www.hksinc.com

www.schmidt-stacy.com

Our industry continues to witness a crisis in lending for design and construction that is effectively touching every market sector and geographic area.

As an invited guest, I recently attended Alan Greenspan’s discussion on the economy. What brought the most clarity to me was when he said, “The finance industry will begin to recover when the amount of outstanding loans is at least equal to the assets that the loans are against.” Another resounding message: this recession could be as long as three to four years, with a bottoming out in mid- to late 2010.

Given the current economic climate, we continue to ask our clients: how can we best serve you and meet your needs? We’re also in discussions with our peers, contractors and consultants. We asked the Forum, Associates, Vice Presidents and Principals – which represent the entire firm at HKS – to form committees and outline ideas for the firm’s next five years of operations. This information has been developed into an immediate call to action, to be shared with all employees.

I am convinced this downturn in the economy will strengthen our organizations and build character within each of us. We all will come out of it stronger and a little wiser about our core business practices. Following the recession, I believe the market will come back extraordinarily strong. And, we all will need to be prepared with even more efficient and lean organizations.

Funding for new projects will come from government resources, either directly or indirectly. We anticipate government funding for federal and state office buildings through the Department of Veterans Affairs, U.S. Army Corps of Engineers and Naval Facilities Engineering Command (NAVFAC). Many of these will be design-build with the integrated project delivery model. State and local municipalities also will be looking at bond elections to support community buildings, sports venues and school projects.

HKS is up to the challenge of overcoming our current economic adversity. Our plan begins by meeting the needs of our clients and collaborating with peers and consul-tants within our industry. We are optimistic about the future and are excited to be on the forefront of the architectural practice, being ranked the No. 10 firm in the world by BD World Architecture magazine.

Our latest issue of INNOVATE presents many exciting features including an interview with Rick Elice, co-author and playwright of “Jersey Boys” and Steven Ehrenberg, vice president of technical production for BASE Entertainment, promoters of “Jersey Boys”; a profile of the recently opened Montage Beverly Hills; a discussion on trends in sports branding; and an overview of HKS’s Clinical Solutions & Research group. In addition, we hope you enjoy our staple “Design Details,” “Around the World” and “On the Boards” sections.

As always, we want to thank our clients, consultants and builders for allowing us to continue to work in a collaborative manner. Please enjoy this issue of INNOVATE.

Sincerely,

H. Ralph Hawkins, FAIA, FACHA, LEED APChairman and CEO

I am convinced

this downturn in

the economy will

strengthen our

organizations and

build character

within each of us.

We all will come

out of it stronger

and a little wiser

about our core

business practices.

”

“

Dear Reader,

INNOVATE VOLUME 5, NUMBER 2 SPRING/SUMMER 2009 WWW.HKSINC.COM +1.214.969.5599

2

DESIGN DETAILS Hail to the Architect Ideas UnleashedBest Places to WorkGetting in the ZoneViva Aviva

AROUND THE WORLDModern technology is changing the way we live, work and play. Paul Hyett de-scribes its effect on our built environment today – noting the new Dallas Cowboys Stadium – and in the near future.

DESIGN FROM THE BRAND OUTBranding isn’t just for Nike® anymore. Coffee shops, banks, retail stores and stadiums are getting into the game. Read more about how this branding trend is coming to a sports venue near you.

“JERSEY BOYS” – THE GREATEST STORY NEVER TOLD (UNTIL NOW)“Jersey Boys” is taking audiences by storm – and the show’s reviews are proof posi-tive of its success. But, who’s behind the production? Meet Rick Elice and Steven Ehrenberg, who will give us a glimpse behind the scenes at the Jersey Boys Theatre.

MONTAGE BEVERLY HILLS DEBUTSFew cities in the world conjure such images of affluence and glamour as Beverly Hills. HKS Hill Glazer Studio proudly announces the opening of one of its premiere design projects, Montage Beverly Hills.

WHERE CLINICIANS AND ARCHITECTS MEET: HKS CLINICAL SOLUTIONS & RESEARCHHKS’s Clinical Solutions & Research bridges form and function, creating flexible buildings that stand the test of time. The article introduces you to three key leaders of the group who prove that healthcare design does affect the healing environment.

ON THE BOARDSA hotel operator in Doha, Qatar is presented with four options for the design of the Solis Hotel & Residences. Which would you choose?

HKS is committed to being a good steward of the environment. INNOVATE is published on recycled paper, which is FSC certified (Forest Stewardship Council), and printed using soy-based inks.

