institutions. 

4. All project building arrangements were based on servicing and drop off considerations as well 

as the architectural principles. These buildings provide for a complex, yet feasible, path in and 

out of the loading dock areas for trucks and emergency vehicles of various sizes. There are 

some issues with these loading and unloading scenarios (drawn on Building layout dimensions) 

that will need to be verified by local and state code officials, ideally prior to the commencement 

of design. There may be code modifications required. 

5. Design for all new facilities should be compatible with the 2005 Campus Master Plan and 

sensitive to the existing buildings in the particular area of Campus. 



Red Gym 

Pyle Center 

Diagram D: New Buildings, Phase II 


Science Hall 

Science Hall 

Music Hall 

Music Hall 




PARK STREET PARK STREET 

PARK STREET 


PARK STREET 


Red Gym 

Pyle Center 


ENTRY ENTRY ENTRY 

ENTRY 





Future Building 








LVM DROP-OFF 


ARTS "PIAZZA" 

ENTRY 

243'-3" 

LVM DROP-OFF 






60,520 ARTS sqft. "PIAZZA" 

3 floors 


243'-3" 









Pres House 


60,520 sqft. 

3 floors 


SERVICE COURT 

SERVICE COURT 

ENTRY 

ENTRY 

ENTRY 



100'-8" 

100'-8" 

Pres House 


51'-3" 

51'-3" 

ENTRY 


FITCH COURT 

46'-6" 

FITCH COURT 

MUSIC PHASE 2 

4 FLOORS 


34'-8" 

MUSIC PHASE 2 

168,425 SQFT. 

University Bookstore 6 FLOORS 

ENTRY 

34'-8" 

UNSURVEYED 

PROP. LINES 

MUSIC PHASE 2 

46'-6" 

168,425 SQFT. 

6 FLOORS 

MUSIC PHASE 1 

58,381 SQFT. 

3 FLOORS 

ENTRY 

MUSIC PHASE 2 

4 FLOORS 

UNSURVEYED 

PROP. LINES 

ENTRY 

MUSIC PHASE 1 

58,381 SQFT. 

3 FLOORS 


FOOTPRINT 


FOOTPRINT 



LAKE STREET LAKE STREET LAKE STREET LAKE STREET 

STATE STREET 

STATE STREET 







New Buildings: Phase II 

1. Phase II Music will be located to the north of Phase I Music, and will be built in one phase (i.e. 

although massing of building shows two forms, these will be built at the same time, depending 

on the success achieved in fundraising this may change). These buildings will be a combination 

of 4 and 6 stories as currently envisioned in the massing of the block. The tallest of 

the structures should be located at the inner most part of the block. It was also envisioned 

that the height of this rear structure, in alignment with the service/rear court of the Chazen 

Museum of Art, would be a visible symbol of the School of Music. Per the preference of the 

School of Music, there will be two main entrances to this building, one at the inner corner of 

the Arts Piazza between Phase I Music and the Chazen Museum of Art. The other one located 

at the connector between the two other Phase II buildings, accessible from Lake Street and 

along the passage from the East Campus Mall behind the Chazen Museum. 

Construction Phasing 

Following are estimates for construction ‘start’ based on conversations with UW Facilities Planning 

& Management, as well as expected times when the site will be available. These start dates 

have been assumed for the cost model. 

START 

COMPLETION 

Elvehjem Addition: 2008 2010 

Music Phase I: 2010 2012 

Music Phase II: 2012 2014 


Phase I - View From Southeast 

Phase 1 - View from Southeast 

ersity of Wisconsin 

st Campus Arts Feasibility Study 

Pelli & Associates, Inc Architects 

July 1, 2005 

Model Photograph 

Phase I - View From Southwest 

16 | Cesar Pelli & Associates 

Phase 1 - View from Southwest 



July 1, 2005 

Model Photograph

Phase II - View From Southwest 

Phase 2 - View from Southwest 




July 1, 2 

Model Photogra 

Phase II - View From East 

Phase 2 - View from East 




University of Wisconsin East Campus Arts Feasibility Study | 17 

July 1, 2 

Model Photogra

Phase II - View From west 

Phase 2 - View from West 




July 1, 2005 

Model Photograph 

Phase II - View From west - University Avenue 

Phase 2 - View from West - University Avenue 





July 1, 2005 

Model Photograph

Phase II - View From Northwest 

Phase 2 - View from Northwest 




July 1, 2 

Model Photogra 


ARCHITECTURAL EXPRESSION & EXTERIOR MATERIALS 

The architectural expression of all buildings should be contemporary in nature, but through 

materials and façade development it will be open, friendly and integrated into the campus building 

fabric. However, materials and detailing assumed should be commensurate with this prominent 

location. 


View of Arts Piazza from University Avenue 




July 1, 2005 

Site Rendering 

View of Arts Piazza From Existing Elvehjem Forecourt 

niversity of Wisconsin 


ast Campus Arts Feasibility Study 

sar Pelli & Associates, Inc Architects 

July 1, 2005 

Site Rendering

Chazen Museum of Art 

Museum Addition 

The new fraternal twin of the existing Elvehjem building shall be related in materials and exterior 

expression to the original building, but not a replica. As a centerpiece to the new ‘gateway’ to the 

east end of campus, the new building could be sculptural, but it should remain consistent in scale 

and elegance to the original building. This conceptual study does show a large central volume, 

similar in prominence to Paige Court, but unique in proportion and use. This volume, which also 

contains the main monumental stair, is translated to an exterior roof spine that is exposed as glass 

at its end, creating a glowing face, and viewing position into the Arts Piazza. The expression of the 

lobby adjacent to East Campus Arts Piazza should be transparent and inviting. A first level gallery, 

adjacent to the East Campus Mall, is also intended to be a ‘storefront’ expression, and allow views 

into the art from along the Mall. The opportunity to open the Museum to the major pedestrian 

thoroughfare, even at times when the building is closed, is a unique opportunity that the existing 

building cannot provide. 

Goals: 

• Massing commensurate and compatible with the existing Elvehjem Building, providing a 

visual gateway to East Campus 

• Open and inviting at street level 

• Maximize gallery spaces above all other spaces, including public spaces 

• Maximize ceiling spaces in gallery 

• Facilitate both above and below grade connections between buildings 

• Improve loading and servicing 

• Provide optimum climate controlled systems for art preservation 


View East to new Chazen Museum of Art ground floor galleries 



Pedestrian bridge 

The bridge at the third level of the Chazen Museum of Art, joining the two buildings, is a considerable 

signature element in the design of this block. For the purposes of this study, we assumed a 15 

foot wide bridge with glass walls and a solid roof and floor. The bridge is not intended to accommodate 

significant sized sculpture or art requiring any conservation level lighting or mechanical 

systems, but would be climate controlled and have light shading capability. The bridge will be 

structured with columns at both ends, straddling the East Campus Mall, and with an amount of 

glazing to permit views up and down the East Campus Mall from inside the bridge. Please note 

that the final design of the bridge will need to be considerate to not only the architectural expression 

of the existing and new building, and the building budget, but also the development and character 

of the East Campus Mall site landscaping strategy. 

This design element could offer a naming opportunity, as well as an opportunity for a collaboration 

between an artist and architect. Please note that all costs reflect an architectural solution only. 

Please see Bridge/Landscape Character Memo in the Appendix section for further information. 


versity of Wisconsin 

r Pelli & Associates, Inc Architects 

View of Music Phase I 


July 1, 2005 

Site Rendering 

View of Arts Piazza & Music School Entrance, Phase II Beyond 

ity of Wisconsin 


Campus Arts Feasibility Study 

li & Associates, Inc Architects 

July 1, 2005 

Site Rendering

School of Music 

Music Phase I 

The large volumes of the two performance spaces should be clearly defined in the future massing of the 

building, These unique features to campus, and the arts facilities on campus are clearly ‘public’ in nature, and 

want to be addressed architecturally as something special within the campus context. Although they may 

be solid, built to support very stringent acoustical principles on a very prominent and busy city street, they 

are pure music spaces and could have very transparent elements as long as they incorporate daylight and 

noise control measures. A glassy inviting expression is recommended for the lobby and entrance adjacent to 

the East Campus Arts Piazza and University Avenue. The service spaces that are on the first level under the 

Medium Performance hall would not require abundant exterior glass and should take into consideration the 

future planning of the connection to Phase II. 

Music Phase II 

To distribute a large program on a tight site, this building seemed to work best with the overall massing of 

the campus as two distinct ‘blocks’ that are linked. This also allowed for a more distinctive skyline by doing a 

4-story and 6-story volume. The slightly taller volume did allow for the School of Music to be viewable from 

the East Campus Mall as a ‘destination.’ The overall organization of the building is a typical classroom building 

with stacked floors and multiple sized classroom, practice and teaching spaces. Therefore, the exterior 

expression would seem to indicate window openings and fenestration on par with a more typical campus 

building. 

The central joint between the two masses would be most likely a place to introduce a transparent skin, perhaps 

the form of a glass curtain wall. Consideration should be paid to the western face of the northern building 

bar that will be the terminus of a secondary exterior space running east and west across the East Campus 

Mall between the new Pres House dormitory currently being planned and both twins of the Chazen Museum 

of Art. In addition to an important campus face, this façade will be adjacent to a service court and truck dock. 

Acoustical isolation from these noise generating elements should be another consideration. 

Assumptions for the cost estimate process can be found in the next section. Please see Acoustic and Theater 

Planning Narratives for further information. 

Goals 

• Provide visibility and prominence to performance spaces, while integrating the building into the 

campus 

• Provide links between building spaces, including social spaces, for community interaction 

• Provide functional spaces for rehearsal and performance with upgraded systems for optimal acoustic 

functioning 


BUILDING PLANNING GUIDELINES 

The following diagrams describe the general planning assumptions made more specifically on the 

footprint and internal layouts of the building. Although these layouts are conceptual in nature, 

they do identify particular strategies that fit with the overall site plan guidelines of the district. The 

building layout diagrams (plans and sections) represent a more detailed approach to a feasibility 

study, but were critical for testing the organization of such complex buildings with many multistory 

spaces. Also, the layout process helped clarify some of the institutional goals in creating 

significant improvements in their facilities. 




Diagram E: Traffic Layout showing WB 57, typical truck Access 




LVM DROP-OFF 


LVM DROP-OFF 



Pres House 

67'-8" 9'-8" 



CHAZEN ARTS "PIAZZA" MUSEUM OF ART 

60,520 sqft. 

3 floors 

117'-0" 

ALIGN 





67'-8" 

ALIGN 

12'-0" 

12'-0" 

9'-8" 

Pres House 



60,520 sqft. 

3 floors 

117'-0" 

ENTRY 

ENTRY 

ARTS "PIAZZA" 

159'-0" 

100'-8" 

159'-0" 


100'-8" 


SERVICE COURT 

SERVICE COURT 

ENTRY 

ENTRY 

ENTRY 

ENTRY 

FITCH COURT 

FITCH COURT 

MUSIC PHASE 2 

4 FLOORS 

UNSURVEYED 

PROP. LINES 

MUSIC PHASE 1 

58,381 SQFT. 

3 FLOORS 

MUSIC PHASE 2 

4 FLOORS 

UNSURVEYED 

PROP. LINES 

MUSIC PHASE 1 

58,381 SQFT. 

3 FLOORS 


MUSIC PHASE 2 

168,425 SQFT. 

6 FLOORS 



FOOTPRINT 

ENTRY 

ENTRY 

MUSIC PHASE 2 

168,425 SQFT. 

6 FLOORS 



LAKE STREET 






FOOTPRINT 

Cesar This diagram Pelli & is Associates, a conceptual Inc layout, Architects based on various site plan and campus maps provided by the University of Wisconsin. The final building layout 


LAKE STREET


As mentioned, this building in footprint, massing, and elegance should be a fraternal twin to the 

original Elvehjem building. This building layout carefully identified gallery and storage space, per 

request by the Museum Director, at the heights and locations that worked well with the existing 

building, as well as the relationship of the new building to the East Campus Mall. The interior 

organization is similar to its twin across the East Campus Mall, as there is a central vertical organizing 

circulation. This central volume connects the galleries on multiple floors with visual and 

physical connections. Storage spaces are provided in the basement of the new building as well as 

directly adjacent to the galleries. This will provide the benefit of allowing the environmental and 

mechanical conditions of both to mirror and alleviate some of the issues with moving art vertically 

through the facility. The ground level provides for auditorium space that could serve for lectures, 

film, and special presentations. A small gallery directly adjacent to the East Campus Mall would 

allow for the art programs to engage the pedestrian traffic. Most gallery spaces were assumed to 

have 18’ ceilings, however there will be some lower ceilings in some of the galleries on the second 

level in keeping with the organization of the original building. It is critical to the mission of the 

new addition that gallery heights are maximized and that careful space layout allows most gallery 

spaces to have 18’ or double height ceilings. 

The building program consciously minimized storage to maximize gallery space. It also provides 

tall gallery-height storage space directly adjacent to the gallery space. Final layout may shift 

depending on storage program. 



ENTRY 




EAST CAMPUS EAST MALL CAMPUS MALL 


Pres House 



ARTS "PIAZZA" 

LVM DROP-OFF 





67'-8" 

ALIGN 

9'-8" 


60,520 sqft. 

3 floors 

117'-0" 


12'-0" 

ENTRY 

159'-0" 

100'-8" 

SERVICE COURT 

ENTRY 

ENTRY 

FITCH COURT FITCH COURT 

Diagram F: Traffic University Layout Club showing WB 67, Extended Trailer & Cab truck Access 


LVM DROP-OFF 



67'-8" 

ALIGN 


MUSIC PHASE 1 

MUSIC 58,381 SQFT. PHASE 2 

34 FLOORS 

UNSURVEYED 

PROP. LINES 

MUSIC PHASE 1 

58,381 SQFT. 

3 FLOORS 



FOOTPRINT 

Cesar This diagram Pelli & is Associates, a conceptual Inc layout, Architects based on various site plan and campus maps provided by the University of Wisconsin. The final building layout 


12'-0" 

9'-8" 

Pres House 


(Under Construction) 


60,520 sqft. 

3 floors 

117'-0" 

ENTRY 

ARTS "PIAZZA" 

159'-0" 

100'-8" 


SERVICE COURT 

ENTRY 

ENTRY 

MUSIC PHASE 2 

4 FLOORS 

UNSURVEYED 

PROP. LINES 



FOOTPRINT 

ENTRY 

ENTRY 

MUSIC PHASE 2 

168,425 SQFT. 

6 FLOORS 

MUSIC PHASE 2 

168,425 SQFT. 

6 FLOORS 

BAND BUS PICKUP / DROP-OFF BAND BUS PICKUP / DROP-OFF 

LAKE STREET LAKE STREET

The building loading and servicing was well considered during this phase. Although it is a tight 

site, the building layout has been oriented to allow for a standard Semi-tractor trailer up to a WB 

67 truck (virtually 80’ long, per CMA requirements). Building layouts show the in and out movements 

of both kinds of vehicles, and have been verified by traffic engineers with sufficient turning 

radii. Although these deliveries could come at any time, this is not a daily occurrence, and the staff 

is always aware of the impending delivery. Although enough space should be available for the 

turning radius, landscape design and supervision of this service court is critical in order to maintain 

the free space required for easy access. However, with a dedicated loading area, this should 

be a significant improvement over the current conditions. All zones of unloading, receiving, and 

travel to uncrating and gallery areas should be in well conditioned and environmentally controlled 

space. Loading connections at the lower level and Bridge are ideal for building functionality. All 

traffic in and out of the block should be reviewed with the appropriate University of Wisconsin 

officials. The final construction footprint of Pres House was not available at the time of this study, 

but the design footprint was coordinated into the traffic movements. 

This facility should be well considered for sophisticated building management systems for humidity 

control, temperature control, sprinkler systems, as well as mechanical systems, far in excess of 

the existing building. 

Please review the diagrams for more specific information, and conceptual building layout. 


DN 

UP 

UP 

UP 

UP 

UP 

UP 

DN 

DN 

UP 

UP 

DN 

DN 

UP 

DN 

UP 

100J 

Chazen Museum of Art layout Diagrams 

202 

A 

L114 

L118 

L122 

L126 

B 

203 

C 

D 

E 

L102 

L101 

L112 

L101B 

L101C 

L100A 

L100M 

L100M 

L160 

L100H 

L100Q 

L130 

L100B 

L140 

100J 

110 

100E 

100A 

160A 

160 

100B 

160E 

100L 

100H 

140 

204 

205 

ROOF 

UPPER PORTION 

L100C 

L101E 

L101D 

L100D 

L100M 

L154 

120 

160B 

160D 

158 

150 

272M 

L150 

100D 

160C 

100C 

272K 

L174 L170 L166 L162 

272J 

272I 

UNDERGROUND 

CONNECTION TO 

EXISTING LVM 

(COORDINATE 

WITH ECM UTILITY 

TUNNEL) 


MECHANICAL 

1951NSF 

MECHANICAL 

2737 NSF 

PUBLIC 

RESTROOMS 

COATS 

RECEPTION / 

SECURITY 

GALLERY 

4000 NSF 

SERVICE 

SUPPORT 

6232 NSF 

SECTION 1 

ORIENTATION 

770 NSF 

STORE 

1569 NSF 

LOBBY 

AUDITORIUM 

2968 NSF 

SECTION 1 

CATERING/ 

PUBLIC 

SUPPORT 

SECTION 2 

BASEMENT 

EL. -15' 

11000 GSF 

LOADING / 

RECEIVING / 

STORAGE 

3147 NSF 

SECTION 2 

GROUND FLOOR 

EL. 0' 

20367 GSF 

Note: 

• Existing building at top, new building at bottom. 

• Fourth floor of existing building not shown. 

This diagram is a conceptual layout, based on various site plan and campus maps provided by the University of Wisconsin. The final 

building layout should be verified based on final surveyed information prior to final building design. 




