1 [n. pl. defining sound for the next generation] PHOTO: HEDRICH BLESSING WHAT WE DO New Facilities: to establish acoustical goals and implement the details Adaptive Reuse: to find opportunities to give valued old structures a new purpose Restoration and Renovation: to develop strategies for acoustical improvements Facility Evaluations: to examine if and how an existing building can be improved Feasibility Studies: to determine what type of facility to build, where to build it, and strategies for funding the project WHO WE ARE Akustiks is a team of talented and successful acoustical professionals who have played central roles in the most striking acoustic design successes of recent years. Since founding the firm in 2001, Paul Scarbrough, Russell Todd, Christopher Blair, and Anthony Nittoli have completed numerous projects, most notably the Below: Akustiks project credits Schermerhorn Symphony include a diverse range of work Center, the much acclaimed new home of the Nashville such as Teatro Cristóbal Colón Symphony Orchestra. (top), the Smith Center for the Performing Arts (middle) and HOW WE WORK the Signature Theater (bottom). Attention to detail and a flair for innovative thinking characterize the work of the Akustiks team. This ensures that a completed project not only meets but exceeds our client s expectations, while our willingness to think outside the box creates opportunities for success that others might overlook. Backgrounds in music, acoustics, architecture and engineering provide a multi-disciplinary basis for our work. Coupled with this expertise is a focus on process: how we listen to our client and work with the design team to achieve the best results. WHO WE WORK FOR Akustiks was created to serve the needs of performing and visual arts organizations and educational institutions. Our primary clients include symphony orchestras, opera and dance companies, drama theaters, legitimate theater producers and presenters, museums, schools of music and the architects who serve these institutions. RENDERING: ESKEW-DUMEZ RIPPLE Top Left: A view of the Amy Grant Stage and the Martin Family Pipe Organ at the Schermerhorn Symphony Center in Nashville. Bottom Left: Rendering of the Old U.S. Mint Jazz Theatre in New Orleans, Louisiana. Opened in Autumn PHOTO: ERNESTO MONSALVE PHOTO: DAVID SUNDBERG / ESTO
2 PHOTO: PASANELLA+KLEIN STOLZMAN+BERG In working with Paul, Russ and Chris one thing that stands out is how totally they engage in the creative process. They are keenly interested in finding the one solution that uniquely meets all of a client s goals. Craig Hodgetts Hodgetts+Fung PERFORMING ARTS Great acoustics need not be an accident. Yet there is more to acoustical design than the cold application of scientific principles. Acoustical design starts with a sensitivity to the performing arts and blends with it scientific understanding to create special places where transcendent moments happen. Akustiks is dedicated to creating these special places concert halls that are wondrous instruments, opera houses where performances dazzle the senses, and drama theaters in which the depths of human experience touch the soul. Our designs draw on a wide variety of sources. In-depth studies of pre-20th century performance spaces form the historical underpinning for our work. Research into music composition and performance practice contributes an appreciation for the symbiotic relationship between Below: Francis Marion music and architecture. Analyses of the latest developments in University Performing Arts acoustical science, along with our ongoing theoretical research, lend a Center in Florence SC. cutting-edge aspect to our work. Finally, our own performing and Bottom: The new orchestra listening experiences offer insights into the creative core of shell and hall reshaping at performance itself. The resulting designs are often a synthesis of old the Eastman Theater. and new, time-tested and innovative, each uniquely tailored to the needs of the client. Acoustical flexibility is very important in teaching spaces. Left Top: In the Juliet Rosch Recital Hall at SUNY in Fredonia acoustical draperies allow faculty and students to tailor the acoustics to suit different size ensembles or types of music. Right: A similar level of flexibility was incorporated into the new 250-seat recital hall for the Cleveland Institute of Music, which opened in November PHOTO DON COCHRANE PHOTOGRAPHY