On the cover: Solis Hotel & Residences - Doha, Qatar

In this issue

INNOVATE VOLUME 5, NUMBER 2 SPRING/SUMMER 2009 WWW.HKSINC.COM +1.214.969.5599

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credits EDITORIAL HKS Communications; DESIGN HKS GrafxLab; PHOTO/ILLUSTRATION cover: Spine3D; pg. 3: (all images) HKS, Inc.; pg. 4: (all images) HKS, Inc.; pg. 5: (top left and center) HKS, Inc.; (lower left) compli-ments of Building Design + Construction; (lower right) Nick Lu; pg. 6-7: (all images) HKS, Inc.; pg. 8: (all images) HKS, Inc.; pg. 11: (both images) HKS, Inc.; pg. 12/13: HKS, Inc.; pg. 14/15: HKS, Inc.; pg. 17: (all images) HKS, Inc.; pg. 18-23: (all images) Scott Francis/Montage Beverly Hills; pg. 25-27: (all images) HKS, Inc.; pg. 28: Spine3D: pg. 29 (all images): HKS, Inc.: pg. 30 (top three images): HKS, Inc.; (bottom): Spine3D; PUBLISHING Innovative Publishing Ink. Contact Aran Jackson at 502.423.7272 or ajackson@ipipublishing.com

Terry Hajduk’s vision is to produce facilities that respect the past, build on the present and define the future. For nearly a decade, he has served as the nation’s foremost learning environment specialist. As HKS’s Learning Environment Design Specialist, he offers clients his expertise and dedication to en-visioning, developing and creating exceptional learning environments. Working with educators, designers and students, Hajduk has shaped education environments all over the world. He is also part of a national coalition of experts conducting a study and writing a white paper on “what higher education will look like in 15 years.” 2

Former President Franklin D. Roosevelt may not have been an architect by trade. But, he did sketch the original design of the National Naval Medical Center in Bethesda, Md. The drawing was passed along to French architect Paul Phillipe Cret, who designed the facility. Today, HKS designers are continuing his art deco style with the addition of two buildings – one to the left and the other to the right – of the historic tower. A col-laboration of the National Capital Planning Commission, the Mary-land State Historical Preservation Office and Hartman-Cox Architects, the Walter Reed National Military Medical Center will complement the historic landmark on one of the nation’s premier war casualty reception sites. 1

DESIGNDETAILS

HAILTO THEARCHITECT

IDEASUNLEASHED

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There wasn’t a shortage of star power at the February 4 open-

ing of the Children’s Healthcare of Atlanta’s Child Life Zone Playroom. Attendees included international music star Garth Brooks and NFL Hall of Fame member Troy Aikman as well as Atlanta Thrashers Eric Boulton, Johan Hedberg, Eric Perrin, Marty Reasoner, Jim Slater, Chris Thorburn and Todd White. De-signed pro-bono by HKS, Inc., the 3,500-square-foot play area includes a theater, game room, quiet room, arts and crafts area and computer area. The rooms house four Wiis, six flat-screen televisions and a basketball court as well as games, books and magazines. The Zone also offers an adjacent playground that includes a garden, koi pond and putting green. 4

The $5 Lunch Break, the firm-wide Design

Fellowship, HKS.edu professional development, Operation HKS Cares and Spotlight awards were just a few of the perks, according to Building Design & Construction jurors, when selecting HKS as a best place to work in the architectural, engineering and construction industry. More than 45 entries were judged in two categories – firms with fewer than 100 em-ployees and firms with 100 or more employees. Jurors asked, “Does HKS treat its employees well?” “Do they genuinely emphasize employee development and community in-volvement?” “Does management have a good strategic plan for current and future business?” The outcome: a resounding yes on all counts. 3

When Aviva manage-ment decided to build a new operations

center for its North America-based insurance practice, they turned to their employees for input. A firm-wide survey identified that 65 percent of the firm’s staff is Generation X. The 25- to 45-year-old workers said they focus more on independent work patterns, value face-to-face meetings and enjoy health-centric work options. What did that mean when designing the building? The $135 million cam-pus, with private work spaces and abundant meeting and conference spaces, includes amenities such as a gourmet servery with dining spaces, a state-of-the-art fitness center and miles of walking trails, which overlook a waterscape and picturesque valley. 5

VIVAAVIVA

BEST PLACESTO WORK

GETTINGIN THE ZONE

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Modern coMMunication technolo-gies have distorted tiMe, interval and distance....

think about it: on arrival in France to negotiate an alliance against the english, future u.s. President John adams discovered that during his six weeks at sea, an agreement had been reached.

now, when i get off a plane, a trail of emails f loods my Blackberry. i ring home to report safe arrival and enjoy a same-time conversation with my wife, sue. What would adams have done with such sophisticated gadgetry?

in short, today’s technologies have negated the impact of distance on communication. the time involved in transferring a long-distance message has been nullified.

Just as intriguing are the consequences of these new technologies upon interval – events need no longer be experienced in chronological order, or with fixed interludes.

For example, it is possible to watch the australian grand Prix (occurring australian

MudHutsandtiMetravel

Paul Hyett is a principal of

HKS Architects Limited in London

afternoon time) live on tv in london at 4 a.m. the same day, or in dallas at 10 p.m. the previous day. But if you can’t wait to find out who wins ... fast-forward to see the finish. then return to the race real sequence, but no longer real time. suspend the action while you take a shower, go for a walk or eat breakfast ... delete boredom, repeat delight and so on.