Cesar Pelli & Associates, Inc Architects

DN 

UP 

UP 

UP 

UP 

DN 

DN 

UP 

UP 

UP 

DN 

Chazen Museum of Art layout Diagrams 

320A 

320B 

202 

203 

204 

205 

206 

200J 

200K 

207 

200A 

208 

210 

213 

212 

214 

200L 

216 

218 

220 

222 

224 

226 

200M 

237 

227 

200H 

200N 

231 

232 

239 229 

310 

310A 

310B 

300A 

320 

360 

300H 

330A 

330 

330B 

390A 

300B 

340A 

ROOF 

UPPER PORTION 

OF 100J 

200E 

DN 

200D 

260 

DN 

200B 

UPPER PORTION 

OF 100K 

ROOF 

390 

DN 

300D 

OPEN TO ROOM 

260 BELOW 

340 

390B 

300C 

340B 

272M 

380B 

360A 

360 

350A 

380 

380A 

370 

350B 

350 

370B 

370A 

BRIDGE 

CONNECTION TO 

EXISTING LVM 

CLASSROOM 

800 NSF 

GALLERY 

11286 NSF 

CLASSROOM 

800 NSF 

DN 

GALLERY 

7453 NSF 

ART STORAGE 

3363 NSF 

ART STORAGE 

3363 NSF 

DN 

200C 

272K 

272N 

272A 

272B 

272 

272C 

262 

241 

200S 

247 

251 

249 

272J 

272I 

272H 

200R 

272G 

272F 

272D 

272E 

240 

242 

200P 

244 

246 

252 

SECTION 1 

SECTION 1 

SECTION 1 

FLOOR 

SECTION 2 

2ND FLOOR 

EL. 11'-6" 

13131 GSF 

SECTION 2 

3RD FLOOR 

EL. 21'-6" 

16661 GSF 

Note: 

• Existing building at top, new building at bottom. 

• Fourth floor of existing building not shown. 

This diagram is a conceptual layout, based on various site plan and campus maps provided by the University of Wisconsin. The final 

building layout should be verified based on final surveyed information prior to final building design. 

Scale: 1/32" = 1'-0"' July 1, 2005 

Building Layout Diagrams 


Building Section layout Diagram 

GALLERY 

18'-6" 

LOBBY 

GALLERY 

8' 

CLASSROOM 

AUDITORIUM 

FUTURE STRUCTURE 

PRES HOUSE ADDITION 

MECHANICAL 

STORAGE 

(UNDER CONSTRUCTION) 

SECTION 1 

GALLERY 

18'-6" 15' 

REST- 

OFFICE ROOM 

REST- 

ROOM 

GALLERY 

LIBRARY 

GALLERY 

GALLERY 

8' 

GALLERY OFFICE 

BRIDGE BEYOND 

EAST CAMPUS 

MALL 

19'-6" 18'-6" 

GALLERY 

GALLERY LOBBY 

8' 

GALLERY 

STORAGE 

STORAGE 

STORE 

STUDENT 

PRACTICE 

STUDENT 

PRACTICE 

CLASSROOM 

AUDITORIUM 

CLASSROOM 

TUNNEL BEYOND 

MECHANICAL 

STORAGE 

ECTION B 

SECTION 2 

Arts Feasibility Study 

hitects 




Scale: 1/16"=1'-0" 

Building Section Layout Dia

GALLERY 

18'-6" 

LOBBY 

GALLERY 

8' 

CLASSROOM 

AUDITORIUM 

FUTURE STRUCTURE 

PRES HOUSE ADDITION 

MECHANICAL 

STORAGE 

Building Section layout Diagram at center of building 

SECTION 1 

GALLERY 

18'-6" 15' 

REST- 

OFFICE ROOM 

REST- 

ROOM 

GALLERY 

LIBRARY 

GALLERY 

GALLERY 

8' 


BRIDGE BEYOND 

EAST CAMPUS 

MALL 

19'-6" 18'-6" 

GALLERY 

GALLERY LOBBY 

8' 

GALLERY 

STORAGE 

STORAGE 

STORE 

STUDENT 

PRACTICE 

STUDENT 

PRACTICE 

CLASSROOM 

AUDITORIUM 

CLASSROOM 

TUNNEL BEYOND 

MECHANICAL 

STORAGE 

SECTION B 

SECTION 2 

Wisconsin 

ampus Arts Feasibility Study 

ociates, Inc Architects 

Scale: 

Building Section Layo 





ENTRY 


EAST CAMPUS EAST MALL CAMPUS MALL 

Diagram G: Traffic University Layout Club showing WB 57, typical truck Access 




LVM DROP-OFF 



Pres House 




60,520 sqft. 

3 floors 

ARTS "PIAZZA" 

LVM DROP-OFF 







67'-8" 

ALIGN 


ARTS "PIAZZA" 

ENTRY 

SERVICE COURT 

ENTRY 

ENTRY 

FITCH COURT FITCH COURT 

MUSIC PHASE 1 

MUSIC 58,381 SQFT. PHASE 2 

34 FLOORS 

UNSURVEYED 

PROP. LINES 

172'-0" 

MUSIC PHASE 1 

58,381 SQFT. 

3 FLOORS 


50'-0" 

85'-0" 

30'-0" 

90'-0" 

154'-0" 


FOOTPRINT 




12'-0" 

9'-8" 

Pres House 



60,520 sqft. 

3 floors 

117'-0" 

ENTRY 

159'-0" 

100'-8" 


SERVICE COURT 

ENTRY 

ENTRY 

MUSIC PHASE 2 

4 FLOORS 

UNSURVEYED 

PROP. LINES 



FOOTPRINT 

ENTRY 

158'-0" 

ENTRY 

MUSIC PHASE 2 

168,425 SQFT. 

6 FLOORS 

MUSIC PHASE 2 

168,425 SQFT. 

6 FLOORS 

180'-0" 

53'-0" 

14'-10" 

14'-1" 

BAND BUS PICKUP / DROP-OFF BAND BUS PICKUP / DROP-OFF 

LAKE STREET LAKE STREET


Phase I 

In order to reduce the overall building footprint, the planning of the first phase of the music school 

was organized to be as compact as possible. The two major halls surround the main vertical lobby 

space and allow for a unified public space. The support spaces provide a buffer between front of 

house and back of house spaces. One of these back of house spaces (Choral Rehearsal) has been 

planned to be convertible to allow for a public reception space during phase I, in addition to its 

more utilitarian function as a large group warm up / dressing area for its long term life. Floor levels 

will have to be coordinated with acoustic and theater planning requirements of the main performance 

spaces. This building will be complex in floor levels due to these requirements, as well as 

life safety and ADA Guidelines. Please note that a pipe organ, and dedicated space for it, was discussed 

during the programming phase of this study. It was considered not necessary at this time. 

If a pipe organ is desired, additional dedicated space would need to be allocated in the program for 

it. Per direction post-study, the School of Music would like the Green Room and expanded Lobby 

to be included in the first phase of the project. The Green Room will then be used as a temporary 

rehearsal space, as well as for public receptions. 

Phase II 

This building was assumed with a 15’ floor to floor typical structure, however the lower three levels 

will need to tie in directly the Phase I performance building, that may not have such regularized 

construction. It is critical to think about this connection while designing Phase I. A central connection 

node could serve as the school central social meeting and congregation space, allowing 

for intra-department interaction. Currently this is shown on every other floor, with a view down 

to each community space from the floor above. Ideally, this space will be adjacent to the primary 

vertical circulation. Careful space planning to allow for ‘natural’ acoustic isolation between 

spaces was assumed to benefit the overall potential costs. The more sensitive acoustic spaces are 

sandwiched between those spaces that have less acoustic sensitivity. The administration suite is 

located on the first floor for easy access for the public and prospective students. The connection 

between Phase I and Phase II will need to be carefully considered. 

The internal building organization was reviewed in detail by the Theater and Acoustic consultants 

as well as the directors of the School. Relationships between working spaces and performance 

spaces were carefully thought out, as were the proportion and general floor level of particular 

practice, teaching and working spaces. Obviously, the final design of the building should keep 

some of these relationships in mind. Please review the diagrams for more specific information, 

and conceptual building layout. 


up 

Music Building layout Diagrams 

SECTION D 

SECTION D 

PERFORMACE 

LIBRARY (BAND) 

660 NSF 

MECHANICAL 

SPACE 

16239 NSF 

SECTION A 

ADMIN 

1603 NSF 

CLASSROOM 

4789 NSF 

BAND 

REHEARSAL 

4325 NSF 

PERFORMACE 

LIBRARY 

1316 NSF 

SECTION A 

PUBLIC ENTRY / 

VERT. CIRCULATION 

1283 NSF 

STORAGE 

8232 NSF 

MECHANICAL 

SPACE 

5196 NSF 

BASEMENT 

EL. -15' 

SECTION B 

SECTION C 

PERCUSSION 

STORAGE 

561 NSF 

CUSTODIAN 

141 NSF 

LOADING DOCK 

745 NSF 

LARGE DRESSING OR 

CHORUS ROOMS 

1216 NSF 

POTENTIAL 

CAFE / ENTRY 

FOH STORAGE 

100 NSF 

SOLOIST DRESSING 

ROOMS 

620 NSF 

CHORAL REHEARSAL 

/ RECEPTION SPACE 

1500 NSF 

CONCESSIONS / 

STORAGE 

374 NSF 

BOX OFFICE / STORE 

571 NSF 

ADMIN 

2950 NSF 

SUPPORT 

SERVICES 

1563 NSF 

LOBBY 

2744 NSF 

ADMIN 

2635 NSF LIBRARY / 

OCHESTRA 

STAFF 

1341 NSF 

ORCHESTRA 

REHEARSAL 

SECTION B 

2896 NSF 

BOH ELEVATOR / 

VERT CIRC. 

CONCERT 

HALL 

13686 NSF 

GROUND FLOOR 

EL. 0' 

CONCERT HALL 

SUPPORT 

1198 NSF 

CATERER'S 

KITCHEN 

392 NSF 

PUBLIC 

RESTROOMS 

1224 NSF 

SECTION C 

CLOAKROOM 

781 NSF 

FOH ELEVATOR / 

VERT CIRC. 

PHASE 1 - 5196 GSF 




isconsin 

mpus Arts Feasibility Study 

ates, Inc Architects 

Note: 

• All areas are approximate. Although these are listed as net square feet, they do include interior 

partititions, minor circulation and some mechanical spaces. 

• Area shaded in gray indicates additional lobby space desired for Phase I program, not calculated 

into the program or cost estimate at this time. 

Scale: 1/32" = 1'-0"' July 1, 2005 

Building Layout Diagrams 




up 

down 

up 

down 

Music Building layout Diagrams 

SECTION D 

SECTION D 

TEACHING 

STUDIOS 

5449 NSF 

CLASSROOMS 

5449 NSF 

GEN 

REHEARSAL 

2920 NSF 

SECTION A 

GENERAL 

REHEARSAL 

2920 NSF 

SECTION A 

SUPPORT 

SERVICES 

2236 NSF 

MEDIUM RECITAL 

HALL SUPPORT 

510 NSF 

REHEARSAL 

STORAGE 

383 NSF 

BOH 

ELEVATOR / 

VERT CIRC. 

POTENTIAL 

ENTRY / 

MUSIC LOBBY 

MEDIUM 

RECITAL 

HALL 

5001 NSF 

ADD'L 

LOBBY 

1634 NSF 

SMALL 

RECITAL 

HALL 

3136 NSF 

CHOIR 

REHEARSAL 

1745 NSF 

PUBLIC 

RESTROOMS 

553 NSF 

SECTION B 

REC. / LIGHT 

BOOTH 

352 NSF 

HOUSE 

MANAGER 

OFFICE 

220 NSF 

FACILITIES MGMT. 

OFFICE 

220 NSF 

SECTION C 

SUPPORT 

SERVICES 

1384 NSF 

STUDENT 

PRACTICE 

1815 NSF 

MEDIUM 

RECITAL HALL 

BALCONY 

1962 NSF 

GENERAL 

REHEARSAL 

2516 NSF 

TEACHING 

STUDIOS 

3251 NSF 

COMMON SPACE / 

VERT. CIRCULATION 

1283 NSF 

SECTION B 

SECTION C 

LOBBY 

BALCONY 

1046 NSF 

FOH 

ELEVATOR / 

VERT CIRC. 

2ND FLOOR 

EL. 15' 

PR WORKROOM, 

OFFICES (1), 

STORAGE 

594 NSF 

CONCERT HALL 

BALCONY 

4313 NSF 

LOBBY 

BALCONY 

1046 NSF 

FOH 

ELEVATOR / 

VERT CIRC. 

3RD FLOOR 

EL. 30' 








Scale: 1/32" = 1'-0"' Ju 

Building Layout Diag 




REST- REST- 

ROOM ROOM 

8' 

8' 

Building Section layout Diagrams 

EAST CAMPUS 

MALL 

TEACHING 

STUDIOS 

STUDENT 

PRACTICE 

STUDENT 

PRACTICE 

GENERAL 

REHEARSAL 

GENERAL 

REHEARSAL 

ADMIN 

PERF. LIBRARY 

STUDENT 

PRACTICE 

STUDENT 

PRACTICE 

STUDENT 

PRACTICE 

BAND 

REHEARSAL 

LAKE 

STREET 

MECHANICAL SPACE 

SECTION A 

GALLERY 

OFFICE 

18'-6" 15' 

GALLERY 

LIBRARY 

GALLERY 

GALLERY 


BRIDGE BEYOND 

EAST CAMPUS 

MALL 

19'-6" 18'-6" 

GALLERY 

GALLERY LOBBY 

GALLERY 

STORAGE 

STORAGE 

STORE 

STUDENT 

PRACTICE 

STUDENT 

PRACTICE 

SUPPORT 

SERVICES 

SUPPORT 

SERVICES 

SUPPORT 

SERVICES 

SUPPORT 

SERVICES 

SMALL RECITAL 

HALL 

PERF LIBRARY / 

OCHESTRA 

TEACHING 

STUDIOS 

TEACHING 

STUDIOS 

ORCHESTRA 

REHEARSAL 

LAKE 

STREET 

CLASSROOM 

AUDITORIUM 

CLASSROOM 

TUNNEL BEYOND 

MECHANICAL 

STORAGE 

STORAGE 

SECTION B 

s Arts Feasibility Study 

chitects 



Scale: 1/3 

Building Section Layou 


CLOAK- 

ROOM 

BOX OFFICE 

CONCESSIONS 

/ STORAGE 

PR 

WORKROOM 

Building Section layout Diagrams 

TEACHING 

STUDIOS 

TEACHING 

STUDIOS 

COMMON 

SPACE 

STUDENT 

PRACTICE 

CLASSROOMS 

GENERAL 

REHEARSAL 

STUDENT 

PRACTICE 

TEACHING 

STUDIOS 

UNIVERSITY 

AVENUE 

LOBBY 

MEDIUM RECITAL HALL 

PUBLIC 

RESTROOMS 

SMALL RECITAL 

HALL 

GENERAL COMMON 

REHEARSAL SPACE 

LOBBY 

PUBLIC 

ENTRANCE 

GENERAL 

REHEARSAL 

GENERAL 

REHEARSAL 

CLASSROOMS 

TEACHING 

STUDIOS 

CLASSROOMS 

MECHANICAL SPACE STORAGE MECHANICAL SPACE 

SECTION D 

EAST CAMPUS 

MALL 

MEDIUM RECITAL 

HALL 

PUBLIC 

CONCERT HALL 

/ STORE 

RESTROOMS 

MECHANICAL SPACE 

LAKE 

STREET 

SECTION C 

f Wisconsin 

ampus Arts Feasibility Study 

ociates, Inc Architects 



Building Section L 


PRELIMINARY COST REPORTS 

After a preliminary site solution, conceptual building layout and massing proposal were established, 

the team pursued a conceptual cost estimate where areas and building systems were 

tracked. After reviewing the cost estimates in multiple passes with the University of Wisconsin, 

the director of the Chazen Museum of Art, and the School of Music, the building program and 

building layouts were tweaked only slightly. Therefore the attached cost estimates represent the 

images in this report quite closely: the renderings, building layouts, and guidelines represent the 

quality intended for these facilities. Cost Estimates were done by Vermeulens Cost Consultants 

who have done many other similar facilities, both for the arts and for Universities. Local market 

data and building conditions, as well as project procurement practices common for the University 

were considered in the estimates. 


Base Assumptions 

• All work done on East Campus Mall of this block (between State St. and University Avenue, 

(utility modifications, landscaping, and installation of sculpture in East Campus Mall), was 

originally included in the budgets for the two buildings. Utilities coming to the site and Site 

Acquisition was originally considered part of the building budgets. The final versions of the 

cost estimates, included here, allocate funds to these elements as a separate line item and 

are planned to be covered by different funds. 

• Exterior Sculpture is not included within this budget. 

• The cost estimates do not include provision for any work done within the existing Elvehjem 

building as it was assumed to be covered by another budgets. 

• Demolition of the Peterson Building is included in the project costs. 

• Furniture Fixtures and Equipment budget was established by looking at commensurate 

facilities, comparative facility size, and institutional expectations. This budget should be 

established more specifically prior to the next milestone cost estimate. 

• Theater equipment budget carried in the estimate was provided by the Theater Planner. 

AV/IT budget was contributed by the Acoustic Consultant. 

• Please see the 3/23/05 Architectural Narrative for all building character assumptions that 

were included in the cost estimation. 