3 PERFORMANCE AUDIO AND VIDEO SYSTEMS We have weeks that include ballet, rock n roll, opera and everything in between. We now have a system that is capable of being used for any kind of show and that sounds great doing it. Tom Painter, State Theater, New Brunswick Sound, video and production communication systems are an essential part of almost every performance venue, whether a large arena for rock n roll, a concert hall for symphony orchestra or a small recital hall that also serves as a lecture facility. Principal Anthony Nittoli and senior consultant Sam Brandt oversee this aspect of Akustiks work, continuing a working partnership that began years ago. Several major considerations set Akustiks work apart from that of other system designers. We work with electrical, structural and HVAC engineers to see that basic building systems will support the loads demanded by the Left: The Philadelphia Theatre Company took a bold leap forward when the Suzanne systems. In addition, we work Roberts Theater opened in with the architects and their Akustiks designed all of consultants to integrate the the sound systems for this systems seamlessly into the design of the building and ensure that 350-seat house. allowances are made at the initial design stages for future expansion of Below: Eastman Theater, the system. Eastman School of Music. In We design systems that are technically complex and sophisticated, the first phase of renovation, yet also simple to operate by personnel in the venue. We monitor Akustiks upgraded the sound installation, test, and commission systems and provide hands-on system components, and training for facility personnel, so that they will get the most out of the designed new program monitor, equipment. Other factors are just as important in maintaining Akustiks high performance standards. We have first-hand experience with all the technical communication and paging systems. equipment that we specify; we have up-to-date knowledge of new technologies and equipment; we provide detailed documents to ensure that specifications are met by the contractors; and we keep a list of pre-qualified contractors who work to the highest standards. Right: The dramatic Auditorio Ibirapuera designed by famed Brazilian modernist Oscar Niemeyer; integrated systems by Akustiks. PHOTO DON COCHRANE PHOTOGRAPHY a ku stiks
4 SERVICES PHOTO: ENRIQUE GUZMÁN one of the best acoustics of a new-built theater in the world. Daniel Barenboim New Facilities Our expertise can play a central role in shaping a building. Working closely with a client, an architect and other design professionals, we develop acoustic goals within which the designs evolve. We pay special attention to the detailed ways in which architecture, structure and building systems impact the acoustics. Close attention to the construction process and working sessions with the user in the new space assure a finely tuned room. Adaptive Re-Use Older buildings often feature the kind of substantial construction and detailing that make them ideal candidates for use as concert halls, museums and other arts spaces. Our firm can work with the leadership in a community or institution to examine the inventory of existing buildings in a city to uncover such opportunities and develop them into viable projects. Restoration / Renovation When an existing facility can be improved, we consult on a range of issues from developing appropriate strategies for restoring the historic fabric of a building to determining what elements must be changed, or how to thread new systems into the building. All of these efforts are planned in ways that enhance acoustic character of the renewed spaces. TYPICAL PROJECTS Concert Halls Recital Halls Opera Houses Dance Theaters Facility Evaluations We assess the acoustic performance of existing facilities to determine if and how they can be improved to serve existing or new uses. Evaluations range from simple visual inspections to comprehensive surveys that include discussions with the artistic leadership of an institution, subjective listening at rehearsals and performances, and extensive on-site acoustic measurements and computer modeling. Drama Theaters Music Pavilions Museums Educational Facilities Feasibility Studies As an institution first begins to think about a new facility, we can help guide the early decision making to ensure that the planning incorporates essential acoustical goals from the outset. Such studies help determine what type of facility to build and where to build it, establish basic budget parameters and develop strategies for funding the project. RENDERING: DMS ARCHITECTS a ku stiks