Master of time, you are using technology to reverse chronology (the end before the begin-ning), to subvert sequence and to suspend continuity. effectively, you are distorting interval (the true period between two events).

the way we arrange our buildings, what they comprise and where we put them are also increasingly inf luenced by technical progress in communications. For example, professional service industries have long mimicked product manufacturers by breaking up and relocating their support teams into cheaper areas – call-centers now frequently operate from india, where skilled, affordable staff and accommoda-tions are readily available.

such mobility of labor and capital combined with the disaggregation of activities has had profound impact in terms of employment, economy and physical planning – in both direc-tions. some cities in developing countries grow and f lourish, offering opportunities to plan and build science and business parks in hitherto unimagined locations, while other first-world cities wither and even die.

consequences for architecture, planning and urban design can also be readily seen in devel-opments in the electronic delivery of education and healthcare.

computer networking surely challenges the need even for a building. Will tomorrow’s secondary schools simply exist as a virtual community with students working from their own homes, each other’s homes, the café, the library or the cafe-library? or perhaps, will they learn from a series of physically dispersed hubs or centers that they visit on those rare occa-sions when same place/same time interaction is deemed beneficial?

6

has its own magic – same time, unfiltered and unfettered raw communal excitement.

But, this is not enough. Jerry Jones, owner of the dallas cowboys, recognized that his facility must compete with our growing expectations when managing the home screen in terms of play-back, close-up and viewing angles. We now expect the video board to give us substantially better processed views from our stadium seat than we would otherwise get with the naked eye. and, we need those replays. at the dallas cowboys stadium, the center-hung video board measures 160 feet wide by 72 feet tall and 53-foot by 30-foot end boards produce mega-sized images to enhance spectator experience.

and that is just for starters. in the future, expect sophisticated armrest computerized videos that spectators can manage as a further supple-ment to their real-time experience. dynamic computers that allow them to drill down for ever more detail on the aspect of club or player history that intrigues them ... electronic gadgets that facilitate replays of goals from 15 different angles. gadgets that give us all the power to distort time, interval and distance as the match proceeds as well as remotely order our bever-ages or teletext our critique to the 360-degree matrix boards.

today’s architects must recognize that build-ings really are becoming machines ... or rather, perhaps, merely portals to an electronic cyber world.

today’s architects mustrecognize that buildings really are becoming machines ... or rather, perhaps, merely portals to an electronic cyber world.

does it seem crazy? Well, this has been happening for decades through the uK’s open university. since its inception, open university has increasingly run as an electronic correspon-dence course – a sort of virtual establishment.

in healthcare, we already see surgeons routinely operating through robotics while hundreds – or even thousands – of miles from their patients, courtesy of modern communication technolo-gies which, in this case, distort distance. the impact on architecture is self-evident. Just as a receptionist can be located remotely from the boss, so can the surgeon be located far from the patient in another hospital – or even city. Buildings with virtual corridors between rooms several thousand miles apart are simply a form of architectural evolution.

lean operations and just-in-time delivery have had equally profound impact on building design and city planning. distribution centers – whether supplying groceries or consumer durables – can give ever greater proportions of their space over to display. alternatively, the large, expensive city facility can be smaller and therefore cheaper through its reliance on remote storage and computer management of stock replacements.

But it is not just the provision within and the spatial arrangement and location of buildings that is affected by the new communication technologies – it is also their content and sophis-tication in terms of electronic equipment. a modern building can, if you accept the analogy, increasingly be compared to a computer. the enclosure represents the hard drive, and its internal electronics are the software, for example, managing its ecological response in terms of solar responsive shading, and intel-ligent control of artificial lighting levels and natural ventilation.

all this has found an exciting new resonance in sports buildings. Why should spectators go to a match when they can watch from home? the reason, of course, is simple: the “beingness of being there.” Whether at an american super Bowl game, a Wimbledon championship or a grand Prix car race, being there in person still

7

f rom the

HKS’s stadiums and entertainment facilities don’t sport a signature design that shouts the firm’s name.

Bryan Trubey, principal for HKS Sports & Entertainment Group, is emphatic about the rea-son why. “The real HKS difference is that client brands drive our design and, for us, branding is much more than simple identity,” he said. “It embraces history, culture and the visceral experi-ence of the game.”

Trubey emphasizes this singular brand focus is important to clients. “Branded places build loyalty, which trans-lates into increased rev-enues,” he said.

Histor ica l ly, spor ts venue branding meant little more than logos stuck onto walls. Today, brand identity is embed-ded into every aspect of HKS’s sports projects. It starts with the over-all design for the master plan, building exterior, playing surface and seating bowl, and extends to functional spaces such as clubs and concourses. At the same time, these elements are sculpted to provide fertile ground for sponsorships and to maximize team co-branding.

Branding and SponsorshipSponsorship has become increasingly important in sports marketing. Trip Boswell, director for HKS Brandspace, said, “Companies and insti-

tutions spend millions cultivating their brand, and there is no better place to broadcast that message than to the millions of visitors to a sports facility.”

HKS Brandspace is a multidisciplinary archi-tectural communica-tions group. It serves as an internal agency that works with sports clients and sponsors to develop sponsorship opportunities. Team

members include brand strategists, print and environmental graphic designers, architects and visualization specialists.