*Please note that the state Energy Standards may have some affect on the costs of the 

building. Please refer to them at http://www.doa.state.wi.us 


Cost Estimate Worksheet 5/16/05 Based on estimate of 62,000 GSF 

Project: UW Chazen Museum of Art Addition Notes 

Construction $22,014,322 * Per Vermeulen worksheet - Bldg, Tunnel, Bridge, Sitework 

Contingency @ 7% Construction $1,541,003 

Subtotal $23,555,325 $380 /GSF Total Construction Cost for Chazen Addition 

DSF Fees @ 4% Const + Cont $942,213 

A/E Fees @ 10% Construction $2,201,432 

Moveable Equipment $1,200,000 used MMOCA as a model 

Project Subtotal $27,898,970 

% for Art @ 0.25% Proj Subtotal $69,747 

Total 2005 $27,968,717 $451 /GSF Total Building Project Cost for Chazen Addition 

Total 2008 $32,164,025 $519 /GSF 15% Escalation (currently seeing 5%/yr) 

Ancillary Costs 

East Campus Mall (50% share) $1,581,250 ** $50/SF x 55,000 SF = $2,750,000, Esc.15% = $3,162,500 

Utility Extension (50% share) $2,300,000 ** $4,000,000, Esc. 15% = $4,600,000 

Demolition (Peterson Bldg) $800,000 ** 

Design Contingency @ 5% Construction $1,100,716 since this is a pre-design phase estimate 

Subtotal Ancillary Costs $5,781,966 

Total $37,945,991 Comprehensive Project Cost for Chazen Addition 

* Construction cost breaks down as follows per Vermeulen worksheet: 

Building $19,635,583 $317 

Tunnel $410,059 $7 

Bridge $512,680 $8 

Sitework $1,456,000 $25 Sitework for Museum/Music Ph 1 shared 50/50 

$22,014,322 $357 

** These numbers based on actual costs related to recent UW projects of similar nature 



Project: UW School of Music Phase 1 Notes 

Construction $23,559,680 * per Vermeulen worksheet - Building + Assoc Sitework 


Subtotal $25,208,858 $472 /GSF Total Construction Cost for Music Phase 1 

DSF Fees @ 4% Const + Cont $1,008,354 


Moveable Equip @10% Construction $2,355,968 typical, not determined by any detailed analysis 


% for Art @0.25% Proj Subtotal $78,501 

Total 2005 $31,478,842 $589 /GSF Total Building Project Cost for School of Music Ph 1 

Total 2008 $36,200,669 $678 /GSF 15% Escalation (currently seeing 5%/yr) 


East Campus Mall (50% share) $1,581,250 ** $50/SF x 55,000 SF = $2,750,000, Esc.15% = $3,162,500 

Utility Extension (50% share) $2,300,000 ** $4,000,000, Esc. 15% = $4,600,000 

Demolition (storefronts) $400,000 ** 

Design Contingency @ 5% Construction $1,177,984 since this is a pre-design estimate 


Total $41,659,903 Comprehensive Project Cost for School of Music Ph 1 

* Construction cost breaks down as follows per Vermeulen worksheet: 

Building $22,103,680 $414 

Sitework $1,456,000 $25 Sitework for Museum/Music Ph 1 shared 50/50 

$23,559,680 $439 

** These numbers based on actual costs related to recent UW projects of similar nature 



Project: UW School of Music Phase 2 Notes 

Construction $44,795,390 per Vermeulen worksheet - Building 


Subtotal $47,931,067 $292 /GSF Total Construction Cost for Music Phase 2 

DSF Fees @ 4% Const + Cont $1,917,243 


Moveable Equip @10% Construction $4,479,539 typical, not determined by any detailed analysis 


% for Art @ 0.25% Proj Subtotal $147,018 

Total 2005 $58,954,406 $359 /GSF Total Building Project Cost for School of Music Phase 2 

Total 2012 $75,461,640 $460 /GSF 28% Escalation (4%/yr typical long term) 


East Campus Mall (50% share) $0 These costs are born by Phase 1 

Utility Extension (50% share) $0 These costs are born by Phase 1 

Demolition (Extension Bldg) $800,000 ** 

Design Contingency @ 5% Construction $2,239,770 since this is a pre-design phase estimate 


Total $78,501,410 Comprehensive Project Cost for School of Music Ph 2 

** This number based on actual costs related to recent UW projects of similar nature 


Vermeulens Cost Consultants 

Toronto, Boston 

Tel: 905-787-1880 Fax:905-787-9116 



05100 

Cesar Pelli & Associates Inc Architects 

Version: 03 Tel: 203 777 2515 

Preliminary Design Estimate Date: Apr-26-05 

Printed: May-12-05, 15:38 

LEVEL 2 ELEMENTAL SUMMARY 

$/sf $/sf Element $ % 

Museum Tunnel 

Bridge 

Site Work 

GROSS FLOOR AREA 64,048 sf $/sf 61,992 $/sf 1,123 $/sf 933 $/sf 0 

A1 SUBSTRUCTURE 17.52 1,122,225 5% 16.40 1,016,725 79.82 89,638 17.00 15,863 0 

A2 STRUCTURE 39.17 2,508,589 11% 38.75 2,402,289 36.50 40,990 70.00 65,310 0 

A3 ENCLOSURE 48.36 3,097,114 14% 42.90 2,659,466 129.58 145,522 313.10 292,127 0 

B1 PARTITIONS & DOORS 28.67 1,836,244 8% 29.39 1,821,844 6.41 7,200 7.72 7,200 0 

B2 FINISHES 30.98 1,983,984 9% 31.61 1,959,359 14.45 16,225 9.00 8,400 0 

B3 FITTINGS & EQUIPMENT 22.40 1,434,880 7% 23.15 1,434,880 0.00 0 0.00 0 0 

C1 MECHANICAL 62.70 4,015,882 18% 64.00 3,967,488 19.00 21,337 29.00 27,057 0 

C2 ELECTRICAL 34.45 2,206,728 10% 35.00 2,169,720 18.00 20,214 18.00 16,794 0 

D1 SITE WORK 20.30 1,300,000 6% 0.00 0 0.00 0 0.00 0 1,300,000 

D2 ANCILLARY WORK 2.34 150,000 1% 1.61 100,000 22.26 25,000 26.80 25,000 0 

DIRECT CONSTRUCTION COST 306.89 19,655,645 89% 282.81 17,531,770 326.02 366,125 490.62 457,750 1,300,000 

Z1 GENERAL REQUIREMENTS 36.83 2,358,677 11% 33.94 2,103,812 39.12 43,935 58.87 54,930 156,000 

Z2 CONTINGENCIES 0.00 0 0% 0.00 0 0.00 0 0.00 0 0 

Z3 OTHER COSTS 0.00 0 0% 0.00 0 0.00 0 0.00 0 0 

INDIRECT CONSTRUCTION COST 

TOTAL CONSTRUCTION COST 

343.72 22,014,322 100% 316.74 19,635,583 365.15 410,059 549.50 512,680 1,456,000 

E.1 




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ELEMENTAL SUMMARY 

GROSS FLOOR AREA 

A1 SUBSTRUCTURE 

Level 3 Elemental $ $/sf 


Bridge 

Site Work 

$/sf 61,992 $/sf 1,123 $/sf 933 $/sf 

A11 Foundations 282,525 4.41 4.14 256,825 12.50 14,038 12.50 11,663 

0 

A12 Building Excavation 839,700 13.11 12.26 759,900 67.32 75,600 4.50 4,200 

0 

0 

A2 STRUCTURE 

A21 Lowest Floor Structure 140,849 2.20 2.15 133,549 6.50 7,300 0.00 0 

0 

A22 Upper Floor Structure 1,689,680 26.38 26.65 1,652,360 0.00 0 40.00 37,320 

0 

A23 Roof Structure 678,060 10.59 9.94 616,380 30.00 33,690 30.00 27,990 

0 

A3 ENCLOSURE 

A31 Walls Below Grade 472,500 7.38 5.65 350,000 109.08 122,500 0.00 0 

0 

A32 Walls Above Grade 1,155,000 18.03 18.63 1,155,000 0.00 0 0.00 0 

0 

A33 Windows & Entrances 903,000 14.10 10.16 630,000 0.00 0 292.60 273,000 

0 

A34 Roof Covering 406,836 6.35 5.97 369,828 18.00 20,214 18.00 16,794 

0 

A35 Projections 159,778 2.49 2.49 154,638 2.50 2,808 2.50 2,333 

0 

B1 PARTITIONS & DOORS 

B11 Partitions 1,555,444 24.29 25.09 1,555,444 0.00 0 0.00 0 

0 

B12 Doors 280,800 4.38 4.30 266,400 6.41 7,200 7.72 7,200 

0 

B2 FINISHES 

B21 Floor Finishes 927,805 14.49 14.82 918,555 4.50 5,050 4.50 4,200 

0 

B22 Ceiling Finishes 482,445 7.53 7.63 473,195 4.50 5,050 4.50 4,200 

0 

B23 Wall Finishes 573,734 8.96 9.16 567,609 5.45 6,125 0.00 0 

0 

B3 FITTINGS & EQUIPMENT 

B31 Fittings 619,920 9.68 10.00 619,920 0.00 0 0.00 0 

0 

B32 Equipment 534,960 8.35 8.63 534,960 0.00 0 0.00 0 

0 

B33 Conveying Systems 280,000 4.37 4.52 280,000 0.00 0 0.00 0 

0 

C1 MECHANICAL 

C11 Plumbing & Drainage 619,920 9.68 10.00 619,920 0.00 0 0.00 0 

0 

C12 Fire Protection 256,192 4.00 4.00 247,968 4.00 4,492 4.00 3,732 

0 

C13 HVAC 2,515,185 39.27 40.00 2,479,680 15.00 16,845 20.00 18,660 

0 

C14 Controls 624,585 9.75 10.00 619,920 0.00 0 5.00 4,665 

0 

C2 ELECTRICAL 

C21 Service & Distribution 630,200 9.84 10.00 619,920 5.00 5,615 5.00 4,665 

0 

C22 Lighting, Devices & Heating 946,328 14.78 15.00 929,880 8.00 8,984 8.00 7,464 

0 

E.1 




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Level 3 Elemental $ $/sf 


Bridge 

Site Work 

$/sf 61,992 $/sf 1,123 $/sf 933 $/sf 

C23 Systems 630,200 9.84 10.00 619,920 5.00 5,615 5.00 4,665 

0 

0 

D1 SITE WORK 

D11 Site Development 700,000 10.93 0.00 0 0.00 0 0.00 0 

700,000 

D12 Mechanical Site Services 350,000 5.46 0.00 0 0.00 0 0.00 0 

350,000 

D13 Electrical Site Services 250,000 3.90 0.00 0 0.00 0 0.00 0 

250,000 

D2 ANCILLARY WORK 

D22 Alterations 150,000 2.34 1.61 100,000 22.26 25,000 26.80 25,000 

0 

DIRECT CONSTRUCTION COST 282.81 17,531,770 326.02 366,125 490.62 457,750 1,300,000 

Z1 GENERAL REQUIREMENTS 

Z11 General Requirements 9.0% 1,769,008 27.62 

25.45 1,577,859 29.34 32,951 44.16 41,198 

117,000 

Z12 Contractor's Fee 3.0% 589,669 9.21 

8.48 525,953 9.78 10,984 14.72 13,733 

39,000 

Z2 CONTINGENCIES 

Z21 Design Contingency 0.0% 0 0.00 

0.00 0 0.00 0 0.00 0 

0 

Z22 Escalation Contingency 0.0% 0 0.00 

0.00 0 0.00 0 0.00 0 

0 

Z23 Construction Contingency 0.0% 0 0.00 

0.00 0 0.00 0 0.00 0 

0 

Z3 OTHER COSTS 

Z31 Other 0.0% 0 0.00 

0.00 0 0.00 0 0.00 0 

0 

TOTAL CONSTRUCTION COST 343.72 22,014,322 100% 

316.74 19,635,583 365.15 410,059 549.50 512,680 1,456,000 

E.2 




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LEVEL 2 ELEMENTAL SUMMARY 

$/sf Element $ % 

Phase I Phase II 

Site work 

GROSS FLOOR AREA 217,016 sf $/sf 53,380 $/sf 163,636 $/sf 0 

A1 SUBSTRUCTURE 12.69 2,754,300 4% 16.61 886,800 11.41 1,867,500 0 

A2 STRUCTURE 40.92 8,880,940 13% 45.98 2,454,500 39.27 6,426,440 0 

A3 ENCLOSURE 52.92 11,484,536 17% 71.58 3,821,200 46.83 7,663,336 0 

B1 PARTITIONS & DOORS 34.49 7,484,225 11% 39.05 2,084,575 33.00 5,399,650 0 

B2 FINISHES 30.16 6,544,885 10% 49.88 2,662,533 23.73 3,882,352 0 

B3 FITTINGS & EQUIPMENT 28.07 6,092,706 9% 67.61 3,608,800 15.18 2,483,906 0 

C1 MECHANICAL 49.75 10,797,420 16% 49.00 2,615,620 50.00 8,181,800 0 

C2 ELECTRICAL 26.23 5,692,300 8% 30.00 1,601,400 25.00 4,090,900 0 

D1 SITE WORK 5.99 1,300,000 2% 0.00 0 0.00 0 1,300,000 

D2 ANCILLARY WORK 0.00 0 0% 0.00 0 0.00 0 0 

DIRECT CONSTRUCTION COST 281.23 61,031,312 89% 369.72 19,735,428 244.42 39,995,884 1,300,000 

Z1 GENERAL REQUIREMENTS 33.75 7,323,758 11% 44.37 2,368,252 29.33 4,799,506 156,000 

Z2 CONTINGENCIES 0.00 0 0% 0.00 0 0.00 0 0 

Z3 OTHER COSTS 0.00 0 0% 0.00 0 0.00 0 0 

TOTAL CONSTRUCTION COST 

314.98 68,355,070 100% 414.08 22,103,680 273.75 44,795,390 

1,456,000 

E.1 


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Site work 

0 


$/sf 53,380 $/sf 163,636 $/sf 

Level 3 Element $ $/sf 



A1 SUBSTRUCTURE 

A11 Foundations 769,000 3.54 8.04 429,000 2.08 340,000 

0 

A12 Building Excavation 1,985,300 9.15 8.58 457,800 9.33 1,527,500 

0 

A2 STRUCTURE 

A21 Lowest Floor Structure 820,000 3.78 8.04 429,000 2.39 391,000 

0 

A22 Upper Floor Structure 6,424,440 29.60 23.21 1,239,000 31.69 5,185,440 

0 

A23 Roof Structure 1,636,500 7.54 14.73 786,500 5.19 850,000 

0 

A3 ENCLOSURE 

A31 Walls Below Grade 838,600 3.86 4.89 261,100 3.53 577,500 

0 

A32 Walls Above Grade 5,203,600 23.98 29.97 1,600,000 22.02 3,603,600 

0 

A33 Windows & Entrances 4,260,600 19.63 25.29 1,350,000 17.79 2,910,600 

0 

A34 Roof Covering 751,200 3.46 6.43 343,200 2.49 408,000 

0 

A35 Projections 430,536 1.98 5.00 266,900 1.00 163,636 

0 

B1 PARTITIONS & DOORS 

B11 Partitions 5,762,975 26.56 32.10 1,713,325 24.75 4,049,650 

0 

B12 Doors 1,721,250 7.93 6.95 371,250 8.25 1,350,000 

0 

B2 FINISHES 

B21 Floor Finishes 1,280,676 5.90 8.10 432,378 5.18 848,298 

0 

B22 Ceiling Finishes 2,374,660 10.94 18.00 960,840 8.64 1,413,820 

0 

B23 Wall Finishes 2,889,549 13.31 23.78 1,269,315 9.90 1,620,234 

0 

B3 FITTINGS & EQUIPMENT 

B31 Fittings 1,924,706 8.87 10.00 533,800 8.50 1,390,906 

0 

B32 Equipment 3,798,000 17.50 54.61 2,915,000 5.40 883,000 

0 

B33 Conveying Systems 370,000 1.70 3.00 160,000 1.28 210,000 

0 

C1 MECHANICAL 

C11 Plumbing & Drainage 1,494,170 6.89 5.00 266,900 7.50 1,227,270 

0 

C12 Fire Protection 868,064 4.00 4.00 213,520 4.00 654,544 

0 

C13 HVAC 7,350,106 33.87 35.00 1,868,300 33.50 5,481,806 

0 

C14 Controls 1,085,080 5.00 5.00 266,900 5.00 818,180 

0 

C2 ELECTRICAL 

C21 Service & Distribution 1,707,690 7.87 9.00 480,420 7.50 1,227,270 

0 

C22 Lighting, Devices & Heating 2,846,150 13.11 15.00 800,700 12.50 2,045,450 

0 

C23 Systems 1,138,460 5.25 6.00 320,280 5.00 818,180 

0 

E.1 


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Site work 

0 


$/sf 53,380 $/sf 163,636 $/sf 

Level 3 Element $ $/sf 



D1 SITE WORK 


D11 Site Development 700,000 3.23 0.00 0 0.00 

0 

700,000 

D12 Mechanical Site Services 350,000 1.61 0.00 0 0.00 

0 

350,000 

D13 Electrical Site Services 250,000 1.15 0.00 0 0.00 

0 

250,000 

D2 ANCILLARY WORK 

D21 Demolition 0 0.00 0.00 0 0.00 

0 

0 

19,735,428 39,995,884 1,300,000 

DIRECT CONSTRUCTION COST 369.72 244.42 

Z1 GENERAL REQUIREMENTS 

Z11 General Requirements 9.0% 5,492,818 25.31 

33.27 1,776,189 22.00 3,599,630 

117,000 

Z12 Contractor's Fee 3.0% 1,830,939 8.44 

11.09 592,063 7.33 1,199,877 

39,000 

Z2 CONTINGENCIES 

Z21 Design Contingency 0.0% 0 0.00 

0.00 0 0.00 

0 

0 

Z22 Escalation Contingency 0.0% 0 0.00 

0.00 0 0.00 

0 

0 

Z23 Construction Contingency 0.0% 0 0.00 

0.00 0 0.00 

0 

0 

Z3 OTHER COSTS 

Z31 Other 0.0% 0 0.00 

0.00 0 0.00 

0 

0 

414.08 22,103,680 273.75 44,795,390 

1,456,000 

TOTAL CONSTRUCTION COST 314.98 68,355,070 100% 

E.2

Architectural Narrative: 

Revised 23 March 2005 

The information below has been assembled to help identify key 

issues that will affect the cost model prepared by Vermeulens 

Cost Consultants from Mid March through April 2005. These 

estimates will be used by the University to assess timing, 

scheduling, and fundraising goals for these building projects. 

