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/ BUILDING DIALOGUE / DECEMBER 2014
Semple Brown’s philosophical and practical approach to
projects, especially performance arts jobs, is experiential. The
studio spaces encourage exploration, as a visit one afternoon to
the firm’s spacious, utilitarian office (a repurposed post office) in
the Santa Fe Arts District, demonstrated. That’s not surprising for
a team that excels in creating spaces for clients who exist to con-
jure experiences and move audiences – to laughter, tears, song,
dance and other flights of fancy.
In one corner, a bank of chairs of various sizes and styles sim-
ulate theatre seat choices for a client to consider. This “set” allows
the project team to demonstrate how each option looks, feels,
adds or detracts from the potential patron experience.
The firm’s library, a large spacewith a soaring ceiling, was once
used by the design team to test how patrons might react to a
massive chandelier planned for the Ellie. The floor’s well-trod
duct tape still outlines the footprint of the giant fixture, marked
out to get a feel for the scope andwhat it might feel like to stand
beneath it.
That embrace of space, along with Semple Brown’s deep-
bench talent in performing arts design and willingness to live
a project right alongside clients, is a hallmark of the firm, Wine-
man explained.
“I believe we gravitate to, and are hired by, clients who know
our work and know we encourage hands-on involvement,” he
said. “We want clients to look over our shoulder, sit in the chairs,
ask questions, pick up a pencil.”
Clients confirm that level of interaction with the Semple
Brown team.
“During our project, I persistently contacted Chris with ques-
tions and he was always willing tomake the time to address our
inquiries. Plus the opportunity to tour several existing facilities
– due to Chris’s connections and assistance – was a huge bonus,”
recalled Jim Cleveland, with the Parker Arts, Culture and Events
Center.
Semple Brown designers are known for looking over the cli-
ent’s shoulder, too.
“We love to take design teams backstage so they can see how
a performance company operates, and why they have very spe-
cific requirements in terms of space and functionality,” Schmidt
added.
While Semple Brown’s arts expertise naturally attracts atten-
tion from new clients with similar needs, Schmidt relishes the
fact that recognition sets up the opportunity to create spaces
that reflect each new client’s individual brand.
“A client may see our other work and tell us, ‘I want
that
,
’
”
Schmidt explained. “That’s when the challenge begins, collab-
orating with them to create something they love even more,
something that is theirs alone.”
That collaborative spirit travels throughout the project’s lifes-
pan. Semple Brown is adept at bringing all parties, from clients
to constructionpartners, to the table as early as possible, Schmidt
explained. Early inclusion, alongwith the firm’s in-depth experi-
ence in bidding, cost management and subcontractor relation-
ships, provide tangible benefits for clients.
“Semple Brown’s established tenure commands industry re-
spect, especially when it comes to contractor relationships. Their
design and professional relationship management has provid-
ed us with full-service support for our critical projects,” said Clay
Courter, director of facilities management for the Denver Center
for the Performing Arts.
Wineman and Schmidt are passionate about creating beauti-
ful working buildings, yet they both have an oddly ego-less take
on the relationshipbetweendesign space andartistic expression.
Wineman explained, “Architecture is not the destination in
performance spaces. It’s far more holistic, inmy opinion. Our job
is to create a superior vehicle that allows a great work of art – a
ballet, an opera, a play – to
happen.
When artists take the stage,
the physical reality of the theater recedes. It’s not about us at that
point. For example, while the building is stunning, how often
have you heard anyone say what an incredible performance
they saw at the Sydney Opera House?”
He added, “It’s critical that a performance space be functional
for artists. If a theatre is too small or even too large, or too dark
or there
isn’t
adequate storage space – then performers have to
worry about how the space isn’t working. Energy is leaking out of
the building, instead of energy going into the production.”
After years in this design niche, and the satisfaction of lever-
aging that expertise with new and returning clients, bothWine-
man and Schmidt said every project is like a continuing-act play
– the learning never stops. Their “ah-ha!” moments?
“Probably one of the most important things I’ve learned is to
be a sponge, in listening to clients, my co-workers and others,”
Schmidt said.
Wineman is equally honest.
“I’ve learned you can outsmart yourself,” he laughed. “My head
is constantly full of ways to integrate new trends and technol-
ogies into our projects. However, you have to think in the long-
term. You have to constantly ask yourself, ‘Why am I doing this?
Did we get it right? Will this space continue to serve the client
as time goes on?’”
Naturally, both are arts advocates, as professionals and as Den-
ver residents who believe in civic cultural responsibility. Both
agreed that Denver must continue to invest in cultural infra-
structure and innovative delivery systems to keep arts participa-
tion relevant among younger, more diverse audiences. A recent
study by theNational Endowment for the Arts foundmore than
75 percent of Americans accessed electronicmedia for arts expe-
riences. Radio and TV remain the prime virtual venues but that
is changing. Are brick andmortar buildings passé?
“The number one predictor of arts appreciation is education,”
Wineman said. “The way arts are consumed will evolve but for
them to exist at all, we must teach a love of arts to our children,
so it remains valued in our society.”
Cities need to retain local performance companies and sup-
port performance spaces so everyone can experience the arts on
a personal level, Wineman added.
“If we just want to import actors and programming, then we
cando that withoutmuch additional effort. However, if wewant
these artists to
live
and
work
andbe assets
within
our communi-
ties, then we need to create spaces for them to do that.”
\\
/ Semple Brown Design: Staging Inspiration for the Arts /
Ron Pollard
Semple Brown designed the 50,000-square-foot Parker Arts
and Culture Event Center, linking the city’s historic downtown
and civic areas.