Boswell points out that all products including sports compete for consumer dollars. “It can be more comfortable and less expensive to stay home with your HDTV than to attend the game,” he said. “We work to enhance the in-person expe-rience by providing historical, instructional and communal elements that make fans want to come out and be a part of the game.

“The real HKS difference is that client brands drive our design and, for us, branding is much more than simple identity,” he said. “It embraces history, culture and the visceral experience of the game.”– Bryan Trubey, HKS Sports & Entertainment Group

HKS SPORTS & ENTERTAINMENT GROUP

9

“Sponsors are seeking bigger and more immer-sive opportunities to speak to consumers,” he noted. One way to accommodate sponsors is to focus on essential elements such as concourses and sculpt them to create discrete, sponsor(able) spaces, such as the string of concourses and cor-ner spaces at Lucas Oil Stadium.

Today’s branded sports environments create an interactive museum experience in the stadium. New sponsor spaces take cues from trade show or retail experiences in which there is total engage-ment of brand. “More and more, sponsors want a dedicated environment with interactive kiosks and eye-catching multimedia,” said Boswell. “They’re striving for a total immersion, using all the senses.”

HKS Brandspace is currently helping the Dallas Cowboys achieve an awe-inspiring sponsor

presence to match that of the stadium. Working with Dr Pepper, Ford and Miller, they are creat-ing what they call a World’s Fair-quality experi-ence for those brands.

Boswell emphasizes that HKS Brandspace always builds into the sponsorships something for the fans. “We suggest that sponsors provide an activity, storytelling, history or a pre-game event,” he said. “These elements give something back to the fans, add meaning beyond pure advertising and give fans more reason to choose the live experience.”

Brand research digs deep to identify the

necessary design drivers and elements

for a new or renovated facility. Here’s a

checklist of factors that affect the overall brand.

Team: history, culture, memorable moments and legendary personalities

Fans: traditions, preferences, activities and demographics

Current facilities: meaningful or beloved features to recreate

City, state and region: historical context, architecture, geography, economic drivers and the values and cultures of the population

At the same time, the firm is careful to main-tain a strong design and conceptual focus. Boswell believes that powerful design and com-mercial goals are not mutually exclusive. “HKS Brandspace has a fundamental belief that com-mercial opportunities can be integrated in great ways,” he said.

In addition to designing sponsorship installations and the buildings they go into, HKS Brandspace also helps venue and team clients market these spaces. They worked with the Indianapolis Colts to help sell the unique opportunity by developing a suite of marketing tools, which used faux spon-sors to showcase the vastness of the opportunity.

Identifying the BrandHKS’s brand focus provides clear indicators for great solutions. “Many times, clients can have difficulty expressing what they want architec-turally,” said Mark Williams, associate princi-pal and director of marketing for HKS Sports & Entertainment Group.

“Branding – specifically their brand – is some-thing clients can easily talk to us about,” he con-tinued. “As our clients work with us in our brand-driven design process, we have noticed how they open up and share information in great detail. Talking about branding enables the clients to really define, quantify and clarify their visions.”

Trubey compares the search for brand identity with anthropology. Research provides an intensive over-view of the team, owner and stakeholders.

In the case of a new stadium for the Minnesota Vikings, the process included HKS Brandspace’s exhaustive historical review of the team, its present facilities, the city, the state and the fans and what’s important to them. This was accom-plished through dialogue, interviews and inten-sive research.

With all the varied information in hand, HKS’s sports project team analyzed the information and images, strategically pointing forward to a design for a dynamic space that ref lects the team. A highly visual program presents the results of the research to the clients and lays out directions leading to proposed solutions.

For example, brand research indicated that rec-reating the hole in the roof of the Texas Stadium at the Dallas Cowboys new venue was essential. Likewise, eliminating all bench seating at the Indianapolis Colts’ Lucas Oil Stadium came through loud and clear. For the new Vikings Stadium in Minneapolis, the building form is a response to the calculated and crafted simplicity of the Scandinavian-inspired design that was a significant part of Minnesota’s heritage.

Trubey said, “We call it designing from the brand out. By really concentrating on brand, we create venues that ref lect the energy and excitement of the team and provide breakthrough opportuni-ties for sponsors.”

New retro-inspired seating reinforces the mid-century modern Dodger Stadium brand

Concourses double as immersive “ brand zones” for sponsors at HKS’s Lucas Oil Stadium

11

While many recognize the popular doo-wop

sound of The Four Seasons, most didn’t know

the full account of the ’60s singing sensa-

tions’ rise to fame until playwrights Rick

Elice and Marshall Brickman brought the

story to life.

“Jersey Boys” is the saga of Frankie Valli and

The Four Seasons – Frankie Valli, Bob Gaudio,

Tommy DeVito and Nick Massi. A rags-to-riches

tale, the production is about these blue-collar

boys from the wrong side of the tracks who

became true American Idols, selling 175 million

records worldwide before they were 30.