Enclosed for your review are multiple documents that should 

familiarize Vermeulens with the current design assumptions. 

Please note that although these facilities will be unique and 

a significant addition to the University of Wisconsin campus, 

these facilities are intended to be executed commensurate 

with quality of other similar University facilities. 

Key elements to be included in the Cost Estimate will be: 

• Conceptual cost/sf assessments for these building 

types given these locations, this economic climate, and 

the estimated timing as stated below. 

• Identification of procurement method assumed for purposes 

of cost 

• Review of University of Wisconsin statement on procurement 

practices, and reflection on the potential 

cost impact of this procedure. (see end of document for 

Information, Section C) Vermeulens to advise on this 

structure and its affect on the soft costs/hard construction 

costs of the building. 

• Identification of suggested escalation to the limits recommended 

by Vermeulens. 

• Costs for landscaping and demolition will be reviewed 

and verified with UW Facilities internal estimates. 

A. Site Plan Assumptions (Please see Diagram, Scheme B) 

1. The new Elvehjem Museum addition will be placed 

to the east of the current building. This 3 story 

building with basement will be located across ‘East 

Campus Mall’, and connected through a pedestrian 

bridge at the third level, and with a utility/back of 

house tunnel below grade. The new lobby will face 

the new ‘Arts Plaza’ and stretch over towards East 

Campus Mall. 

2. Demolition of the Peterson Building (currently 

located at the site where Elvehjem will be located) 

will be covered under the budget for the Elvehjem 

Museum of Art. Please provide as a line item in the 

construction budget. CP&A to send photograph of 

Peterson Building) 

3. Murray Street will become East Campus Mall, a 

pedestrian hardscape/softscape thoroughfare 

that will cross the University campus from Lake 

Mendota south to Regent Street, starting with the 

block in this study. 

4. All work done on East Campus Mall of this block 

(between State St and University Avenue, (utility 

modifications, landscaping, and installation of 

sculpture in East Campus Mall), and all work done 

in existing Elvehjem building will be included in 

the budgets for the two buildings (at the moment 

assume cost to be split between the two project 

construction budgets). Exterior Sculpture is not a 

budget to be tracked with this study. 

5. Phase I Music will be located in a compact 3-story 

form at the corner of Lake Street and University 

Avenue, with its main entrance facing the new 

‘Arts Plaza’ 

6. Demolition of the existing retail buildings at the 

corner of Lake Street and University Avenue will 

need to be covered in the budget for Phase I Music. 

Please identify as a specific line item. 

7. Utilities coming to the site and Site Acquisition will 

be covered by the Soft Cost/Development costs for 

this project. 


8. Phase II Music will be located to the north of Phase 

I Music, and will be built in one Phase (i.e. although 

massing of building shows two forms, these will be 

built at the same time, although depending on the 

success achieved in fundraising this may change). 

9. Demolition cost of the Extension building (in the 

site where Phase II music will be located) will need 

to be identified as a part of the Music Phase II 

budget. Please identify as a specific line item. 

B. Key Building Assumptions 

1. Program: This is detailed in attached spreadsheets. 

Please note that the building layouts are 

close approximations of the programs, but should 

be assumed to be the same, for the time being. We 

will continue to work on discrepancies between 

the two sets of documents. 

Elvehjem Addition: 

60,520 GSF 

(including bridge and tunnel) 

Music Phase I: 

54,851 GSF 

Music Phase II: 

164,596 GSF 

2. Schedule for Construction: Following are estimates 

for construction ‘start’ based on conversations 

with University of Wisconsin Facilities, as well 

as expected times when the site will be available 

based on other projects that need to be demolished 

and relocated. 

START COMPLETION 

Elvehjem Addition: Early-2007 Early 2009 

Music Phase I: Mid-2007 Mid 2009 

Music Phase II: Early 2012 Late 20014 

Please identify what factors or escalation could be 

assumed (per year) if the schedule slips (i.e. recommended 

inflation per year). 

3. Site Landscaping 

This project will most likely be a more ‘urban’ 

project than most campus buildings. The primary 

building forms will meet the sidewalk at grade 

level, on or close to the sidewalk line, or lot line. 

There may be a small low-maintenance ‘green’ 

buffer that will be composed of plant material as 

well as hardscape, but there will most likely not be 

a ‘Yard’ per se. 

There will be two small plazas on this site, as well 

as some greenscaping edges included to the north 

side of the Elvehjem addition, and the west side of 

the new Music Phase II building in order to screen 

and buffer the servicing areas of the building from 

public spaces of the campus. 

The major plaza that would be directly in front of 

the main door of the Elvehjem Addition and Music 

Phase I, directly on University.. This will be primarily 

softscape plaza that will be made up with lawn 

elements, with paths of stamped, integrally colored 

stained concrete that will increase in amount 

towards the entrances. Drop off will be a single 

lane to the north of the sidewalk, but not protruding 

more than one lane into the area. Some small 

trees and shrubbery will be used to soften the 

edges of the plaza and for shaping the open space 

with the building. 

The secondary plaza will be along Lake Street, and 

will include primarily hardscape (again, stamped 

integrally colored stained concrete) with some 

small decorative trees and plantings. This will be 

used as a day-to-day entrance to the building, primarily 

for students and faculty, as well as a primary 

entrance for some public recital functions. 

Both plazas will include exterior lighting as well 

as trash receptacles, kiosks, and benches. These 

space will be used for pre-function gatherings, 

school identity and exhibition, as well as contribute 

to the expression of the open/public arts focus 

of the building. 

CP&A recommends that the area in front of the 

existing Elvehjem, along University Avenue, be 

re-landscaped as a part of the overall development, 

and that the costs be considered as a part 


of the East Campus Mall landscaping budget for 

this block (part of the construction budget for the 

LVM). 

4. Architectural Expression and Exterior Materials 

The architectural expression \will be contemporary 

in nature, but through materials and façade 

development it will be open, friendly and integrated 

into the downtown fabric. Materials and 

detailing assumed should be commensurate with 

this prominent location. 

The primary materials for the Elvehjem building 

should be assumed to be stone veneer and glass— 

both unitized windows and small area of curtain 

wall glazing at primary entry lobby. Building form 

to match the expression and character of the existing 

building, though in a contemporary building 

vocabulary. 

detailing providing a very transparent and ‘light’ 

connection across the mall. 

The tunnel at the lower level is a utilitarian passage 

and would have standard VCT floors, painted 

concrete walls and some ceiling treatment like 

Tectum panels. 

6. General Public Spaces 

Elvehjem lobby will be designed to the elegance 

and stateliness of the existing building. The floor 

will be stone, and the grand stairs leading to the 

main gallery will be stone. There will be primary 

architectural wall in stone, but the majority of wall 

surfaces will be painted GWB. The ceiling will be 

painted GWB. 

These spaces will have internal glazing to some of 

the welcoming series of program spaces. 

Primary exterior materials for the Music Building 

Phase I will be stone veneer and brick, with some 

small areas of curtain wall glazing at the entry 

lobby. Please assume that the Phase I music building 

will have a unique massing character due to its 

prominent location. Music Phase II will be primarily 

brick, with cast stone detailing. Primary glazing 

will be aluminum frame windows, and small areas 

of aluminum curtain wall will be incorporated into 

the building entries. 

5. Pedestrian Bridge 

The bridge at the third level of the Elvehjem, joining 

the two buildings, will be a 15’ foot wide bridge 

with glass walls, and a solid roof, ptd metal panel 

ceiling, stone floor, and painted metal panel exterior 

soffit. The bridge will not contain sculpture or 

art larger than domestic scale pieces. The bridge 

will be structured with columns at both ends, 

straddling the East Campus Mall. 

This bridge could eventually be an artistic commission, 

but for cost purposes, it is assumed to be a 

simple glazed bridge with elegant contemporary 

Music Phase I Lobby will also have stone floors, 

some stone on wall surfaces, and some fabric 

wrapped wall panels on additional surfaces. Ceiling 

will be wood. 

7. Major Venues 

The Elvehjem includes a 200 seat Lecture Hall, with 

a raked floor. The plan will be organized around 

sightlines for slide viewing but there will be welldispersed 

ADA seating accommodations. Floor will 

be both tiered and sloped in areas. Primary materials 

will be fabric wrapped panel walls, and painted 

GWB ceiling. Integral color-stained, concrete floor. 

Lecture Platform will be wood strip flooring, with 

rear wall surface of veneer wood. 

The Gallery spaces should be assumed to have 

wood floors (cross grain floor), gallery partition wall 

surfaces (GWB with plywood substrate for continuous 

blocking), and a decorative cove base detail 

similar to the existing buildings however rendered 

in a unique material (concrete or terrazzo). 


The galleries will have modular track lighting and 

ceiling systems (ptd GWB surfaces with some 

acoustic absorptive panels at ceiling edges) commensurate 

with high-quality museum installations. 

There will be natural clerestory or skylighting 

in galleries, that will have the ability to be 

closed off. 

Please note that the storage spaces at the gallery 

levels will be considered ‘Art Storage’ and 

mechanical conditioning in the storage at the Gallery 

levels will have the same control as the Gallery 

Spaces themselves. As well, the Receiving/Storage/Uncrating 

area at the first level will also need 

to be conditioned. At the moment, the storage at 

the lower level can be standard storage space and 

not conditioned at the same level as the gallery 

spaces. 

8. Studio Spaces: Rehearsal Music and Teaching Studios. 

Music spaces will have specialized acoustic treatments 

on wall and ceiling surfaces—assume fabric 

wrapped panels (with a variety of acoustic substrates) 

for three of the wall surfaces. Third wall 

surface will have painted GWB with a whiteboard 

system mounted on the wall. The Choral room will 

include fixed choral risers. The Rehearsal spaces 

will all have strip wood floors and have some 

adjustable acoustic elements (absorptive curtains 

on tracks). Primary large rehearsal rooms will have 

custom ceiling panels that will also be tempered 

to fit acoustic requirements. Secondary teaching/ 

practice studios could have resilient floor surfacing—assume 

linoleum, custom accessible panel 

systems that will also acoustically determined 

depending on final layout and use of room. 

The current Music Phase I program calls for a main 

Concert Hall of 800 seats, including a balcony level. 

The hall will have a raked floor, fixed seats, accommodation 

for handicap seating, and some adjustable 

acoustic surfaces. The balcony fronts and 

primary wall surfaces at the concert platform will 

be veneer wood paneling. Concert platform will 

be wood. Sidewall detailing will be a combination 

of wood trim, fabric wrapped panels and painted 

GWB. The ceiling will be shaped painted GWB. 

It also calls for a Recital Hall of 350 seats. This will 

also have a raked floor, and a balcony level. The primary 

materials will be painted GWB, and painted 

steel balcony fronts. The platform and primary 

platform walls will be wood. 

Phase II Music includes a Small Recital Hall that 

seats approximately 100 students. Finishes in this 

room will be similar to a primary music studio 

space (below), though there will be additional 

fabric wrapped/acoustically determinant surface 

panels on perimeter walls instead of whiteboard/ 

blackboard systems. 

9. Academic Classrooms 

Typical finishes will be UW standard finishes, high 

impact GWB walls and ACT tile ceilings. There will 

be typically 3 wall surfaces with pinup and white 

board space, as well as low shelving along the walls. 

Classrooms should have light sensor monitors, as 

well as manual shading devices at the window for 

glare control. Architectural Lighting will be a combination 

of ambient and task lighting. 

University standards for classrooms are listed at 

http://ww2.fpm.wisc.edu/major/Guide.html. 

10. Audio/Visual Equipment: 

Please note that the Theater Planner could adjust 

and suggest a preliminary Theater equipment 

budget, but we will have to assume an AV/IT 

budget commensurate with other similar facilities. 

These needs have not yet been determined in the 

Program. 

C. University of Wisconsin Procurement- Summary 

(Per Email from Julie Grove, UW Facilities, 3/18/05) 

• Standard projects are bid as multi-prime contracts 


• The State charges 4% (construction + contingency) 

for their management services - part of soft costs 

• The State’s percent for Art program will be a part 

of this project - 0.25% of the total project....very 

bottom line. 

• Construction contingency is usually estimated at 

7% during this phase 

• All furnishings (moveable equipment) costs should 

be included in total and represented as a line item 

- maybe 10% of construction cost for this type of 

building 

• All telecom/audio visual equipment will need to 

be included for classrooms, lecture halls, etc. Not 

sure how sophisticated they are....maybe 5% of 

construction 

• You will see in my other notes that demo of Peterson, 

utility work, and surface restoration of the 

mall will also need to be included...we have some 

lose numbers and are trying to confirm those. They 

will be shared by both Music and LVM (although 

not nec. Equal) and should be show as line items 

under each. 


APPENDICES 

A. East Campus Mall Summary 

B. Additional Site Planning Strategies Reviewed 

C. Bridge/Landscape Character Overview 

D. Revised Program, Chazen Museum of Art 

E. Revised Program, School of Music 

F. Acoustic Narrative 

G. Theater Planning Narrative 


Appendix A: East Campus Mall Summary 

UNIVERSITY OF WISCONSIN - MADISON 

EAST CAMPUS MALL SUMMARY 

The concept of an east campus pedestrian mall has been around for almost 100 years with the 

first concept developed in 1908 by Warren P. Laird, Paul P. Cret and Arthur Peabody as part of 

an overall vision for the campus master plan. The plan would again resurface in the 1920’s as 

Arthur Peabody continued his work for the university. The concept reappeared in the 1941 

campus plan and was also a focal point of the 1959 plan. Since that time, the East Campus Mall 

has been the focus of numerous studies and design schemes. The most recent Campus Master 

Plan, completed in 1996, again stressed the importance of the mall in providing a sense of place 

in the lower campus area. The plan then identified the corridor as the premier gathering space 

and major north-south pedestrian corridor in the Lower and Southeast Campus Planning Areas. 

Only now is that vision becoming reality with the development of several projects on the east 

campus. 

The overall goal for the East Campus Mall is to create a link between student activity areas, such 

as the Memorial Union, the Student Services Center in the Red Gym, the Elvehjem Art Museum, 

the Wisconsin Historical Society, the southeast residence halls, the Kohl Center, , with the 

central academic core of the campus, the neighborhoods west of the Capitol Square and the 

commercial districts on Regent and Park Streets. The corridor reinforces the concept of having a 

core of student service facilities on the east campus. The project would rehabilitate seven blocks 

along the Murray Street corridor by addressing pedestrian safety issues, vehicular service access 

and campus entrance gateways which consistently arise as concerns of the neighborhoods, City 

of Madison and the campus. 

In 1996, the Campus Master Plan identified the potential lowering of West Johnson Street at 

Murray to provide a pedestrian bridge to increase pedestrian safety. As the Johnson Street 

corridor was being planed for reconstruction, the lowering of the street was determined to be too 

costly and would disrupt too many buried utility lines. The university then worked with the City 

to provide an at-grade crossing with a widened pedestrian cross walk in colored concrete and the 

installation of new set of stop lights. Pedestrian safety has significantly increased with these 

most recent improvements. 

The East Campus Mall corridor will provide a valuable pedestrian and bicycle system for the 

southeast portion of the campus and the surrounding community. The corridor will be able to 

efficiently move large volumes of students and visitors within a pleasing open space fronted by 

students services facilities. 

The first portion of the mall will be developed with the North Park Street residence hall and 

office building south of the railroad tracks. That project will redevelop Murray Street from 

Dayton Street south to Regent Street and establish a southern pedestrian entrance to the campus. 

At each major street crossing, two large columns are planned to signify the entry to campus 

utilizing the historic W-Crest logo found on the UW Fieldhouse. 

As the lower campus continues to redevelop, the East Campus Mall will be constructed with the 

Dayton Street residence hall that is currently in design, the University Square redevelopment 



project and the future Arts & Humanities District redevelopment north of University Avenue. 

Removal of the Peterson Office Building will allow for an addition to the Elvehjem Art Museum 

and a new music performance facility to move ahead as well. All of these projects will front on 

to the East Campus Mall and provide an enlivened pedestrian space. 

As plans are further developed for this area, they will be coordinated with the State Street Mall 

redevelopment project and the need to renovate Library Mall between the Wisconsin Historical 

Society and the Memorial Library. Finally, as the Memorial Union begins work on their future 

restoration plans, the East Campus Mall will be redeveloped into a grand esplanade, opening the 

view from Dayton Street on the south all the way to Lake Mendota. 

The mall is envisioned as a richly detailed campus centerpiece comprised of a pedestrian 

promenade connecting a series of organized open spaces linked to campus area buildings and 

Lake Mendota. This will be achieved by transforming vehicle-oriented Murray Street and 

adjacent outdoor spaces into a series of pedestrian plazas and linkages through the development 

of attractively paved areas and landscape improvements. Mall enhancements will include 

special paving, opportunities to place public sculpture, fountains, abundant space for sitting, 

studying and engaging in social and cultural aspects of the campus, ornamental planting beds, 

information kiosks, signage, attractive lighting and other pedestrian amenities. 

Once completed, the East Campus Mall will provide an area for programmed events, space for 

public art and sculpture display, and a locale for people to interact. It will establish safer 

pedestrian passageways and vibrant settings for the University’s unique blend of outstanding 

waterfront features, academic core, historic architecture, and diverse culture. The East Campus 

Mall will be a campus centerpiece, a synthesis of people, unique physical setting and dynamic 

activity which celebrates the traditions of UW-Madison and sets the stage for continued high 

level quality of life. 