5 Paul made the process of designing and building the Center both pleasurable and richly rewarding. Many things make Paul and the Akustiks team stand out, but chief among these were their obvious love of symphonic music. Alan D. Valentine President & CEO Nashville Symphony and Schermerhorn Symphony Center PAUL SCARBROUGH is an acoustical design professional with over 29 years of experience. Most recently he led the Akustiks team in designing the acoustics for the new Smith Center for the Performing Arts in Las Vegas. This complex houses a 2,000-seat multi-use concert theater, a cabaret theater and a studio theater/rehearsal hall. He also led the design of the Schermerhorn Symphony Center, a hall that has been called one of the best auditoriums built in a century. In the fall of 2007, he helped inaugurate the 250-seat jewel-box recital hall at the Cleveland Institute of Music and the 350-seat Suzanne Roberts Theater for the Philadelphia Theatre Company. Paul is currently leading the design for the Tobin Center for the Performing Arts in San Antonio, Texas and the Jesse Eccles Center for Dance and Capitol Theatre Renovation in Salt Lake City, Utah. He is also directing the design of a new concert hall at the Ordway Center, which will become the principal performance venue of the Saint Paul Chamber Orchestra. Prior to forming Akustiks in 2001, Paul was a principal at Jaffe Holden Scarbrough Acoustics. During his 17 years with JHS, he was the principal designer for the renovations to Severance Hall for the Cleveland Orchestra, the Concert Hall at the Kennedy Center and the New Amsterdam and New Victory Theatres on Broadway. His other project credits include the Oklahoma City Civic Center Music Hall and the Whitaker Center for Arts and Sciences in Harrisburg, Pennsylvania. Paul has developed effective working partnerships with a broad array of architects and theater planners. His formal training in architecture allows him to appreciate a diverse range of architectural styles and to engage in the design process in a constructive and collaborative fashion. He is deeply interested in the process of making great architecture and believes that the very best projects result from a seamless integration of architecture and acoustics. Paul has focused attention on several specialized areas within acoustics, including extensive studies to better understand how musicians hear on stage. His work resulted in advances that were incorporated into the designs for Severance Hall and the Kennedy Center Concert Hall. He also designed new accommodations for the existing pipe organs in both of these venues. Most recently, he has extended this work by designing a new stage for the Indianapolis Symphony at the Hilbert Circle Theater. Paul studied architecture at Rensselaer Polytechnic Institute. He served on the faculties of the 1999 and 2010 Summer Institute of the Acoustical Society of America and has been a guest critic and lecturer at Yale University. He holds memberships in the Acoustical Society of America, Britain's Institute of Acoustics and the United States Institute of Theater Technology. When not on the road traveling to assignments, he volunteers at the Essex Steam Train and Riverboat and is an avid bicyclist. Below: The Laura Turner Concert Hall at Schermerhorn Symphony Center in Nashville, opened in September Bottom: The new recital hall at the Cleveland Institute of Music accommodates everything from solo recitals to chamber ensembles of up to about 20 performers. PHOTO: JAUME SOLER RENDERING CHARLES YOUNG ARCHITECTURE
6 The Akustiks team, led by Russ Todd, in thinking about room proportions realized that the dated church sanctuary had the dimensional bones of one of Europe s great concert halls, Zurich s Tonhalle... Cynthia R. Curtis, PhD, Dean of the College of Visual & Performing Arts, Belmont University in speaking about McAfee Concert Hall RUSSELL TODD as one of the managing partners of Akustiks, is an insightful hands-on consultant with over 20 years of experience advising clients on acoustics. Known for his collaborative style, he works directly with clients and design partners to develop and drive solutions for Akustiks' major projects, including the recently opened DiMenna Center for Classical Music and Signature Theatre in New York City, the US Mint Jazz Theatre in New Orleans and the Acadiana Center for the Arts in Lafayette LA, the Smith Center for Performing Arts in Las Vegas NV as well as the acclaimed Schermerhorn Symphony Center in Nashville TN and the renowned Cleveland Museum of Art in Cleveland OH. He is respected as a collaborator by a diverse range of high profile design firms who depend upon a high level of expertise from their acoustical consulting partners to guarantee the success of world-class concert hall, entertainment, museum and theater facilities. Russ is Akustiks principal in charge