Valli and Gaudio formed the band in 1962. Both

came from working-class Italian neighborhoods

in New Jersey: Valli was a barber and Gaudio

worked in a printing plant. The group first struck

gold in September 1962, when “Sherry” topped the

pop charts.

The song is featured in the hit musical, as well as

“Walk Like a Man,” “December, 1963 (Oh What a

Night),” “Big Girls Don’t Cry,” “My Eyes Adored

You,” “Let’s Hang On (To What We’ve Got),” “Bye

Bye Baby,” “Can’t Take My Eyes Off You,” “Working

My Way Back to You,” “Fallen Angel,” “Rag Doll” and

“Who Loves You.”

Audiences who know The Four Seasons as four clean-

cut, all-American boys are surprised to learn about the

band’s scandalous past. Guitarist Tommy DeVito and

bassist Nick Massi spent several years in jail for various

petty crimes. In addition, the band maintained ties with

the Mafia.

“Jersey Boys” premiered at the La Jolla Playhouse

in 2004 and opened on Broadway in 2005 at

the August Wilson Theatre. In 2006, it was

named best musical at the Tony Awards. Two

years later, the production went worldwide,

selling out to record crowds at London’s

Prince Edward Theatre.

When the Palazzo opened the “Jersey

Boys” Theatre in May 2008, the

production found a new and spectacular

home – designed by HKS Commercial

Interiors. With a seating capac-

ity of 1,700, the theater’s details and

materials recall theaters of yester-

day while creating a hip club-style

atmosphere to draw today’s crowd

to one of the hottest new shows

on the Strip.

Rick Elice, co-author and play-

wright of “Jersey Boys,” and

Steven Ehrenberg, vice presi-

dent of technical production

for BASE Entertainment,

promoters of “Jersey

Boys,” give us a behind-

the-scenes glimpse into

the unique stage show.

While many recognize the popular doo-wop

sound of The Four Seasons, most didn’t know

the full account of the ’60s singing sensa-

tions’ rise to fame until playwrights Rick

Elice and Marshall Brickman brought the

story to life.

“Jersey Boys” is the saga of Frankie Valli and

The Four Seasons – Frankie Valli, Bob Gaudio,

Tommy DeVito and Nick Massi. A rags-to-riches

tale, the production is about these blue-collar

boys from the wrong side of the tracks who

became true American Idols, selling 175 million

records worldwide before they were 30.

Valli and Gaudio formed the band in 1962. Both

came from working-class Italian neighborhoods

in New Jersey: Valli was a barber and Gaudio

worked in a printing plant. The group first struck

gold in September 1962, when “Sherry” topped the

pop charts.

The song is featured in the hit musical, as well as

“Walk Like a Man,” “December, 1963 (Oh What a

Night),” “Big Girls Don’t Cry,” “My Eyes Adored

You,” “Let’s Hang On (To What We’ve Got),” “Bye

Bye Baby,” “Can’t Take My Eyes Off You,” “Working

My Way Back to You,” “Fallen Angel,” “Rag Doll” and

“Who Loves You.”

Audiences who know The Four Seasons as four clean-

cut, all-American boys are surprised to learn about the

band’s scandalous past. Guitarist Tommy DeVito and

bassist Nick Massi spent several years in jail for various

petty crimes. In addition, the band maintained ties with

the Mafia.

13

a new theater. (BASE Entertainment develops, produces and manages new shows and creates new markets for existing shows for a wide variety of entertainment projects all over the globe.) “Jersey Boys” was a great f it for Las Vegas. It just made sense to host the show in its own setting. Unlike other theaters, the idea was to allow the “Jersey Boys” show to be the star, incorporating theming into the entrances and lobby. HKS Commercial Interiors did a great job capturing the retro feeling of the show and essence of the time period – without direct quotes or making it look like a 1960s theme park. The interior architecture team created a lobby design that successfully transitions from the casino

Who thought of the “Jersey Boys” concept? How did the idea evolve?Elice: A former client, from my ad agency days, called and told me he had the rights to The Four Seasons catalog. He asked me if I would like to write a musical based on the lives of The Four Seasons band members – similar to “Mama Mia!” Then, he rattled off a few songs which I vaguely remembered as The Four Seasons songs.

It just so happened that I was hoping to collaborate with my friend and hero, Marshall Brickman, a life-long New Yorker and award-winning screenwriter, best known for his collabora-tions with Woody Allen (including “Sleeper,” “Annie Hall” and “Manhattan”) and writing Johnny Carson’s monologues for “The Tonight Show.” However, Marshall wasn’t moved after listen-ing to the CD. He had never written a musical, and neither had I. Moreover, we weren’t particularly fans of New Jersey. Marshall and I were self-proclaimed New York snobs. When we thought of New Jersey, it conjured up a “Sopranos” stereotypical group of Mafioso goombahs.

Anyway, we agreed to meet Frankie Valli and Bob Gaudio for lunch. When we met, I asked the obvious question: “What was it like growing up in New Jersey?” Frankie and Bob told us, in detail, what it was like to be first-generation Italian-Americans, Roman Catholic and high school dropouts trying to make something of themselves – other than mobsters. In the ’50s and ’60s, the Mafia was a real and present danger in the lives of their families. They told us about how they dealt with the Mafia, worked days and nights, fought amongst them-selves and landed in jail. We listened and thought, “Did this rea l ly happen? Is this t rue?” Marshal l and I were responding just the way an audience would. After that lunch, we knew we had to write the show.