Funding for the project will come from a variety of sources, including private gifts, and be tied 

to each of the major construction projects along the way. The overall project will also be a 

prominent feature of the new campus master plan due out in the fall of 2005. 

Contact for more information: 

Gary Brown 

Director of Planning & Landscape Architecture 

Facilities Planning & Management 

University of Wisconsin-Madison 

263-3023 

gbrown@fpm.wisc.edu 

***** 




OPTION 

Elvehjem North 

Appendix B: Additional Site Planning Strategies Reviewed 

Scheme A 


PARK STREET 

PARK STREET 

MURRAY MALL 

LVM 

15,360 sqft. / floor 

46,080 sqft. 

3 floors 

ENTRY 

ENTRY 



FITCH COURT 

Music Phase 2 


34,207 sqft. 

3 floors 

Music Phase 2 


122,939 sqft. 

4 floors 

COURTYARD 

Music Phase 1 


54,196 sqft. 

3 floors 


STATE STREET 

ADVANTAG 

Public entry f 

More genero 

Strong LVM c 

Prominent ex 

Options for r 

efficiently 

DISADVANT 

Music Loadin 

New LVM wi 

Use of Murra 

term loading 

Planning of H 

affected 

Potential to a 

renovations 








Scheme A 


OPTION 

Elvehjem East 


Scheme B 


PARK STREET 

PARK STREET 

MURRAY MALL 


LVM 


60,000 sqft. 

3 floors 

ENTRY 

FORECOURT 


FITCH COURT 

Music Phase 2 


92,929 sqft. 

7 floors 

Music Phase 2 



63,550 sqft. 

7 floors 

Music Phase 1 


54,196 sqft. 

3 floors 

ENTRY 


STATE STREET 

ADVANTAG 

Entry for LVM 

Phase 1 Musi 

Strong LVM c 

Loading for M 

Shared entra 

DISADVANT 

Music Phase 2 

volume requi 

Potential diffi 

connection 








Scheme B 


OPTION 

Elvehjem East - R 


Scheme C 


PARK STREET 

PARK STREET 

MURRAY MALL 


Music Phase 2 

LVM 


20,217 sqft. / floor 102,874 sqft. 

60,651 sqft. 6 floors 

COURTYARD 

ENTRY 

ENTRY 


FITCH COURT 

Music Phase 2 


59,870 sqft. 

5 floors 

Phase 2 

Loading 

Phase 1 

Loading 

Music Phase 1 


54,196 sqft. 

3 floors 


STATE STREET 

ADVANTAG 

Entry for LVM 

Phase 1 Musi 

Loading for M 

Shared public 

Music and LV 

LVM and Mus 

DISADVANT 

Reduced Mus 

volume requi 

LVM identity 


connection 








Scheme C 


OPTION 

Centralized Servic 


Scheme D 



PARK STREET 

PARK STREET 

MURRAY MALL 

LVM 


64,860 sqft. 

4 floors 

ENTRY 

COURTYARD 

Music Phase 2 


48,525 sqft. 

3 floors 

LVM DROP-OFF 




FITCH COURT 

Music Phase 2 



111,748 sqft. 

5 floors 

Music Phase 1 


54,196 sqft. 

3 floors 

Music Phase 1 


54,196 sqft. 

3 floors 

MUSIC DROP-OFF 

ENTRY 


STATE STREET 

ADVANTAG 

Entry for LVM 

Phase 1 Music 

Loading for M 

Central court 

DISADVANT 

Reduced Mus 

building heigh 

Music drop-o 

Assumes com 

(spanning ser 

LVM identity 





Scheme D 



Scheme E 

OPTION E 

LVM at University Av 


PARK STREET 

PARK STREET 

MURRAY MALL 

COURTYARD 

LVM 


60,000 sqft. 

3 floors 

ENTRY 

LVM DROP-OFF 


FITCH COURT 

Music Phase 2 


157,060 sqft. 

5 floors 

Music Phase 1 


54,196 sqft. 

3 floors 


ENTRY 


STATE STREET 

ADVANTAGES 

Entry for LVM o 

Phase 1 Music in 

Loading for Mus 

Central courtya 

DISADVANTAG 

Reduced Music 

building height 

Music drop-off a 

Potential difficul 

connection 








Scheme E 


OPTION 

LVM at University 


Scheme F 


PARK STREET 

PARK STREET 

MURRAY MALL 

FITCH COURT 

LVM Phase 1 


61,404 sqft. 

3 floors 

COURTYARD 

ENTRY 

ENTRY 

ENTRY 

LVM DROP-OFF 



Music Phase 2 


157,060 sqft. 

5 floors 

Music Phase 1 


54,196 sqft. 

3 floors 


STATE STREET 

ADVANTAG 

Entry for LVM 

Phase 1 Musi 

Loading for M 

Shared entry 

Performance 

DISADVANT 

Reduced Mus 

building heigh 

Music drop-o 

LVM identity 


connection 








Scheme F 


Appendix C: Bridge / Landscape Character Overview 

Cesar Pelli & Associates, Inc 

1 June 2005 

D R A F T 

University of Wisconsin East Campus Arts Feasibility Study 

Architectural Narrative Clarification on the Chazen Museum of Art: 

Illustrations of Pedestrian Bridge and Forecourt “Arts Piazza” Landscaping Options 

In order to provide further clarification on some of the design assumptions provided in the 

East Campus Arts Feasibility study, in light of the recent cost estimate, we have assembled a 

brief illustrative overview of the proposed decorative architectural pedestrian bridge for the 

Chazen Museum of Art, and the forecourt, ‘Arts Piazza’ landscaping. 

The Architectural Narrative released in March (transmitted for review on March 23), set the 

parameters for the cost evaluation. The intent of the preliminary estimate was to provide 

the most critical institutional priorities within a baseline budget, prior to evaluating any 

potential upgrades. Given the ‘donorability’ and ‘naming opportunity’ of many of the 

elements in the new site strategy, it is an appropriate time to review the initial assumptions 

and verify budgets and expectations for the next phase. 

A. Decorative Architectural Bridge Illustrations 

1. Our aim with the initial feasibility study (and covered in the Architectural 

Narrative) was to provide a bridge that met the objectives of transparency 

and optimum building function, but that would be ‘affordable’ even in the 

base scheme. It was framed as a simple architectural solution, clad in glass 

walls, and dimensioned at approximately 15’ wide. 

It was identified in that narrative that this bridge could have an integrated 

artist’s commissioned design, but that the baseline cost established would 

be the simple architectural solution. However, without further design, it 

is impossible to ‘predict’ the cost of something so decorative and unique 

as the bridge might be. Until the scope and extent of the commission is 

negotiated with the particular artist, the cost is variable. 

2. Below is an illustrated range of solutions to provide a sense of probable 

costs in today’s dollars. These numbers were identified by Richard 

Vermeulens (who worked on the main cost estimate) and are listed with 

each option. The costs of each option are estimated range of cost per 

linear foot per bridge. Please note that often, it is not the architectural 

expression or cladding assumptions, but the engineering (structural 

conditions) requirements of the bridge that drives the cost of the bridge 



1 June 2005, UW East Campus Feasibility Study Clarifications Memo, P. 2 

higher. The first ‘base’ assumption shown is an example of what is similar 

to what is ‘in’ the budget (approximately $675,000, including overhead & 

contingencies, based on 75’ bridge). 

i. Example of Base Bridge Assumption: 

View of NTT bridge from exterior 

View of bridge from interior. 

NTT Headquarters (Japan). The bridge in the photo has a glass 

roof, which was not identified for the Chazen Museum of Art 

bridge (i.e not in the budget). The bridge has visible structural 

framing, and straightforward, though carefully designed, 

curtainwall glazing at the perimeter. The span on this bridge is 

quite small, so depending on the final resolution of the Chazen 

design (intermediate columns to keep the spans short), this 

bridge type is feasible with the current budget. 

Estimated Cost $8,000-9,000/linear foot of bridge (solid roof) 

Estimated Cost $9,000-13,500/linear foot (glass roof) 

ii. Upgraded Architectural Bridge: 

View of bridge and large span at exterior 

View of bridge from interior. 

Enron Bridge, Houston Texas: Please note that this particular 

example is curved, but the proposed bridge for the Chazen was 

assumed as a straight bridge. Due to the desire to have no 

Cesar Pelli & Associates, Inc. 




structural column supports at busy streets, and the long spans, 

there is very unique structural engineering at the top and bottom 

of the bridge that makes this bridge more expensive, but very 

transparent. 

Estimated Cost $14,000-18,000/linear foot of bridge 

iii. Example of ‘Baseline’ Artist Collaboration Bridge: 

View of Gaviidae Commons Bridge—Collaboration Cesar Pelli with Siah Armajani 

Gaviidae Commons, Minneapolis. Collaboration of Cesar Pelli 

with Siah Armajani. This is a unique artist whose installation is 

truly integrated into the architectural materials. There are other 

artists who also work in a similar fashion, and then there are 

others that may create a clearly unique and sculptural piece that 

could not be estimated with an architectural budget. 

Estimated Cost: $10,000-15,000/linear foot PLUS Artists’ 

Commission 

iv. Upgraded Artist Collaboration/ Decorative Art Bridge: 





View of Norwest Tower Bridge—Collaboration Cesar Pelli with Siah Armajani. 

Norwest Center Bridge: Collaboration Cesar Pelli with Siah 

Armajani—bridge as sculpture, including significant decorative 

elements . This is still considered art that has been integrated 

into an architectural feature, and its structure, although 

expressive, is still quite straightforward. 

Estimated Cost: $15,000-20,000/linear foot PLUS Artists’ 

Commission 

v. UW identified Dale Chihuly’s bridge in Tacoma Washington as a 

likely type of bridge in this last category (Decorative Art 

SculpturalBridge): This is not exactly the type of bridge that 

could work at the Chazen, as it is an exterior landscape strategy 

rather than an enclosed bridge. Again, any collaboration with an 

artist would include the cost necessary to build the vision as an 

enclosed climate controlled passage, as well as the artist’s 

commission. 

http://www.dianefarrisgallery.com/artist/chihuly/bridge/ 

B. Primary Landscape Plaza Design Illustrations 

1. As you can see in the site plan, there are a number of different areas that have been 

determined for upgrades during the design execution of this project. A total of 

200,000 GSF (approximately). The direction for the cost estimate was to split this 

area ‘evenly’ between projects, irrespective of location and area. In reality, some 

areas will be a primary focus and critical to the Chazen building image, such as the 

‘forecourt,’ or East Campus Arts Piazza, and the East Campus Mall. For the 

purposes of the preliminary estimate, there was an overall cost associated with all 





of the site work at approximately $15/SF. In reality, however, some priority areas 

may receive design solutions that are more like $25-30/SF, but others that are 

more simple (such as the rear of the buildings, at the service zone, might receive 

$10/SF. At this phase of pre-design, it is a fair estimate to assume that the average 

over the whole site will be $15/SF. 

According to the description in the preliminary narrative, to establish the baseline, 

we had assumed a plaza like design, using some of the university standards for 

paving materials, but including landscape features that provide for an attractive and 

inviting setting for the museum. Obviously, upgraded materials are feasibile, and in 

certain cases as long as other areas become more simplified, could be 

accommodated in the more specialized or primarily visible spaces. Again, we had a 

starting point for the estimate so that we could identify a reasonable budget, while 

balancing the priorities of the facility itself. 

2. The following illustrations represent this extent of design that we felt were 

commensurate for this type of project. These were all designed by Diana Balmori, 

Landscape Designer, who collaborated with Cesar on the designs. These 

landscapes probably vary from about $20-30/SF. Again, any specialized artist 

commissions or collaborations could be integrated into the design of the landscape, 

but would be difficult to assess probable cost unless the commission was a known 

piece, or the extent of the collaboration was known (further design required). We 

feel that the following illustrations are adequate ‘starting points’ for the type of 

baseline landscape design that could be accommodated in the budget in the 

prioritized areas. 

Lerner Building, Cleveland Clinic Foundation 





Vassar College, Frances Lehman Loeb Gallery, Sculpture Courtyard 

Wake Forest University 

Crile Building, Cleveland Clinic Foundation 





NTT Headquarters, Japan 



Appendix D: Revised Program, Chazen Museum of Art 

University of Wisconsin - East Campus Mall Development 

Chazen Museum of Art - Revised Program 

EXISTING Building TOTAL 

PROGRAM AREA (ASF) 

EXISTING Building PROGRAM 

AREA TO BE REMOVED FROM 

EXISTING BUILDING 

PROJECTED ROOM COUNT 

PROJECTED Room CAPACITY 

PROJECTED AREA 

PROJECTED 

NEW PROGRAM AREA (ASF) 

GROWTH IN EXISTING 

BUILDING-Projections 

TOTAL NEW BUILDING NSF 

(cumulative with Existing, 

Replaced) 

TOTAL NEW NSF (Total 

Cumulative) 

ROOM TITLE [Existing Room Number] 

NOTES 

1.1 GALLERIES/ ART DISPLAY 

1.1.1 Ancient Art [390] 1,412 - - - 1,412 Existing to Remain 

1.1.2 European 1400-1600 [310] 1,108 - - - 1,108 Existing to Remain. 

1.1.3 European 1600-1800 [320] 2,627 1,000 1,000 - 3,627 Existing to Remain. New Space to be located in existing bldg as available 

1.1.4 European & American 1800-1900 [330, 340, NB] 2,680 2,000 2,000 - 4,680 Existing to Remain. New Space to be located in existing bldg as available 

1.1.5 European & American 1900-2001 [360, 340] 8,844 7,200 1,847 7,200 17,891 

Links to Existing 20 th century galleries in LVM-1 desired. Assume growth in Lane 

Collection 

1.1.6 Asian Art [380] 1,108 1,108 2,500 - 2,500 2,500 Objects in Storage, growth, cultural artic. Needed Assume one new space 2500-3000 

1.1.7 Applied & Decorative Arts [NA, NC, ND, NE, NF, NG, NH, L100M] 2,120 - 2,000 - 2,000 4,120 Assume one new space, existing niches L100M to remain in old building. 

1.1.8 African Art - 2,000 - 2,000 2,000 Objects in Storage. Growth potential w/ Art History Specialist 

1.1.9 Works on Paper [262] 1,004 - - - - 1,004 Assume one new space, that can be divided into two spaces. Moves with WOP Stor 

1.1.10 Temporary Exhibitions [350, 370] 3,735 3,735 2,500 - 6,235 6,235 Assume one new space, rather than split areas over 2 bldgs. 

SUBTOTAL 24,638 4,843 19,200 4,847 19,935 44,577 Goal for new galleries is 20,000 NSF 

1.2 ART STORAGE & CARE All storage areas to have computer stations/access 

1.2.1 Painting Storage [L174, L130] 2,775 2,775 2,500 - 2,500 2,500 

1.2.2 Object Storage [L114] 1,480 1,480 2,500 - 2,500 2,500 

Existing Painting Storage becomes Crate storage, New Painting Storage goes into new 

building, L130 Reverts to Shared/Art History Use 

Object Storage becomes General & Crate Storage. New Object Storage goes into new 

building. 

1.2.3 Works on Paper Storage [272] 690 690 810 - 1,000 1,000 Assume one new space, rather than split areas over 2 bldgs. With WOP Gallery 

1.2.4 Matting & Framing Room - - 450 - 450 450 Sep. space needed.Nearby to Frame Storage/ print stor Preferred. 

1.2.5 Loading Dock - - 2,000 - 2,000 2,000 

check and uncrate cap. Adjacent to storage preferred. Assumes Truck park in footprint 

of building 

1.2.6 Receiving Area - - 480 - 480 480 Adjacent to Loading Dock 

1.2.7 Registrar's Receiving Space (office) - - 220 - 220 220 Adjacent to Receiving Area 

1.2.8 Freight Elevator (Carried in Gross Specs) - - - - Assumed in Gross Space 

1.2.9 Frame Storage 600 600 450 - 450 450 Replace existing tunnel to hum. Part of Matting/Framing Room 

1.2.10 Trash/recycling Compacting - - 300 - 300 300 UW/ Elv. to confirm requirements 

SUBTOTAL 5,545 5,545 9,710 - 9,900 9,900 

1.3 EDUCATION 

1.3.1 Auditorium [L150] 1 200 2,950 2,950 - 2,950 2,950 

No longer use existing art history rooms .Assume 11 sf/person, 1000 sf platform & 250 

sf projection booth 



Seat Area 

2,100 area in above 200 seats 

Platform 

600 area in above UW to confirm function of platform (lecture only/recital?) 

Projection Room 

250 area in above Digital projection only 

1.3.2 Seminar/Conference Board Room 1 50 1,250 1,250 - 1,250 1,250 

Assume 36 seated, 50 incl. Perimeter. Council meeting, docent educ. And museum 

classes. Not for classroom use. Ex. Medical center board room 

1.3.3 Art viewing Classrooms 1 20 1,000 1,000 - 1,000 1,000 

Clean rooms. Open storage, lockable glass spaces at wall for viewing. Class access, 

table at center for 15-20. Projection. Program is linked with curriculum. 

1.3.4 Print Study Room [272D] 515 515 1 600 - - - - 

Separate from Storage. Existing Stays in Old Bldg Adj. To Print Storage, w/ large table 

25-30 people 

1.3.5 School Orientation Space 1 45 800 800 - 800 800 

Front Door Location//amphitheater, not formal, assume 1 bus load (part of lobby?) 

Adjacent to new lobby. 

1.3.6 Docent Room [L118] 553 553 1 10 700 147 - 700 700 

Include lockers, workspace. (assume keep original with consolidated2) Consider using 

museum store for consolidated 

SUBTOTAL 1,068 1,068 3,197 - 6,700 6,700 

1.4 GENERAL WORK & STORAGE 

1.4.1 Workshop [L101] 1,863 - - - - 1,863 

Assume keep original workshop per UW request. CP&A suggest small workshop area in 

new building, no program space allocated. 

