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Show Biz|By Tim CusackHow They Got HEREHERE Arts Center seeks to prove you can create adventurous work even whileowning your own space.Kristin Marting, the founder and artistic director of HEREArts Center in Manhattan’s SoHo neighborhood hasdisplayed a remarkably consistent curatorial eye forspotting the new talent on the horizon, providing them witha home and offering publicity and marketing support toconnect them to wider audiences and the prize- and grantawardingbodies that enable artists to have careers.From its beginning, HERE had a certain roughhewn charm— when the space first opened it featured large windowsfacing Sixth Avenue and a café that ran along most of itsfront, furnished with bohemian-chic secondhand chairs andtables. A long art gallery led back to the main stage and thecabaret space, while a grand staircase led down to the offices,a smaller proscenium space and the restrooms.However, all of this changed when Marting and her boardcommitted to purchasing the space. As Marting tells it, “Wemade a decision to buy less real estate than we had beenoccupying — about 9,000 square feet as opposed to 13,000square feet.”The needs were specific. “We were not looking to make thekinds of changes where you would really want an architectthat only specialized in theatres. We needed architects whowere familiar with the rules that govern public assemblyspaces such as restaurants and clubs,” she says. “We did havea whole team of other people working on the project as well,like a fire alarm engineer and an acoustical engineer.”To find the professionals who would actually render thedesigns, file the permits, get the approvals and execute thework, Marting and her staff reached out to members of thecommunity. “It was references from people on our board, fromother theatres and from other people in the building becausethe whole building was undergoing renovations at the time.”After initially interviewing seven architectural firms, the poolwas narrowed down until one was chosen “based on a feelingthat the aesthetic was going to fit nicely and also the price beingsomething that was within our range.”The project ultimately cost $1.7 million, the bulk of whichcame from the City of New York as part of Mayor Bloomberg’sefforts to invest in the arts as engines of economic growth andneighborhood stability. However, the wheels of city bureaucracyturn very slowly, and Marting ended up having to borrow themoney to get started, which was than repaid when the city’sfinancing finally came through.The results of all this work: public space that feels bothmodern and inviting, featuring red epoxy floors, wood andmulticolored stained glass doors that can open up the caféto the street in warmer weather. The main stage retains theflexible seating that’s always been one of HERE’s hallmarks,but with chairs that are far more comfortable for audiences.In short, a space that is worthy of the significant careers thathave been launched there.I asked Marting to name some of the best practices shediscovered during this process. She recommends that producersfocus on generating accurate estimates of “soft costs,” e.g.architecture, engineering and project management fees, relocationand storage costs and the loss of business revenue thatwill accrue while your space is inoperable.Double the amount of time you think you need for planningit. “Although we were delayed by going through thecity process, it actually helped us figure out how to get theproject done in a timeframe that was realistic,” she says. Makesure your architectural documents are complete and thateveryone is in agreement in the planning stages. “Once youhave a really good set of drawings, there can’t be that manyarguments once you are in construction.” In other words,negotiate when everything’s still on paper. “If your project iscoming in too high, your contractor can look at one detail andbe like, ‘You know, this one thing is really costing you. Is thatreally worth it for you?’”Also, make sure to budget the money to hire a goodproject manager. That way you can spend your time raisingthe money to create your dream theatre (or even making thework to fill it), not filing the paperwork to keep the bureaucratsat bay.38 December 2008 • www.stage-directions.com