Why has the “Jersey Boys” production been an ongoing success? Elice: The music is a big part of it. When you’re a band that sells 175 million records worldwide, you are bound to have a tremendous number of fans all over the world. These songs are pop classics that connect with people; the songs hook you. The story blends this affection and loyalty to The Four Seasons’ music with the true-life experiences of the band members. There’s a universal theme that the audience connects with on an emotional level. At some point in everyone’s life, we know what it’s like to be part of a group – a bowling team or book club or secretarial pool or think tank or rock band – for acceptance, affection and support. We know that the very same things that pull us together can tear a group apart.

Tell us about BASE Entertainment’s connection in launching these types of shows to audiences.Ehrenberg: “Jersey Boys” had just received a Tony for best musical when BASE Entertainment began working with the Venetian – the owner of the Palazzo – to open

14

environment to the theater environment and provides a lasting reminder as show-goers exit.

How does the “Jersey Boys” production differ from other BASE Entertainment shows?Ehrenberg: “Jersey Boys” isn’t necessarily a musi-cal. It is a wonderfully written play with music. It’s not like “Phantom of the Opera,” which is purely a musical, or a Cirque du Soleil produc-tion. The level of the story-telling is phenomenal. You actually follow the guys through their life experiences – and it’s so beautifully told. As the story unfolds, you form a connection with all four of them and can’t help liking them.

How do you market “Jersey Boys”?Elice: Typically, theater sales are a women’s market. But, the “Jersey Boys” target audience is guys. When introduced in the ’60s, The Four Seasons were low-key. They weren’t the boy band with long hair that came from across the pond as part of the British Invasion. While The Beatles wrote about love and attracted hordes of women, The Four Seasons wrote songs for guys about girls. Frankie and his group never signed with a major label, didn’t get a lot of respect from the press and weren’t written about like The Beach Boys, The Who or The Rolling Stones. But, the band was grass-roots and people-centric. And the people who bought the records back in the day are now the people who are buying tickets to the show.

15

How have audiences worldwide reacted to “Jersey Boys”?Elice: People love the show. They stand up and scream, reacting as if the real Four Seasons are up on the stage.

Ehrenberg: It depends on the evening – but the actors receive a stand-ing ovation typically after every show. In many cases, fans dance in the aisles during the show like it’s a concert.

What do you think about your new HKS-designed theater at the Palazzo? How does the theater reflect your identity/brand?Elice: Being from New York, we are used to Broadway shows premiering in a theater that is 100 years old and has had dozens of shows during that time. But, when you go to Vegas the spaces are themed and constructed for the specific show: in our case specifi-cally for “Jersey Boys.” The theater, which is gigantic and impressive, is designed with wit and style. Show-goers walk into a time tunnel depicting what it was like to be 20 years old growing up in America in 1962. You feel like you are walking into a gigantic Cadillac convertible – which is thematically correct for our show since it is the first car Bob Gaudio buys after writing three No. 1 hits in a row. The entry portal is lined with instantly recognizable Cadillac tail fins and the walls are upholstered in supple Florentine grain leather. Additional Four Seasons memorabilia – from old jackets, records, interviews, awards and photos – also adorns the space.

Outside the theater is a slab of concrete signed by Frank Sinatra. The story behind it: Bob Gaudio invited Frank to a pool party.

When you live in Montclair, N.J., having Frank as an invit-ed guest in your home in the ’60s was on par with the pope stopping by. Because he didn’t have a pool, Bob called the local police chief for some assis-tance. The chief organized a construction team who worked day and night for four straight days to bui ld a pool and accompanying pool deck. As luck would have it, it poured rain the day Frank’s motor-cade came through, leaving the cement uncured and sod sliding down into the pool. After Bob confessed, Frank took a stick and wrote his name in the wet cement.

Does the branded “Jersey Boys” experience in Las Vegas increase attendance? Elice: The branded “Jersey Boys” theater is like a good-bye kiss to the audience as they leave the show. The environment lets them experience the musical one more time on the way out. People are more inclined to tell friends or buy tickets for friends and go see the show with them. We find they want to share the experience.

The “Jersey Boys” success is steeped in repeat business. The formula is a marketing dream come true.

Ehrenberg: “Jersey Boys” is still drawing much better than other shows on the Strip. Even when productions are selling tickets at a discount, the “Jersey Boys” numbers continue to rise. We feel that is due to the brand and its popularity as well as to our seriously wonderful marketing team.