1.4.2 ToolRoom [L101B] 127 - - - - 127 Keep Existing 

1.4.3 Paint Spray Room - - - - 

1.4.4 Lumber Storage [L101D] 215 - - - - 215 Keep existing. 

1.4.5 Design Office [L101E] 317 - - - - 317 Keep existing. 

1.4.6 Photo Studio [L118] 553 553 - - 553 553 Replace existing in new building 

1.4.7 Photo Darkroom [L112] 128 - - - - 128 No longer necessary 

1.4.8 General & Crate Storage [320A-B, 340A-B, 370-B, 390 A-B] 532 - 600 3,221 600 4,353 

Reuse L174 & L114 as Gen'l & Crate Storage, maintain exist. pedestals, furniture. 

Replaces storage area rented. Assume some gen'l storage in new bldg. 

1.4.10 Security Locker Space [L100J] 310 - - - - 310 Keep existing. 

1.4.11 Custodial Space [L101C, 460C] 194 - 100 - 100 294 This number may increase as bldg. Solution dictates 

SUBTOTAL 4,239 553 700 3,221 1,253 8,160 

1.5 MUSEUM STORE 

1.5.1 Sales Area [150] 474 474 726 - 1,200 1,200 Replace Existing--New Building--Growth Potential 

1.5.2 Stock Room - 500 - 500 500 Easy access to store 

1.5.3 Shipping Room - 180 - 180 180 Adjacent to Stock Room 

1.5.4 Store Office - 100 - 100 100 Adjacent to Store 

SUBTOTAL 474 474 1,506 - 1,980 1,980 

1.6 ADMINISTRATION 

1.6.1 Offices [2nd Floor] 1,818 834 - 600 - 1,584 

Relocate existing 5 offices to adjacent Chazen space. Receiving & museum store office 

accounted for elsewhere. 

1.6.2 Conference Area w/ Director's Office - 20 205 205 - 205 CP&A Sugg Adjacent to Exist Office Area 

1.6.3 Central File Room - 200 200 - 200 CP&A Sugg Adjacent to exist office area 

1.6.4 Computer Room (Servers) - 100 - 100 100 

May need to be split over existing & new space. Engineers to confirm space 

requirements 

1.6.5 Stockroom-Office Supplies - 160 160 - 160 CP&A Sugg Adjacent to exist office area 

SUBTOTAL 1,818 834 665 1,165 100 2,249 



EXISTING Building TOTAL 

PROGRAM AREA (ASF) 

EXISTING Building PROGRAM 

AREA TO BE REMOVED FROM 

EXISTING BUILDING 


PROJECTED Room CAPACITY 

PROJECTED AREA 

PROJECTED 

NEW PROGRAM AREA (ASF) 

GROWTH IN EXISTING 

BUILDING-Projections 

TOTAL NEW BUILDING NSF 

(cumulative with Existing, 

Replaced) 

TOTAL NEW NSF (Total 

Cumulative) 

ROOM TITLE [Existing Room Number] 

NOTES 

1.7 PUBLIC 

1.7.1 Reception/Lobby [260] 2,700 - 3,000 - 3,000 5,700 

New space not expected to be art display. Paige Court to remain as sometimes 

reception space. 

1.7.2 Information Desk [272] 209 - 211 - 211 420 Assume existing position remains, new info desk at 211 sf in new lobby 

1.7.3 Catering Space [272A] 95 - 375 - 375 470 

UW Facilities to Confirm with U Catering. LVM to confirm if space in existing is to 

remain for functions in original building. Adjacent to Lobby. 

1.7.4 Coat & Parcel Check - 400 400 400 800 LVM to confirm Capacity/ Assume 1 SF/Person: 50 people? Add New in Exist Bldg. 

1.7.5 Security Station [158] 74 - 200 100 200 374 

Assume existing position remains, new security to be 200 sf. Computer and multiple 

monitors must be in night office. Improve new in exist bldg. 

1.7.6 Public Restrooms [237, 239] 600 - 600 - 600 1,200 LVM to confirm Capacity Desired. 

1.7.7 Public Lockers (in coat room) 100 - 100 100 LVM to confirm Capacity & Desire 

SUBTOTAL 3,678 - 4,886 500 4,886 9,064 

Ex-.01 Assume Underground & Above Ground Connections 1,800 1,800 

GRAND TOTALS 41,460 13,317 39,864 9,733 46,554 82,630 

53,898 17,312 51,823 12,653 60,520 107,419 

Program Deleted, but considered during 

program exercise [Dec 2002 - Mar 2003] 

Native American Art 

Conservation Room 

Reference / Film Rooms 

Art Student Gallery 

Curatorial Studies Gallery 

Exhibition Prep Room 

Technical Art Demo Workshop 


Appendix E: Revised Program, School of Music 

UNIVERSITY OF WISCONSIN - EAST CAMPUS MALL DEVELOPMENT 

SCHOOL OF MUSIC - REVISED FULL PHASE I & II PROGRAM 

PHASE I 

NOTES 


PROJECTED CAPACITY 

PROJECTED SIZE 

HEIGHT/VOLUME (to CLG) 

PROJECTED TOTAL PROGRAM 

AREA (ASF) 

MUSIC PERFORMANCE 

Consider Student passage between existing humanities and new performance 

spaces 

Concert Hall - stage for 100 piece orchestra and 150-member choir on fixed & 

Performance Halls 1.00 

1 800 13,955 50 13,955 Inclusion of a pipe organ is not considered in this area. 

standing risers 

1.01 Auditorium 800 8,000 in above Accommodate with one balcony tier 

1.02 Concert Platform 3,000 in above Choir to have fixed seats behind platform 

1.03 Fixed Choral Risers 80 800 TBD--footprint remains same--150 choral students total. 

1.04 Concert Platform Wings 1,000 in above 

1.05 Lighting Control Booth 120 in above 

1.06 Sound Control Booth 140 in above 

1.07 Dimmer Room 120 in above 

1.08 Sound Rack Room 120 in above 

1.09 Piano Storage 2 180 in above 

1.10 Platform Storage 150 in above music stands, chairs & misc. 

1.11 Backstage Restroom (male) 1 50 in above 1 stall 

1.12 Backstage Restroom (female) 1 50 in above 1 stall 

1.13 Follow Spot 225 in above 

2.00 Medium Recital Hall - stage for 35 musicians with piano 1 350 5,700 50 5,700 

2.01 Auditorium 350 3,500 in above Assume balcony for footprint. 

2.02 Concert Platform 1,050 in above 

2.03 Concert Platform Wings 500 in above 

2.04 Lighting & Sound Control Booth 120 in above 

2.05 Dimmer Room 120 in above 

2.06 Sound Rack Room 120 in above 

2.07 Piano Storage 90 in above 



NOTES 






AREA (ASF) 

2.08 Platform Storage 150 in above 

2.09 Backstage Restroom (unisex) 1 50 50 in above 

3.00 Section 3, Small Recital Hall is in Phase II 

Additional Perf 4.00 choral rehearsal space 1 1,500 1,500 

4.01 soloist dressing rooms with restroom 3 200 600 

4.02 large dressing or chorus rooms with restrooms for performers 2 600 1,200 

4.03 performer lounge/green room 0 100 - S. Music would like if possible 

warmup for concert hall Use as spillover stor/space for perf. Venues/musician 

assembly 

reduced number: conductor, first violin, pianist…soloist? Size to fit room w/ grand 

piano. Near performance halls. 

# performers accom/and gender assignment studied w/ halls. Near performance 

halls. 

Duplication with above, some held for percussion stor. TPC to confirm. Near 

4.04 storage secure for percussion 1 500 500 

performance halls. 

4.05 custodial closets 1 160 160 Assume 1main store, one wet closet at lobby & one backstage at 30 sf each. 

4.06 recording control booth ; lighting control 1 400 400 Allow visual access to max # of halls. 

4.07 lobby common to all three halls 1 1,000 3,200 3,200 This number will fluctuate depending on building arrangement and programming. 

4.08 caterer's kitchen adjacent to reception space 1 375 375 Reheating, Plating. No cooking required. UW to confirm with U Catering Services 

public restrooms 1,945 1,945 Total per TPC. Tied to capacity of halls and intermission factor. In lobby. 

4.09 male (occ. 14) 1 12 495 in above assume 45 nsf/cap 70 

4.10 female (occ 28) 1 24 1,320 in above assume 55 nsf/cap 35 

4.11 ADA unisex/family assist 1 2 130 in above one per level 

4.12 Facilities Mgmt Office 1 200 200 In lobby area 

4.13 PR workroom 1 200 200 In lobby area 

4.14 PR offices 1 150 150 1 FT concert manager. In lobby area 

4.15 PR office suite storage 1 150 150 In lobby area 

4.16 box office suite 1 500 500 

Will be 'securable' and operated by Union, pending, 3 windows. Adjacent to PR 

office suite. 

3 sales windows/ area 150 in above 

box office workroom 200 in above 

box office manager's office 150 in above 

4.17 Concessions 1 300 300 Light Fare, Wet Bar (seating to be in lobby). In lobby. 

4.18 Concession Storage 1 45 45 



4.19 cloakroom 1 400 400 400 Per TPC 1 sf per coat. In lobby. 

4.20 FOH Storage 1 65 65 per TPC suggestion 

4.21 House Manager Office 1 120 120 per TPC suggestion 

Service 5.01 loading dock area 1 600 600 large enough for semi trucks--occasional use 

recycling area 200 in above 

PHASE II 

Subtotal Phase 1 32,265 54,851 

Additional Perf 3.00 Small Recital Hall - stage for 15 musicians with piano 1 100 2,200 45 2,200 Assumes to be built in Phase II. 

3.01 Auditorium 100 1,050 in above 

3.02 Concert Platform 450 in above 

3.03 Concert Platform Wings 250 in above 

3.04 Lighting and Sound Control Booth 120 in above 

3.05 Instrument Uncasing 90 in above 

3.06 Piano Storage 90 in above 

3.07 Platform Storage 150 in above 

Additional Public 4.00 

4.01 Additional Lobby Space 1 1,000 500 500 

4.02 Public "Green Room" reception space 1 100 - - 

This number will fluctuate depending on building arrangement and programming. 

Locate adjacent to small recital hall. 

This number assumes banquet seating (cocktails for 200). Adjacent to lobby that 

can be closed off for private functions. 

Subtotal (add'l Performance & Public) 2,700 4,590 

6.00 Rehearsal & Support 

Large Rehearsal 6.01 Orchestra Rehearsal 1 2,500 35 2,500 

6.02 Orchestra rehearsal storage 1 250 250 

Capacity 100 @ 25sf/person plus percussion equipment; Phase II Instructional. 

Near performance halls. 

6.03 Band Rehearsal 1 3,500 40 3,500 

6.04 Band rehearsal storage 1 350 350 

Capacity 200 @ 25sf/person plus equipment; Phase II Instructional. 8 Marching 

Bands. Near performance halls. 

6.05 Choir Rehearsal 1 1,500 35 1,500 

6.06 Choir rehearsal storage 1 150 150 

Capacity 100 @ 15sf/person plus equipment; Phase II Instructional, Permanent 

risers desired. Near performance halls. 

6.07 Performance Libr. Area-Orch. 1 500 500 Phase II Instructional/ Reference & Work Space. Near rehearsal halls. 

6.08 Performance Libr. Area-Band 1 500 500 Phase II Instructional/ Reference & Work Space. Near rehearsal halls. 

6.09 Performance Libr. Area-Choir 1 500 500 Phase II Instructional/ Reference & Work Space. Near rehearsal halls. 

6.10 Choral/Orchestra Staff 1 150 150 



NOTES 






AREA (ASF) 

6.11 Library Processing 1 750 750 Phase II Instructional/ Reference & Work Space. Near rehearsal halls. 

6.12 Band Staff 1 150 150 Functional Libaries/Inventory Control//Moved from section C per 2/1 Conversation 

6.13 Band Staff 2 150 300 

6.14 Band Staff Workroom 1 200 200 

6.15 Lockers 28" x 25" x 7' (Bass) 60 4.86 262 Phase II Storage. Near practice rooms. 

6.16 Lockers 20" x 24" x 6' (Cello) 60 3.33 200 Phase II Storage. Near practice rooms. 

6.17 Lockers 24" x 18" x 6' (Horn) 150 3.00 450 Phase II Storage. Near practice rooms. 

6.18 Lockers 14" x 12" x 6' (Violin) 120 1.17 141 Phase II Storage. Near practice rooms. 

6.19 Lockers 14" x 12" x 3' (Flute) 160 0.58 93 Phase II Storage. Near practice rooms. 

Small Rehearsal 6.20 Student - Gr. Piano Practice/Rehearsal (Large) 10 150 1,500 Phase II Instructional 

Student - Gr. Piano Practice/Rehearsal (Small) 16 125 2,000 

6.21 Student-Organ Practice 2 250 20 500 Phase II Instructional 

6.22 Student - Organ Practice 1 500 25 500 Phase II Instructional 

Student - General Access Practice Rooms 60 80 4,800 Phase II Instructional. Keymaster's room required? 

Subtotal 21,746 36,968 

7.00 Instructional 

7.01 Percussion Ensemble Rehearsal 1 600 15 600 All percussion spaces together 

7.02 Gamelan Rehearsal 1 1,500 1,500 

7.03 Chamber Music Rehearsal 4 400 1,600 Capacity 20 @ 20 sf/person 

7.04 Small Percussion Rehearsal 6 400 2,400 All percussion spaces together 

7.05 Percussion Repair room / case storage 1 1,000 1,000 All percussion spaces together 

7.06 Teaching studios for private lessons (Perf TA Access) 5 150 750 Near practice rooms 

7.07 Medium Lecture- fixed seats 1 125 2,125 2,125 

7.08 Medium multipurpose classroom 2 50 1,250 2,500 

Capacity 125 @ 17 sf per student (TPC: 11sf/person+750 Stage Platform) Projection 

Req?, Recital function. 101 classes. 

Capacity 50 @ 25 sf per student plus piano and music ed storage (in one room). 

Scheduling Impacts, number required 

7.09 Small multipurpose classroom 6 25 800 4,800 Capacity 25 @ 25 sf per student plus piano/Upsized per CPA Rec 

7.10 Seminar 3 18 550 1,650 Capacity 18 @ 25 sf per student plus piano/Updated per CPA Rec 



7.11 MIDI/computer lab/classroom 1 16 900 900 Capacity 20 @ 45 sf per student 

7.12 MIDI/computer open lab 1 16 800 800 Capacity 20 @ 40 sf per student (10 Cap now) 

7.13 Electronic Piano Classrooms 1 16 900 900 Capacity 20 @ 45 sf per student (12 cap. Now) 

7.14 Academic research and workrooms 2 200 400 Could be smaller. Near faculty offices. 

7.15 Mills Music Library 1 13,180 - 

7.15.01 Librarian Offices 4 180 - 

Eliminated 030605. Please reconfirm with UW School of Music prior to starting 

project design. 

7.15.02 Library Staff Workrooms 2 400 - 

7.15.03 Reserves/Circulation/Ref Area 1 1,400 - Service 

7.15.04 Listening Digital Formatting facility 1 1,500 - Service and Public 

7.15.05 Periodicals/Browsing/casual seating 1 600 - Public reading room 

7.15.06 Public Reading Room 2 1,400 - 

7.15.07 Group Study Rooms 3 150 - UW to confirm Capacity (seems small) 

7.15.08 Indifidual Study/Research Spaces 10 70 - 

7.15.09 Computer Clusters - In public Spaces 

7.15.10 Public Copy Machines 1 100 - 

7.15.11 Stacks 1 3,660 - Compact Shelving 

7.15.12 Lobby/Exhibit Spaces 1 450 - Adjacent to Circulation/ UW to confirm 

Subtotal 21,925 37,273 

8.00 FACULTY OFFICES & TEACHING STUDIOS 

TEACHING STUDIOS 8.01 Large Teaching Studios 38 300 11,400 

8.02 Medium Teaching Studios 8 250 2,000 Locate studios close together. 

All rooms to be 4-6 persons, 1 baby grand, & faculty work space. Locate studios 

close together. 

Faculty Offices 8.03 Academic Faculty Offices 25 150 3,750 Near studios. 

8.04 Percussion Faculty Studio 1 500 500 Adjacent to percussion spaces. 

8.05 TA and PA Offices 35 100 3,500 Currently 2 desk/ 1piano per room. Near faculty offices. 

8.06 Faculty/Staff Kitchen and lunchroom 1 500 500 Near admin suite and fac offices. 

8.07 Faculty and Graduate Student Copy and workroom 1 250 250 Near faculty and grad offices. 

Subtotal 21,900 37,230 

9.00 ADMINISTRATION 

9.01 Administrative Reception Area/ Common 1 500 500 In admin suite. 

9.02 Director 1 350 350 In admin suite. 



NOTES 






AREA (ASF) 

9.03 Asst. Director 1 250 250 In admin suite. 

9.04 Dept. Administrator 1 250 250 In admin suite. 

9.05 Personnel 1 150 150 In admin suite. 

9.06 Financial Offices 2 150 300 In admin suite. 

9.07 Student administrative workspace 1 150 150 In admin suite. 

9.08 Staff Workroom and Mailboxes (open to hallway) 1 300 300 In admin suite. 

9.09 Conference Room 1 25 500 500 Location for Doctoral Exams. In admin suite. 

9.10 Admissions 2 200 400 In admin suite. 

9.11 Admissions Workroom 1 200 200 In admin suite. 

9.12 Undergraduate Academic Advising 1 200 200 In admin suite. 

9.13 Graduate Academic Advising 1 200 200 In admin suite. 

9.14 Associate Director 1 250 250 In admin suite. 

9.15 Director Graduate Studies 1 250 250 In admin suite. 

9.16 Arts Outreach 1 300 300 In admin suite. 

9.17 Summer Music Clinic 1 300 300 

9.18 Student Teaching Division 1 200 200 Near practice rooms. 

9.19 WYSO 6 150 900 Affilitated Organization (educ. Community) Near rehearsal halls. 

9.20 Support Offices Storage - Arts Outreach, Office Paper, Music Clinic, WYSO 1 500 500 In admin suite. 

9.21 WYSO Instruments and Equipment 1 400 400 Near rehearsal halls. 

Subtotal 6,850 11,645 

5.00 SUPPORT SERVICE 

5.01 Loading Dock in phase 1 

5.02 Piano repair 1 1,300 1,300 easy access to perf. and reh. Halls 

5.03 Instrument repair and cleaning 1 2,000 2,000 special ventilation required- Band Related. Locate near instrument storage spaces. 