of the design of Theatre for a New Audience and the Loews Kings Theater in Brooklyn NY and The Wharf Music Venue in Washington DC. He is collaborating with his partners on three multi-purpose facilities: the Tobin Performing Arts Center in San Antonio TX, the Jesse Eccles Center for Dance and Capitol Theatre Renovation in Salt Lake City UT and the upgrade to the Teatro Nacional de Costa Rica, home of the Orquesta Sinfónica Nacional De Costa Rica in San Jose. In the college and university world, Russ is Akustiks lead partner for two new music schools facilities opening this fall: a new recital hall, teaching studios and practice suites for Bard College Conservatory of Music in Annandale-on-Hudson, NY and a new 900-seat concert hall for Belmont University in Nashville TN. Russ is Akustiks designated team leader for the firm s numerous museum projects and for its ongoing work in exhibit hall acoustical design. His recent projects include the Cleveland Museum of Art expansion in Cleveland OH, the Country Music Hall of Fame expansion in Nashville TN, the National Museum of the United States Army in Fort Belvoir VA, the National Museum of the Marine Corps in Quantico VA, the National Infantry Museum in Columbus GA, and the Museum of History and Industry in Seattle WA. Prior to helping form Akustiks, he was a project manager for the Experience Music Project in Seattle WA, the Schuster Performing Arts Center in Dayton OH, and the Hollywood Bowl Renovation in Los Angeles CA while a senior consultant with Jaffe Holden Scarbrough Acoustics. Russ holds a Bachelor s in Electrical Engineering from Georgia Institute of Technology, Atlanta GA. He has recently lectured at Rensselaer Polytechnic Institute, Troy NY and Harvard University Graduate School of Design in Cambridge MA. His academic credentials, of late, are rivaled by his expertise and versatility in old house restoration, sailing, and jazz guitar. Below: Akustiks oversaw the acoustical design that was part of the adaptive reuse of Belmont Heights Baptist Church in Nashville for the McAfee Concert Hall which supports the Belmont University s School of Music program. Left: Rendering of the Old U.S. Mint Jazz Theatre in New Orleans Louisiana. This historic building, which opened in the fall of 2011, gained a Jazz Theatre to host and record world class jazz musicians from around the globe. PHOTO: KYLE DREIER RENDERING: ESKEW-DUMEZ RIPPLE
7 For Chris Blair, the design of a performance hall requires a dynamic interplay of architectural exploration and acoustical innovation. His ability to conceptualize outside the traditional box is a remarkable talent. Sandra Hemingway Eisenman Architects CHRISTOPHER BLAIR with more than 40 years professional experience, brings to our clients an innovative flair that extends well outside the bounds of the prototypical acoustician, creating practical solutions to a broad range of applications. As Chief Scientist and Principal Consultant, he collaborates on all the firm s major projects, focusing in particular on room acoustic design. Chris contributions can be heard in the widely praised Schermerhorn Symphony Center for the Nashville Symphony, the Rosch Recital Hall at SUNY-Fredonia (photo, top right), Mixon Hall at the Cleveland Institute of Music, and in renovations to the Eastman Theatre and the new Hatch Recital Hall for the Eastman School of Music, among others. Chris initiated Akustiks service to clients in Central and South America, and has been a key player in the rapid expansion of our presence in the region. Recent projects include the acclaimed Centro Cultural Julio Mario Santo Domingo in Bógota, Colombia and the innovative Teatro Bicentenario in Leon, México. He is currently leading the acoustic design of a multi-venue performing arts complex for the University of Guadalajara, as well as working with Akustiks Brazilian affiliate on several projects in that country, including a major new concert hall in the state of Minas Gerais. Blair s important international projects prior to the formation of Akustiks include his contributions to Singapore's Esplanade Performing Arts Centre, Lucerne's Cultural and Congress Centre, the City of Culture in Galicia, Spain, and Brazil s famous Sala São Paulo (photo, bottom right), for which he was Lead Design Acoustician and Project Manager. Chris extensive consulting history, in addition to architectural acoustics, has included factory noise mitigation, community noise and product noise regulation, outdoor sound propagation, consumer product sound quality, quieting high speed motor yachts, analyzing vibrational causes of failure, designing home theater systems, and