How has “Jersey Boys” affected your career?Elice: “Jersey Boys” has changed my life and allowed me to earn a living doing what I love. Moreover, knowing Frankie and Bob, who have become dear friends, has made me a better man. One of the most valuable lessons I’ve learned is loyalty. In a scene in “Jersey Boys” in which the actors playing Frankie Valli and Bob Gaudio decide to form a partnership, Gaudio asks the singer whether they should sign a contract. “You wanna contract? Here’s a Jersey contract,” Valli says as he puts out his hand for a handshake. That’s it. They based their 47-year partnership on a handshake. And, it’s still their bond. When Bob and Frankie agreed that Marshall and I would write the “Jersey Boys” play, it was final-ized with a handshake. Bob and Frankie taught me that if you trust your partner, contracts are not important.

What have been some of your proudest moments with “Jersey Boys”?Elice: The first time someone laughs at some-thing you write is a proud moment. But, the first time you hear a room full of strangers laugh at what you’ve written, it’s wonderful and makes the hairs on the back of your neck stand up. Being a New York boy, it was a thrill to have our show play on Broadway. And, of course, the night we won the Tony was a proud moment. The show, just like The Four Seasons group, was the underdog. We knew the audience liked it but we had no idea whether the industry would get behind it. When Julie Andrews announced “Jersey Boys” as the best musical, I remember f lying out of my seat. I was thinking, “I can’t believe we won.” I still get goose bumps thinking about it.

What have been some of your strangest moments with “Jersey Boys”?Elice: Our single strangest moment was the day Marshall and I were summoned by a Mafia guy to go to a pay phone in a supermarket parking lot in La Jolla. We had the phone between our two ears and listened as he instructed us to fax the pages

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in which the Mafia fixer, Gyp DiCarlo appeared. This wasn’t a joke. He told us, “Remember, I know where you both live.” Needless to say, we faxed the pages to him. He was OK with it and the show went on.

About one year later during the premiere of the “Jersey Boys,” I noticed a motorcade – which I would liken to a presidential procession – arriv-ing one Saturday afternoon. The doors opened and these big men wearing double-breasted suits and women with big bouffant hair stepped out and walked into the theater. There is a scene during the play where a mob guy fires a gun. This Saturday, the gun didn’t fire. At intermis-sion, one of the guys said, “You should have told me you needed a piece,” as he opened his jacket and showed me his gun. And, I thought, “This is real. This isn’t just on television.”

What’s next for “Jersey Boys”? Having toured throughout the United States as well as London, the troupe opened in Toronto in December 2008. Next, the playwright team is heading to Australia to find a doo-wop cast in the land down under. And, who knows – a movie might be in the cards for The Four Seasons.

Whatever the medium, “Jersey Boys” tells a timeless tale about four average guys with phenomenal talent who work hard and make it big: a theme that speaks to audiences of all ages, creeds and cultures.

Beverly Hills. The celebrated enclave conjures images of elegance, aff luence, palm-l ined st reets and golden hillsides dotted with movie star mansions. Equally legend-

ary are the city’s early hotels: The Beverly Hills Hotel (1912) and the Beverly Wilshire (1928), a frequent filming location and residence to the celebrity set.

Fast forward 80 years to November 17, 2008 and the debut of the five-star Montage Beverly Hills. Designed by HKS Hill Glazier Studio’s lead archi-tects John C. Hill, Jr., AIA, and Robert C. Glazier, AIA, the 201-key luxury hotel pays homage to the city’s historic residences and the Golden Age of Hollywood.

This premier $350 million hotel and residen-tial/mixed-use project, one block from Rodeo Drive, has the potential to match the acco-lades of Montage’s f lagship property, Montage Laguna Beach – also designed by HKS Hill Glazier Studio.

URBAN OASIS

Located between Canon and Beverly drives in the city’s Golden Triangle district, Montage’s design is inspired by the Spanish Colonial Revival roots and Mediterranean architecture prevalent throughout the city. The inf luences are evident by the use of arches, courtyards, plas-ter wall surfaces and terracotta tile roofs with authentic detailing.

MontageBEV ER LY HILLS DEBUTS

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“Our Approach, much like a great film classic, is

to create lasting memories for guests to take

home, share with others and reminisce.”

- Ali Kasikci

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ARTFUL LIVING

The hotel features an expansive art collection, highlighted by American and European-inf luenced paint ings and objec ts d’ar te juxtaposed with set drawings and original costume designs from great f ilm classics. Sculpture, architectural studies, sketches and vintage photographs showcase iconic works of noted architects and interior design-ers of the era. Julie Cline Fine Art Services of Santa Barbara served as Montage’s art advisor and curator.

“The art tells the story of the history of the Beverly Hills’ creative industry,” explained Cline. “Beverly Hills in the ’30s became a Mecca for the entire creative arts community – not just actors and filmmakers, but writers, artists, architects and composers. Every piece in the collection is part of the grand story, each work ref lects a different as-pect of this gloriously rich time.”

The beauty continues outdoors to the lush public gardens, designed by land-scape architect Nancy Goslee Power and Associates of Santa Monica. Inspired by the simplicity of European gardens, this relaxing space features three fountains, benches, covered pedestrian galleries and a lawn with stone detailing.

INFINITE AMENITIES

From in-kitchen gourmet dining to the only in-hotel barber shop in the U.S., the Montage is steeped in extras.