5.04 Reed-making room 1 200 200 Near practice rooms. 

5.05 Main IT Network closet on main floor (MDF) 1 200 200 



5.06 Supplemental IT Network closets on each floor (IDF) 100 if all rooms are no further than 90 meters from closet 

5.07 Facilities Management Office and adjacent workshop 1 600 600 special ventilation required 

5.08 Mailroom 1 400 400 Near loading dock. 

5.09 Custodial closets with sinks on each floor 4 100 400 Will be tracked with building options 

5.10 Key Checkout desk 1 200 200 security system, ID card left, desk required. Near practice rooms. 

5.11 Restrooms on each floor 3 200 600 To be tracked with building options. 

Subtotal 5,900 10,030 

10.00 COMMUNITY/Common Areas 

10.01 Lounge/Study in common student/ faculty area with vending area or snack bar 1 90 2,250 2,250 

Could be broken up into multiple smaller nodes, per plans. Near practice rooms; 

faculty offices. 

Subtotal 2,250 3,825 

11.00 General Building Storage 

11.01 Admissions/Advising Storage/Support 1 200 200 In admin suite. 

11.02 Administrative Office Suite Storage 1 400 400 In admin suite. 

11.03 Archived File Storage 1 800 800 In admin suite. 

11.04 String Bass and cello room 1 400 400 Near practice rooms. 

11.05 Furniture and Facilities Mgmt Stoage 1 400 400 

11.06 Audio-Visual Storage 1 150 150 Near classrooms. 

11.07 Tuba Storage 2 125 250 Near practice rooms. 

11.08 Harp Storage 1 200 200 Near practice rooms. 

11.09 Unused piano storage 1 600 600 Near piano shop. 

11.10 Marching Band instruments and uniforms 1 1,800 1,800 Near band rehearsal. 

11.11 Marching Band archives 1 700 700 Near band rehearsal. 

11.12 Misc. Storage 1 2,000 2,000 

housekeeping storage, surplus supplies, music stands, trans. Sound system 

accomodation, 

Subtotal 7,900 13,430 

SUBTOTAL PHASE II * 91,171 154,991 

Total Music Area SF-Phase I & II 123,436 209,841 

* Note: This area has been reduced slightly from area that was assumed in building layouts and cost estimate. 


Appendix F: Acoustic Narrative 

Scope of Report 

This report documents the results of a study to assess the 

acoustical requirements for new facilities to house the School 

of Music at the University of Wisconsin. 

Study Methodology 

The findings in this report were compiled over the course of 

an eight month programming and site concepting effort that 

commenced in December of 2004. This study involved the following: 

• Meetings and teleconferences with the School of Music 

administration and members of the University’s facilities 

planning office 

• Meetings with Cesar Pelli & Associates and Theatre 

Projects Consultants 

• Review of a preliminary space program drafted by the 

University 

Acoustical Requirements by Program Area 

1.0 Performance Facilities 

General Statement of Acoustical Goals for the 

Performance Spaces 

Natural acoustics will be of paramount importance and will 

drive the overall conception and detailed design of the concert 

hall and the two recital halls. The objective is to create the best 

possible acoustical environment for unamplified instrumental 

and choral music. Such designs typically have the following 

attributes: 

Acoustical Intimacy: Music is an intimate experience and the 

acoustics of the new halls should reinforce this characteristic. 

The audience should perceive a visceral and direct connection 

to the performer on stage. Likewise, the performer should feel 

intimately connected to the audience. 

The acoustical criteria contained herein will, when approved, 

serve to guide the design and construction of the acoustical 

aspects of the project. 

Transparency: The acoustics should have great transparency, 

that is, the ability to discern the timbre of individual instruments 

even while perceiving the texture of a full ensemble. 

Summary of the School’s Program 

The University of Wisconsin School of Music has a primary 

focus on the preparation of music students for careers as performing 

artists in classical music. It functions much like a music 

conservatory and hence the facility requirements are focused 

more on music practice, rehearsal and performance facilities 

and less on traditional classrooms. Acoustics will be important 

in most of the program spaces in the school. 

Articulation: The acoustics must allow the listener to perceive 

rhythmic gestures in music, particularly the fine textures in 

pieces with quick tempos. This quality often referred to as 

articulation and is closely linked to both acoustical intimacy 

and transparency. 

Envelopment: Sound must seem to totally envelop the listener 

to enhance the sense that the audience member is a participant 

in the concert experience rather than a passive observer. 

Resonance or Reverberance: Resonance is the pleasing way 

that sound persists in a live concert room. This quality helps to 



fuse the sound of individual instruments or voices into a unified 

whole. It imparts richness to instrumental and vocal music and 

is one of the most important attributes of any concert hall. 

Warmth: Strong bass response is essential to the perception of 

warmth and power in music. 

Dynamic Range: The acoustics must be able to support the 

broadest possible range of dynamic expression. At the high 

end of the dynamic range, the Concert Hall must support the 

power of an orchestra of up to 115 players along with a chorus of 

up to 150 voices without distortion or harshness. At the bottom 

end of the spectrum, these rooms must be silent so that a performer 

can confidently and effortlessly reach for the softest 

pianissimo. 

In addition to the natural acoustic environment of the performance 

halls, the following attributes are also important to the 

project’s success: 

Adjustable Acoustic Elements: A modest degree of acoustical 

adjustability is desirable to fine-tune the halls during rehearsals, 

to provide good intelligibility for films, lectures, meetings 

and conferences and to promote improved articulation for 

amplified music. 

Electro-Acoustic Systems: These systems provide top quality 

amplified sound inside the halls, allow latecomers to hear 

the performance until a seating break, feed sound to dressing 

room and administrative areas and provide communication 

links among technical staff. Together these systems facilitate 

efficient and professional operation of the house, stage, backstage 

and front-of-house areas. 

Acoustic Separation: The envelopes of the performance halls 

must be designed to exclude external noise and provide appropriate 

separation to other activities within the structure. 

Building System Noise Control: The various building systems 

(heating, ventilation, air conditioning, electrical, plumbing 

and fire protection) must not produce audible noise in the performance 

halls. These systems must be designed to rigorous 

standards. 

These goals and the proposed methods for achieving them are 

elaborated in subsequent sections of this report. 

800-Seat Concert Hall 

The largest performance space in the complex will be the concert 

hall. The program of uses for the concert hall includes primary 

and secondary uses. 

Primary uses are: 

• Symphony Orchestra (up to 115 performers) 

• Symphony Orchestra with Chorus (115 instrumental 

players and 150 choristers) 

• Choral Ensembles (up to 150 choristers) 

• Chamber Orchestras 

• Chamber Orchestras with Chorus 

• Small Chamber Ensembles 

• Solo Recitals 

• Band 

Secondary uses may include: 

• Other Instrumental and Vocal Music Groups and Solo 

Performers (including amplified music of various types) 

• Conferences and Meetings 

• Film 

The acoustics of the new concert hall should be designed 

around the requirements of the primary uses. Features should 

also be included in the design to adapt the acoustics to serve 

the secondary uses as needed. In the event that there is a conflict 

between the acoustical needs of the primary and secondary 

uses, the design should be optimized to favor the primary 

uses. 

Capacity 

The concert hall for the School of Music will seat approximately 

800 persons. Performer accommodations will be required for up 

to 115 instrumental players and a chorus of approximately 150 

singers. To accommodate the acoustic power of these forces 

without aural distortion during the loudest passages, the cubic 

volume of the hall shall fall in the range of 450,000 to 500,000 

cubic feet. 



Stage Accommodation 

The stage should be approximately 64-feet wide by 40-feet 

deep. These dimensions would be refined in detailed design. 

The stage should be surrounded on the sides and rear by a permanent 

choral terrace seating for about 80 singers. Since these 

seats would be available for sale to the public when a chorus is 

not present, the permanent choral tier will need access from 

both the public lobby and the backstage. The bottom level of 

the choral terrace should be as low as possible, i.e., the finished 

floor of the lowest choral seating should be in the region of 6- 

feet above the finished stage floor elevation. 

Form of the Hall and Key Dimensions 

The basic form of the room should be based upon the traditional 

shoebox geometry that typifies the very best concert 

halls in the world. This means that the sidewalls of the 

hall should be essentially parallel and set at a comparatively 

narrow width of approximately 64-68 feet. The ceiling height 

should be about 46-50 feet above the finished floor elevation 

of the stage. The length of the room should evolve to accommodate 

the required seating capacity. The seating should be 

divided into two levels: 

• An orchestra level of perhaps some 550 seats. The 

perimeter of the orchestra floor should be formed into 

a raised parterre. 

• A balcony of some 250 seats. This should include 

narrow galleries of seating along each side of the hall 

which connects with the permanent choral terrace at 

the stage. The rear portion of the balcony may not overhang 

the orchestra floor by more than 3 rows. 

Key Materials and Constructions 

The finish materials and how they are shaped, oriented and 

constructed will play an essential role in shaping the acoustic 

character of the concert hall. While all of these issues would be 

the subject of extensive study during the design of the project, 

for budget purposes, the following assumptions may be made 

regarding these issues: 

Ceiling: The ceiling of the hall should be constructed of 3-layers 

of 5/8-inch thick gypsum board with a skim coat of finish plaster. 

Alternately, the ceiling may be hard gypsum plaster with 

a minimum thickness of 2-inches, solid wood with a minimum 

thickness of 3-inches or pre-cast concrete planks (thickness 

established by structural considerations) with a skim coat of 

finish plaster. 

The ceiling will need to be articulated or shaped to promote 

diffusion (even scattering of sound) and to return some sound 

to the performers on stage. For budget purposes assume an 

area of framing and surface material that is 25% larger than the 

footprint of the room. 

In addition to the large-scale diffusion provided by the coffers, 

smaller scale diffusion elements, 3” to 6” in depth, scattering 

mid- and high-frequency sound in all directions should be 

applied to at least 30% of the flat ceiling areas. 

Walls: The walls of the concert hall should be a skim coat of 

hard gypsum plaster that is directly adhered to the underlying 

concrete or masonry wall. Portions of the wall can be paneled 

in wood although it is essential that the wood is directly and 

fully adhered to the underlying substrate. This is accomplished 

by applying a suitable adhesive to 100% of the rear of the wood 

panels and then screwing the panels into the underlying concrete 

or masonry. 

Like the ceiling, articulation of upper side wall surfaces is 

needed to promote diffusion and to return some sound to the 

performers on stage. This can be achieved with a pattern of 

pilasters on a 12-16 foot rhythm. The pilasters can also provide 

an armature for the variable acoustic elements (described later 

in this document). Pilasters should project approximately 18- 

inches from the sidewalls of the hall, In addition to the large 

scale diffusion provided by the pilasters, smaller scale diffusion 

elements, 3” to 6” in depth, scattering mid- and high-frequency 

sound in all directions should be applied to at least 30% of the 

flat wall areas. 

The walls of the stage area should feature wood prominently. A 

large portion of the rear wall of the stage under the permanent 

choral terrace should be sound transparent (such as a wood 

grille) to allow for fine tuning of the acoustics of the stage platform. 

The wall above and behind the choral terrace should be 

aggressively articulated to simulate the mixture of sound dif- 



fusion and absorption that a pipe organ in this location would 

normally provide. 

Floor: The floor under the seats in the house must be sound 

reflective. This would usually be the structural concrete slab 

either painted or integrally colored to the Architect’s specification. 

If wood is used, it must be directly adhered to the concrete. 

Carpeting may be used in the aisles to minimize the disruption 

cause by late arriving or early departing patrons. 

The stage floor should be a resilient wood construction over a 

substantial (30-inch deep) airspace. The floor should be a 3/4- 

inch thick plywood sub-floor with 5/4-inch tongue-in-groove 

hardwood finish. The sub-floor is supported on 2x4 sleeper 

which in turn rest on 2-inch thick neoprene pads. A system of 

lightweight steel framing supports the entire assembly to provide 

the requisite airspace. 

Adjustable Acoustics Systems: To better support rehearsals 

and events requiring more articulation in the acoustic 

response, some means of quickly and easily introducing large 

areas of acoustically absorptive material into the concert hall 

is required. 

Secondary uses: 

• Other Instrumental and Vocal Music Groups 


• Film 

Form of the 350-Seat Hall and Key Features 

For budgeting purposes, the 350-Seat Hall can be thought of 

as a miniature version of the 800-Seat Concert Hall. Aside from 

size, the materials and construction techniques would be substantially 

the same as in the Concert Hall. 

For budgeting purposes, the area of adjustable acoustics would 

be about 3,500 square feet. 


The 100-seat recital hall will serve as the main performance 

venue for solo performances by undergraduate students (e.g., 

senior recitals). The program of uses for the 100-seat hall 

includes the following: 

Primary uses: 

• Small Chamber Ensembles (instrumental and choral) 

• Solo Recitals (primarily by undergraduate students) 

For this room, such systems might include motorized banners 

or absorptive panels tracking between the wall pilasters, and 

tracked curtains along rear wall surfaces and behind platform 

grillwork. The total area of absorption that can be gracefully 

introduced will depend upon the architectural concept. For 

budget purposes, a preliminary target of 8,000 square feet of 

adjustable absorption is proposed. 


The 350-seat recital hall will function as the workhorse performance 

space in the complex. The program of uses for the 350- 

seat hall includes: 

Primary uses: 

• Small to Medium-Sized Chamber Ensembles (instrumental 

and choral) 

• Solo Recitals (primarily by professionals, faculty and 

graduate students) 

Secondary uses: 

• Other Instrumental and Vocal Music Groups 


• Film 

Form of the 100-Seat Hall and Key Features 

The 100-Seat Hall will be considerably simpler in form and scale 

than the other two spaces. The seating in this hall would be on 

a single level and the audience would have a frontal orientation 

to the stage with no seats wrapping around the stage. 

The small scale of the space means that the construction materials 

may be somewhat lighter than in the larger spaces. Where 

three-layer gypsum board or 2-inch thick plaster constructions 

are typical in the Concert Hall and Medium Recital Hall, twolayer 

or 1-1/2-inch thick plaster will be acceptable. 

For budgeting purposes, the area of adjustable acoustics would 

be about 1,500 square feet. 



2.0 Rehearsal and Practice Facilities 

An array of rehearsal spaces is planned in keeping with the 

comprehensive nature of the programs offered at the University 

of Wisconsin. The following large facilities are included in 

the space program: 

• Large Orchestral Rehearsal (35’ high) 

• Band Rehearsal (40’ high) 

• Choral Rehearsal (35’ high) 

The following small rehearsal facilities are included in the 

space program: 

and 33-50% of the available wall surfaces will be covered with 

sound absorbing panels. A simple system of sound absorbing 

draperies is recommended to allow for further control of the 

acoustic environment. 

Small Rehearsal Rooms 

The acoustic treatments in small rehearsal rooms should be 

similar to those in the large ensemble rehearsal rooms with 

the exception that tall ceilings are not needed. The percussion 

rehearsal rooms will have more sophisticated acoustical 

treatments. Assume a cost premium of 20% for the treatment 

in these spaces. 

• Gamelan Rehearsal 

• Percussion Ensemble Rehearsal 

• Small Percussion Rehearsal (6) 

• Small Chamber Rehearsal (4) 

The following small practice facilities are provided in the space 

program: 

• Large Organ Practice Room 

• Small Organ Practice Rooms (2) 

• Grand Piano Practice Rooms (26) 

• General Practice Rooms (70) 

The following teaching facilities are included in the space program: 

• Large Teaching Studios (37) 

• Medium Teaching Studios (6) 

• Percussion Teaching Studio 

• Teaching Studios for Private Lessons (8) 

Large Rehearsal Rooms 

The large rehearsal rooms should feature tall ceilings (typically 

35-40 feet in height) so as to enclose sufficient cubic volume 

and create an accommodating rehearsal environment for large 

ensembles. These spaces should have a mixture of sound diffusing, 

absorbing and reflecting surfaces. Wall and ceiling 

profiles should be articulated to provide sound diffusion and 

assume that the amount of framing and surface material will 

be 25% greater than the base area of the walls and ceiling in 

each room. Also assume that 50% of the available ceiling area 

Practice Rooms and Teaching Studios 

The acoustical treatment in these spaces should largely consist 

of sound absorbing panels on the wall and ceiling surfaces. 

Assume that the approximately 50% of the available surface 

area will be covered with such treatments. 

Sound Isolation 

It is critically important that the various rehearsal, practice and 

teaching facilities be isolated from one another. 

Large and Small Rehearsal Spaces: Use storage and circulation 

spaces to separate the large rehearsal spaces from one 

another. Assume that the perimeter partitions for these spaces 

are composite constructions with grout-filled masonry and 

drywall. The floors of these spaces will be floating wood floors 

(similar in construction to the stage floors in the performance 

halls). The drywall elements in the perimeter walls will bear on 

the floating wood floors. The ceilings in these spaces will be 

two-layer 5/8-inch gypsum board on isolation hangers. 

Practice Rooms and Teaching Studios: These spaces are typically 

arrayed in groups. The walls will typically be multi-layer 

drywall assemblies using separated stud construction techniques. 