even development of a portable high intensity sound chamber to simulate the acoustic environment of a Saturn V rocket launch. Akustiks consulting practice benefits from the warm relationships Chris often establishes with conductors and orchestral musicians. He has held musical Directorships of amateur, collegiate, and professional symphony orchestras as well as an opera company, and has guest conducted orchestras in the USA, Asia, South America, and Eastern Europe. More recent conducting activity has been focused on working with orchestras and their music directors to fine-tune their performance venues and the way the musicians play in them. Chris earned dual Bachelors degrees in Mechanical Engineering and Music from the University of Vermont and Masters degrees in Orchestral Conducting from the New England Conservatory, and in Acoustics from the Massachusetts Institute of Technology. He has been a member of the faculties of M.I.T., UMASS/Lowell, Brown University, and Yale University, and currently serves on the Strategic Planning Committee of the New Haven Symphony and the Board of Directors of the Conductors Guild. PHOTO: PASANELLA+KLEIN STOLZMAN+BERG PHOTO: LUIS FELIZARDO
8 I have had the pleasure of working with Anthony Nittoli for several years on various projects at Lincoln Center. His expert advice, flexibility regarding our specific needs, attention to cost-efficiency and consistent communication made the entire process a pleasure." Betsy McClelland, Deputy Director of Concert Halls Lincoln Center for the Performing Arts ANTHONY NITTOLI is one of the most accomplished electro-acoustic designers in the United States. In a career spanning over 30 years, he has worked on the design and installation of sound reinforcement, video and technical communication systems for a wide variety of performing arts and entertainment facilities. Anthony brings broad real world experience to bear on his design projects. In addition to his design and installation background, he has extensive experience as both a recording engineer and in live concert mixing working with a variety of artists. Having such hands-on experience gives Anthony an operator s perspective, which he uses to design systems that are both functional and easy to maintain, meeting in-house production needs as well as the complex requirements of touring productions. Since joining Akustiks to lead the firm's electro-acoustic design efforts, Anthony has designed systems for the Kodak Hall and Hatch Recital Hall at Eastman School of Music in Rochester NY, Schermerhorn Symphony Center in Nashville TN, The New Victory Theater in New York City, Avery Fisher Hall at Lincoln Center, also in New York City, The Ordway Center for the Performing Arts in St Paul MN, Auditorio Telmex in Guadalajara, Mexico and the Teatro Municipal and Auditorio Iberapuera in Sao Paulo, Brazil. Prior to joining Akustiks to lead the firm s electro-acoustic design projects, Anthony was a Senior Consultant at Jaffe Holden Acoustics. During his years with JHA, he was responsible for the design of audio systems for the Detroit Symphony Orchestra Hall Expansion Project in Detroit MI, the Schuster Performing Arts Center in Dayton OH, the Marion Oliver McCaw Hall at the Seattle Center in Washington State, the Memphis-Cook Convention Center and Harlem s famed Apollo Theater in New York City. As an independent consultant, Anthony completed high profile design-build projects in New York City and new Rehearsal Studios and Duke Theatre for the New 42nd Street on Broadway. Before starting his consulting career, Anthony was the Installations Division Manager for Pro-Mix New York, one of metropolitan New York s leading sound system contractors. During his tenure at Pro-Mix he directed the installation of systems for several major venues including the New Amsterdam Theatre, New Victory Theatre and Ford Performing Arts Center on 42nd Street in New York City, the Academy of Music in Philadelphia and the Opera House at the Brooklyn Academy of Music. Anthony combines great technical skill with a sensitivity to architectural aesthetics allowing him to create system designs that meet the rigorous demands of recording engineers and live sound operators while blending seamlessly into the aesthetic fabric of a performing space. Below: The new performance audio systems design by Akustiks for the State Theater in New Brunswick, New Jersey have been a big hit. Left: Akustiks designed all of the performance audio and technical communication systems for the iconic Auditorio Ibirapuera in São Paulo, Brazil, an 800-seat theater by the renowned Brazilian architect Oscar Niemeyer.
9 I wanted someone to develop totally invisible speakers, and Sam was patient with our many architectural demands. Antra Roze, Diamond and Schmitt Architects, Inc. SAM BRANDT is a senior consultant for Akustiks where he works closely with Anthony Nittoli and Jordan Lytle on audio video systems design for concert halls, performing arts centers and drama theaters. His current projects include the Tobin Center for the Arts in San Antonio Texas, the Theatre For A New Audience in Brooklyn New York and Centro Internacional de Convenciones de Bogotá in Bogotá Colombia Some of Sam s completed projects include the Smith Center in Las Vegas Nevada, the U.S. Mint Jazz Theatre in New Orleans Louisiana, Francis Marion University Performing Arts Center in Florence South Carolina, the Acadiana Center for the Arts in Lafayette Louisiana and the Suzanne Roberts Theater in Philadelphia Pennsylvania. Sam brings hands-on work experience to his system designs. Prior to becoming an audio video systems design consultant, Sam worked in the field of live entertainment holding positions with the special events department at Universal Studios Florida, scenic engineering and construction at United Theatrical Services in New York and recording, broadcast and systems engineering at Interlochen Arts Camp, Interlochen Center for the Arts in Interlochen Michigan. As a staff member at Interlochen Arts Camp, Sam worked on a variety of events and programs ranging from recording recitals and live broadcast of large orchestral presentations to operating sound reinforcement systems for large poplar music events. In addition Sam also maintained and upgraded several campus audio systems. The partnership with Anthony continues an association that began at Jaffe Holden Scarbrough Acoustics. During his years with JHA, Sam served lead roles on The University of Mississippi s Gertrude C. Ford Center for the Performing Arts, Hobby Center for the Performing Arts in Houston, the renovation of Radio City Music Hall and Harlem s Apollo Theater in New York City, the Conference Center of The Church of Jesus Christ of Latter-Day Saints in Salt Lake City, the Marion Oliver McCaw Hall at Seattle Center, Orchestra Hall in Detroit, The Max M. Fisher Music Center, The Cannon Center and Memphis Cook Convention Center in Memphis. Sam is a technical direction graduate of The University of North Carolina School of the Arts, Winston-Salem, North Carolina. Below: When the 350-seat Suzanne Roberts Theater opened in October 2007, the Philadelphia Theatre Company gained top-notch acoustics and a stateof-the art performance sound system. Left: At the Acadiana Center for the Arts, the sophisticated performance audio systems designed by Akustiks will help provide a flexible venue where the music of this vibrant community can be experienced in a whole new way.
10 Jordan at Akustiks provided a very simple to use system for a school project for me. It looks and sounds great and the kids love it. JORDAN LYTLE is the latest addition to Akustiks electro-acoustic design team. He joined the firm in June 2010 after graduating from Ithaca College with a B.F.A in Theatre Production Arts with a concentration in sound design. He has already contributed to the design of Brooklyn Academy of Music's new Fisher Building in Brooklyn, New York; Country Music Hall of Fame in Nashville, Tennessee; and The Gaillard Performing Arts Center in Charleston, South Carolina. His interest in and aptitude for electro acoustics led to considerable experience while still in college. At Ithaca, he worked on over 20 productions as mixer, engineer, or electrician, and served as sound designer for Shakespeare s Much Ado About Nothing and Stephen Schwartz s Children of Eden. Additionally, he served as an assistant sound designer to Don Tindall for productions of Once On This Island and Rent at the Hangar Theatre in Ithaca NY. Aside from designing, Jordan has experience in live theatre mixing and engineering of large-scale musicals, concerts, and plays along with religious productions and conferences. He also provides recording services for local choirs and groups in the New York City area. Jordan hails from Wichita Kansas where he first got his start in this industry by repairing his family s broken television at the age of 9. Since then he has spent most of his life taking apart any and everything he s ever owned to discover how it works. He also started providing sound for his local church children s choir during the 5th grade. This interest steered him towards a career in the technical arts. Jordan sometimes performs as a drummer with music groups, builds custom computers, and spends his evenings exploring the madness that is New York City. He is excited to bring a fresh outlook to Akustiks electro-acoustic design work while learning as much as possible about all aspects of acoustic design from his gifted colleagues. Below: Rendering of the Brooklyn Academy of Music located in Brooklyn New York Bette Midler, Philanthropist Left: Akustiks is overseeing the acoustical aspects of the renovation of the 1960s era Gaillard Center in Charleston, South Carolina. The renovated facility will include an 1,800-seat multi-use performance hall, exhibition/banquet hall and offices.