Provide separate floating wood floors in each space 

and plan to bear the drywall interior walls of each space on 

these floors. The grand piano practice rooms and percussion 

teaching studio will also require a layer of grout-filled masonry 

between adjacent rooms. The ceilings in these spaces will be 

two-layer 5/8-inch gypsum board on isolation hangers. 



Vertical Isolation: Rehearsal facilities should not be located 

directly above or below each other if at all possible. If it 

becomes necessary to stack such facilities, it will be necessary 

to employ floating concrete floors in these spaces to provide 

the required sound isolation. 

3.0 Lecture Rooms and Classrooms 

In recent years there has been a significant new understanding 

of the impact that acoustics has on the learning environment 

in lecture rooms and classrooms. Greater attention to 

this area has resulted in the adoption of new Federal standards 

for classroom acoustics. These new standards developed with 

input and advice from the acoustical consulting community 

and education professionals are both reasonable and costeffective. 

In many cases, the objectives of these standard can 

be implemented in new school buildings through thoughtful 

design and careful selection of materials with minimal additional 

cost. The following represent the key acoustical objectives 

of the new standards: 

Room Acoustics: The chief acoustical goal in the classroom 

environment revolves around promoting a high degree of 

speech intelligibility. This requires that the reverberation time 

(the amount of time it takes a loud sound to decay to inaudibility) 

be carefully controlled. Ideally, the mid-frequency reverberation 

time in classrooms should fall in the range of 0.4 to 0.6 

seconds. To achieve this goal some significant portion of the 

finish materials will need to be sound absorptive. Ideally this 

absorptive material should be distributed on both ceiling and 

wall surfaces. Ceilings can be a combination of gypsum board 

(centers) and acoustic tile (perimeters) with a Noise Reduction 

Coefficient (NRC) rating of 0.75 or higher. Fabric wrapped 

acoustical panels can be used on selected wall surfaces and 

can provide tackable surfaces. 

Background Noise: Excessive background noise will negatively 

impact speech intelligibility. One major source of background 

noise in classrooms is the mechanical system. The mechanical 

system serving the classrooms should be designed to fall in 

the range of NC-25 (preferred) to NC-30 (absolute maximum). 

Summary guidelines for achieving these goals are outlined in 

Appendix A. 

Sound Isolation: The other sources of noise intrusion in classrooms 

include the exterior environment (street traffic, sirens, 

aircraft, etc.) and other activities within the building. 

Control the former by designing the envelope of the building 

(walls, roof and glazing system) to reduce or eliminate the 

impact of these noise sources. Windows are usually the weak 

link in any exterior skin. Depending upon the noise conditions 

at the site, some consideration may need to be given to window 

systems that provide better sound isolation characteristics. 

Noise from interior activities can be controlled through intelligent 

space planning and the use of suitable wall and floor 

constructions. Space planning comprises everything from not 

locating noisy spaces next to classrooms to staggering classroom 

doors in a corridor so that no two classroom doors are 

directly adjacent to or across from one another. In instances 

where space planning alone cannot achieve the needed isolation, 

wall and floor constructions need to be developed to provide 

the requisite sound isolation. This can involve using multiple 

layers of gypsum board and separated studs in drywall 

construction, grout fill in masonry walls and/or ensuring that 

partitions run continuously from the floor slab to the underside 

of the ceiling slab above. 

4.0 Faculty Support Areas 

These spaces should be sorted into two groups with respect 

to acoustic functioning. The first group includes faculty and 

staff offices (exclusive of teaching studios), which have modest 

acoustic requirements. The second comprises workrooms, 

toilet rooms and storage areas that are deemed to be non-critical 

spaces from an acoustic standpoint. 

The first group of spaces should feature a sense of controlled 

quiet (as opposed to absolute silence). This means the following: 

• Treat ceilings with a high NRC (0.75 or higher) acoustic 

tile. Use carpet floor finishes where appropriate. 

• Design mechanical systems to meet the requirements 

of NC-30 to NC 35. 



• Examine isolation on a case-by-case basis to determine 

whether special measures such as acoustic gasketing 

on doors are needed to provide speech privacy. 

•. 

Examine isolation on a case-by-case basis to determine 



The second group of spaces, being less sensitive acoustically, 

may be used as buffer spaces between other noise-critical 

spaces. 

5.0 Administration Area 

These spaces should feature a sense of controlled quiet. This 

means the following: 

• Treat ceilings with standard acoustic tile. Use carpet 

floor finishes where appropriate. 

7.0 Main Entrance and Lobby 

A controlled acoustic environment is desirable in lobby spaces 

adjacent to noise sensitive spaces such as the Concert Hall and 

Recital Halls. Some sound absorptive treatments should be 

incorporated into the ceilings of these areas and background 

noise levels should not exceed NC-40. 

8.0 General Storage 

General storage spaces have no special acoustical requirements. 

• Design mechanical systems to meet the requirements 

of NC-30 to NC 35 for private offices and conference 

rooms; NC-35 to NC-40 for open work areas and the 

reception/waiting area; and NC-40 or higher for storage 

areas, the kitchen/break area and toilet rooms. 

• Examine isolation on a case-by-case basis to determine 



6.0 Music Library 

The music library area should feature a sense of controlled 

quiet. This means the following: 

9.0 Toilet Rooms 

There are no special acoustical requirements for the interiors 

of toilet rooms. Toilet rooms should not be directly adjacent to 

noise sensitive spaces. 

10.0 Building Support Spaces 

The wall and ceiling surfaces of mechanical equipment rooms 

should be treated with 4-inch thick duct liner to control equipment 

noise. Avoid locating mechanical equipment rooms near 


11.0 Custodial Area 

No special acoustical requirements. 

• If the floor can be carpeted, treat ceilings with standard 

acoustic tile. If the floor must be a hard surface (VCT, 

etc.), treat ceilings with an acoustic tile with an NRC 

rating of 0.75 or higher. 

• A low level of background noise can serve to mask lowlevel 

activity and preserve the sense of quiet in the 

space. Design mechanical systems to meet the requirements 

of NC-35 to NC-40 for circulation desk, media/ 

computer area, reading areas and listening digital formatting 

area; and NC-40 or higher for the stacks and 

workrooms. 

Appendix A: 

Design Criteria for Common Acoustic Issues 

The following sections outline preliminary design approaches 

to acoustic issues that are common to the specific noise sensitive 

spaces or related groups of spaces in the University of 

Wisconsin-School of Music. 

Humidity 

The level of relative humidity in music education centers is critical 

to both acoustics and the protection of moisture-sensitive 

instruments such as pianos. Mechanical systems should be 

designed to provide a constant controlled level of at least 40% 

relative humidity. This includes performance spaces, rehearsal 

halls, practice rooms, teaching studios, control rooms, and 

backstage dressing areas and instrument storage spaces. 



Background Noise 

In performance halls it is critically important that background 

noise be kept within certain limits to insure that such noise 

does not interfere with listening conditions. When examining 

background noise levels in an interior space, it is necessary to 

establish a method of rating background noise that reflects 

how the human hearing mechanism responds to sound. Noise 

levels are rated in terms of Decibels (dB). These levels, however, 

mean little unless the analysis accounts for the fact that 

the human ear is more sensitive to high frequency sounds than 

it is to low frequency sounds. This imbalance in human hearing 

is compensated through the use of Noise Criteria (NC) Curves. 

Each curve has a different NC rating number and represents a 

different noise level as perceived by the human ear. Through 

experience and testing acousticians have determined acceptable 

NC levels for various uses of interior spaces. 

As the details for sound isolation and mechanical systems are 

developed, specific solutions should be based upon the desire 

to achieve certain end results for the maximum amount of 

background noise in each of the program spaces. The following 

goals are established for the performance and rehearsal facilities: 

In developing proper isolation details, one must also consider 

that sound may be either air-borne or structure-borne. 

Air-borne sound is defeated through the use of massive walls 

and ceilings and rated sound isolation doors. Structure borne 

sound and vibration is defeated primarily through the use of 

massive, rigid structures, as well as separated and/or isolated 

structural systems. 

Sound and vibration isolation can have a significant impact on 

building costs. There are a variety of strategies for providing 

the needed isolation: 

The most cost-effective strategy involves the use of intelligent 

space planning. Avoid locating critical spaces close to one 

another or adjacent to noisy areas such as mechanical rooms. 

Use storage rooms and corridors as buffer spaces between 


Where space planning fails to achieve need isolation, massive 

wall, floor and ceiling constructions can fill the void. This 

strategy comprises the use of multiple wythes of masonry, 

grout-filled masonry, separated stud and multi-layer drywall 

constructions. 

Concert Hall (stage & auditorium) PNC 10-15 

Medium Recital Hall (stage & auditorium) PNC 15-20 

Small Recital Hall (stage & auditorium) PNC 15-20 

Control Rooms PNC 15-20 

Rehearsal Halls PNC 20-25 

Practice Rooms NC 25 

Lobby & Public Circulation Spaces NC 35-40 

Dressing Areas NC 30-35 

Sound & Vibration Isolation 

Sound and vibration isolation are two related concerns. In 

a building with diverse uses and multiple performance and 

rehearsal spaces, one must consider isolation in two contexts. 

The first context is the isolation of sensitive spaces from noise 

and vibration sources associated with sources that are external 

to the building. The second is the isolation of sensitive spaces 

from each other and from activities in other areas of the building. 

In the most extreme circumstances special isolated construction 

may be need to provide the isolation. Examples include 

floating concrete slabs, isolation ceilings, isolated box-in-box 

constructions and separated structures (literally two adjacent 

and yet independent structures separated by a continuous 

acoustic isolation joint). 

The continuity of isolation constructions is also essential. Penetrations 

of isolation walls, i.e. windows and doors, also require 

careful attention. Costly sound isolation window assemblies 

can be avoided by minimizing the sizes of windows. Where 

large areas of glass are desired in noise sensitive spaces, the 

windows will typically be designed to have STC ratings comparable 

to the rating of the wall that they penetrate. Doors are 

more problematic as there are practical limitations on STC ratings 

for operable doors. In some cases, rated doors will be used 

to protect sensitive spaces while in others, the best strategy 

involves the use of sound and light locks (two sets of doors 

separated by a small vestibule). 



Mechanical System Noise & Vibration Control 

Design of the heating, ventilation and air conditioning (HVAC) 

equipment, shall be developed to meet the humidity and background 

noise goals articulated above. Generally speaking, it 

is advisable that mechanical equipment be remote from critical 

listening spaces. Heavy equipment, such as chillers and 

boilers should be located in a central mechanical room that is 

remote from sensitive program components. Fan rooms may 

not be adjacent to auditoria, rehearsal rooms or other sensitive 

spaces. 

To minimize the amount of vibration transmitted to the structure 

by mechanical equipment, it will be necessary to employ 

vibration isolation means at the equipment location. Such 

isolation may include inertia bases, isolation mounts, floating 

floors and other isolation devices. Ductwork and pipework 

should typically be suspended on isolation hangers for 

specific distances from the vibrating equipment to which it is 

attached. 

Appendix B: 

Outline of Audio-Visual Systems and Budgets 

A number of the program areas in the University of Wisconsin- 

School of Music and the Elvehjem Museum will require audiovisual 

systems to meet their program objectives. The following 

outlines the major systems that will be needed along with 

their anticipated capital cost. Please note that these cost estimates 

include audio-visual equipment, assembly, installation 

and audio-video wire. These cost estimates do not include AC 

power for audio-visual systems, the conduit system, rigging for 

speaker clusters, screens or projectors, taxes or bonding. 

To minimize the amount of noise transmitted into critical 

spaces by the duct systems the following general guidelines 

are recommended: 

• Employ ducts with large cross sectional area and sound 

absorptive lining. Assume 1-inch thick internal lining on 

all duct systems. 

• Use the lowest possible air velocities consistent with 

air change requirements. Appendix C outlines velocity 

guidelines applicable to different NC levels. 

• Locate fan rooms remote from noise sensitive spaces, 

long duct runs are the generally easiest and cheapest 

means of attenuating noise from HVAC systems. 

• Plan duct layouts to avoid transmitting noise between 

sensitive spaces. Separate branch ducts should serve 

each sensitive space. Avoid routing trunk ducts over or 

through sensitive spaces. Trunk ducts should be routed 

along corridors or through non-critical spaces with separate 

branches into each sensitive space. 



Elvehjem Museum 

E.0 Auditorium - 200 seats $225,000 

• Public Address System 

• Assistive Listening System 

• Video Projection System 

• Central Control Interface 

School of Music – Phase I 

1.0 Concert Hall - 800 seats $475,000 

• Sound Reinforcement System 

• Technical Communications & Paging 


• Recording Infrastructure 


• Production Video 

School of Music – Phase II 

2.0 Small Recital Hall - 100 seats $175,000 



• Assistive Listening 




2.1 Rehearsal Spaces Shared $7,000 

• Shared Portable System 

2.2 Orchestra Rehearsal $8,000 



1.1 Recital Hall - 350 seats $250,000 







2.3 Band Rehearsal $8,000 



2.4 Choir Rehearsal $8,000 



1.2 Choral Rehearsal Space $15,000 

• Shared Portable System 



1.3 Central Recording Control $150,000 

• Audio/Video Patching & Interface 

• Signal Distribution 

• Digital Audio Workstation 

Total Phase I $890,000 

2.5 Gamelan Rehearsal $8,000 



2.6 Medium Multipurpose Classrooms (2) $14,000 



2.7 Medium Lecture Hall $150,000 



• Video Projection System 


2.8 Central Recording Control $30,000 

• Audio/Video Patching & Interface 

Total Phase II $408,000 

Total of Museum and Music – Phases I & II $1,523,000 



Appendix C: 

Air Velocity Guidelines for HVAC Systems 

Noise Criteria 

Through the 

Outlet Device 

Outlet to 10 ft 

Including Neck 11 to 20 ft 21 to 30 ft 31 to 50 ft 51 to 100 ft + 

NC 15 Supply 250 300 350 425 600 800 

NC 15 Return 300 350 425 500 600 800 

NC 20 Supply 300 350 425 550 800 1000 

NC 20 Return 350 425 500 650 800 1000 

NC 25 Supply 350 425 550 700 1000 1200 

NC 25 Return 425 500 650 800 1000 1200 

NC 30 Supply 425 500 700 800 1200 1500 

NC 30 Return 500 600 800 1000 1400 1800 

NC 35 Supply 500 600 800 1000 1400 1800 

NC 35 Return 600 700 900 1150 1400 1800 

NC 40 Supply 600 700 900 1250 1600 2000 

NC 40 Return 700 800 1000 1400 1600 2000 

Notes: 

1. The above air velocities are given in feet per minute (fpm) for a given distance from the terminal or outlet device. 

2. Locate the specified noise criteria in the far left column and then choose either supply or return to determine the applicable 

air velocity guidelines for that criteria. The combination of air velocity and air volume criteria will determine the cross sectional 

area of grilles, diffusers, branch ducts and trunk ducts. 

3. Air velocities shall be no more than 25 fpm faster and no less than 25 fpm slower than the above criteria. 


Appendix G: Theater Planning Narrative 

Building Planning 

The room proportions, adjacencies and circulation patterns 

shown on the music building layout diagrams were informed 

by discussions with the architect, acoustician and School. They 

are by nature preliminary, but illustrate the necessary relationships 

for good functional planning. 

Concert Hall 

The concert hall will seat 800 patrons, and will accommodate 

a maximum ensemble consisting of a 100 piece orchestra and a 

150 member chorus. This arrangement will occur twice yearly. 

More typical sizes will be instrumental ensembles of 40 to 100 

pieces and choruses of up to 70. 

The room character was discussed only briefly, and should 

be further explored in a pre-design phase. The room will be 

designed primarily for orchestral music, with some flexibility 

for other performance types. It will have a single, wrap around 

balcony. Fixed choral seating for 80 will be provided behind the 

concert platform. 

Members of Campus Planning Group and the School of Music 

nominated the following halls as appropriate models for room 

character. (Please note these halls are larger than the proposed 

hall by 200 to 300 seats.) 

• Stude Concert Hall at Rice University 

• Hugh Hodgson Concert Hall at University of Georgia, 

Athens 

• Elsie & Marvin Dekelboum Concert Hall at the University 

of Maryland 

The cost report prepared by Vermeulens includes an allowance 

for audience seating and for technical equipment such 

as rigging for loudspeakers and acoustic reflectors, adjustable 

absorption to “tune” the room acoustic, movable choral risers 

to match the fixed risers, and performance lighting. The technical 

requirements must be further defined and developed when 

during the design phases. 

Medium Recital Hall 

The medium recital hall will seat 350 patrons, and will accommodate 

a maximum ensemble size of 35 with a concert grand 

piano. More typical ensemble sizes will range from soloists to 

ten person chamber groups. The room will house recitals by 

faculty, graduate students, and guest artists. The room will be 

designed to allow flexibility in the type of performance. 

The room character was discussed only briefly, and should be 

further explored in a pre-design phase. It will have a single, 

wrap around balcony, perhaps on all four sides of the room. 

The image of a court music hall was used to describe the room 

character. Auer Hall (400 seats) at Indiana University was also 

suggested as a room model for character. The cost report prepared 

by Vermeulens includes an allowance for audience seating 

and for technical equipment as described above. 

Small Recital Hall 

The small recital hall will seat 100 patrons, and will accommodate 

a maximum ensemble size of 15 with a concert grand 

piano. The room will be used frequently for undergraduate 

recitals, and will be designed to allow flexibility in the type of 

performance. The cost report prepared by Vermeulens includes 

an allowance for audience seating and for technical equipment 

as described above. 

Band, Choral, and Orchestra Rehearsal Rooms 

The cost report prepared by Vermeulens includes an allowance 

for adjustable absorption to absorption to “tune” the acoustic 

of these rooms. 


musikverein Brahmssaal 

CCM, Recital Room 

River Center, Legacy Hall 

Ford Center, Weston Recital Room

Chazen Museum of Art Feasibility Study - Facilities, Planning ...

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