11 COMPLETED PROJECTS PERFORMING ARTS Schermerhorn Symphony Center, Nashville, TN - Akustiks designed this new 1,872-seat concert hall for the Nashville Symphony. The hall, which opened to rave reviews in September 2006, features world class acoustics and a variety of innovative acoustical and theatrical technology (photo: left, top). Smith Center for the Performing Arts, Las Vegas, NV - This new complex houses a 2,000-seat multi-purpose concert theater, a cabaret theater and a studio rehearsal space. Dimenna Center for Classical Music - Cary Hall, Manhattan, NY - New, state-ofthe-art rehearsal and recording facility for musicians and ensembles centrally located in midtown Manhattan. Signature Theatre, New York, NY - The new facility presents works of playwrights during all stages of their careers in three exciting theater spaces. Suzanne Roberts Theater, Philadelphia, PA - New 350-seat drama theater for the Philadelphia Theatre Company. Plaza Theater, El Paso, TX - Restoration of an historic 2,400-seat atmospheric theater as a full-featured civic performing arts center. Acadiana Center for the Arts, Lafayette, LA - A 300-seat courtyard theater in the heart of downtown. Uses range from drama and chamber orchestra to Cajun, zydeco bands and recordings of Louisiana Crossroads. Boston Opera House, Boston, MA - Restoration of a 2,600-seat house including a new stagehouse, sound system and support facilities. Nokia Theater, New York, NY - 2,000-seat entertainment venue, located in the heart of Times Square, named Pulstar 2005 Best Major Concert Venue. Teatro Mayor del Centro Cultural Julio Mario Santo Domingo, Bogotá Colombia - New 1,300-seat multi-purpose theater for music, dance, drama and popular entertainment. Auditorio Telmex, Guadalajara, JAL México - New 8,500-seat multi-purpose auditorium part of a new performing arts complex for the University of Guadalajara (photo: right, middle). Palacio de Bellas Artes, México City, DF México - Renovation of Mexico s historic 1,300- seat national theater. Teatro del Bicentenario, León, GTO México - Akustiks provided design and construction administration services for this new 1,595-seat performing arts center. Auditorio Ibirapuera, São Paulo, Brasil seat indoor and outdoor music pavillion located in Ibirapuera Park. Teatro Municipal, São Paulo, Brasil - Design of new audio and electronic enhancement systems for São Paulo's historic opera house. EDUCATIONAL FACILITIES Cleveland Institute of Music, Cleveland, OH - The new centerpiece of the project is the 250- seat Mixon Recital Hall, where the expansive use of glass and rich wood finishes creates a jewel box environment for soloists and small ensembles. Eastman Theater, Eastman School of Music, Rochester, NY - Restoration of the landmark 1920s theater to better serve the Eastman School ensembles and the Rochester Philharmonic (photo: right, bottom). McAfee Concert Hall, Nashville, TN - An adaptive reuse of Belmont Heights Baptist Church in Nashville, Tennessee for an 800 1,000 seat concert hall to support Belmont University s School of Music program. Juliet Rosch Recital Hall, School of Music - SUNY, Fredonia, NY - New 500-seat recital hall with an acoustical design that allows it to adapt to serve recitals, choral groups and ensembles (photo: right, top). Aycock Auditorium, University of North Carolina, Greensboro, NC - Comprehensive renovation of the 2,300-seat auditorium, the principal performance venue on the Greensboro campus of UNC. visit for a complete list of finished projects a ku stiks PHOTO: PASANELLA+KLEIN STOLZMAN+BERG PHOTO: JAUME SOLER PHOTO DON COCHRAN PHOTOGRAPHY