The two-story, 20,000-square-foot Spa Montage offers comprehensive programs and à la carte hydrotherapy and holistic wellness services, fitness facilities, yoga studio as well as 17 wet and dry treatment rooms. The coed relaxation area includes fireplaces and mineral pools.

Cuisine choices abound, including the Parq restaurant and Parq Bar, the intimate Muse restaurant and the Chef’s Table, which offers a unique personalized dining experience for up to 12 guests. Situated alongside the roof top pool and private cabanas, The Conservatory Grill is Montage’s

“The design is intended to evoke a timeless elegance, capturing the sophisticated residen-tial character of southern California’s glamorous estates of the 1920s and ’30s,” said Hill. “The architecture suggests the mood of a refined time and place – a creative, sumptuous period which defined Beverly Hills,” he continued.

“Our design is a modern yet timeless re-interpre-tation,” said Glazier. “It is fresh, comfortable and ref lects the character of its surroundings.”

The hotel’s interior, designed by Darrell Schmitt Design Associates of Los Angeles, features pris-tine white public spaces with pale golden stone f loors, accented in some rooms with black walnut f looring and carpets custom-designed for their specific locations. Hand-painted ceilings add depth, and classically elegant furnishings conjure Spanish, Italian and Moroccan aesthet-ics in sun-drenched colors of gold, salmon, coral and cream.

“We sought to honor the legacy of craftsmanship that was so readily available to Angeleno archi-tects and designers during that 20th century Golden Age when an ‘anything you can imag-ine’ ethic was possible,” says Schmitt. “Intensely glamorous spaces were conjured as backgrounds to equally glamorous people. We attempted not to reproduce such spaces, but to adapt them to a 21st century aesthetic.”

PUBLIC-PRIVATE PARTNERSHIP

Montage Beverly Hills is a prime example of a city, developer and architect working together to revitalize a part of a city,” said Kim Richards, president and CEO of The Athens Group, devel-oper of Montage Beverly Hills.

According to Richards, The Athens Group and HKS Hill Glazier Studio worked with the mayor, city council and neighborhood groups throughout the design, development and con-struction process, and even set up a project hotline for citizens.

Constructed on a 2.5-acre abandoned retail site, this ambitious adaptive reuse project includes a 33,000-square-foot garden, which is the first public green space in the Golden Triangle; a 20,000-square-foot, city-owned mixed-use retail/commercial; and a four-level, 1,100-car parking structure directly beneath the project’s footprint.

casual bar and grill, boasting dramatic views of downtown Los Angeles.

Montage’s 20 penthouse residences are accessed via a separate residential lobby. Each unit has 10-foot ceilings, high-end finishes, custom mill-work and private balconies. Residents enjoy access to all of the hotel’s amenities and services.

The hotel includes more than 9,000 square feet of indoor and outdoor meeting and event space; private affairs can be hosted in any of Montage’s unique venues.

RIDING OUT THE RECESSION ON SERVICE, AMENITIES

Respected hospitality leader Ali Kasikci, the

property’s managing director, believes the fresh approach of the Montage brand, coupled with the property’s unmatched amenities and impeccable service, will see this f ledgling hotel through the weakened economy and beyond.

Kasikci is well-known in hotel circles for service innovations that have become hospitality indus-try standards. “Outstanding service never goes out of style,” he said. “It is as enduring as the property itself.”

Kasikci says Montage is focusing on developing lifelong emotional attachments with its guests. “Our approach, much like a great film classic, is to create lasting memories for guests to take home, share with others and reminisce. We want them to dream about their next stay with us.”

H K S C L I N I C A L S O L U T I O N S & R E S E A R C H

W HER E CLI NICI A NS

& A RCHIT EC TS

M EET

As a top healthcare architectural firm, HKS knows excellent design and optimal functionality are not mutually exclusive. The firm’s Clinical Solutions & Research group bridges the gaps between form, function and healthcare operations – working in tandem with healthcare design specialists – to incorporate day-to-day hospital workflow and operations into the design process.

The core group of full-time clinicians offers specialties in nursing, major diagnostic and treat-ment services, medical technology, information systems, quality improvement, patient safety, infection control and research. This experienced team shares a broad spectrum of knowledge including master planning, programming, planning and operational experience and ergonomics as well as process design and workflow.

In addition to working on HKS projects, the Clinical Solutions & Research group conducts research projects throughout the country – many of which have been the topic of presentations and industry articles.

The result is functional, aesthetic, flexible buildings that stand the test of time.

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Thomas E. Harvey, Jr., AIA, MPH, FACHAPrincipal/Director

HKS Clinical Solutions & Research

In the mid-’70s, healthcare architecture was in its infancy when Tom Harvey graduated with a dual master’s degree in architecture and public health from Rice University.

At the time, many new healthcare regulations were taking place throughout the United States. From Certificate of Need (CON) programs to infection control rules, times were changing for the nation’s steadfast healthcare systems.

Harvey’s degree allowed him the ability to serve as a healthcare consultant, his first job after col-lege. He focused not only on the aesthetics of the facility’s design but also the intricacies of the hospital’s operation and the impact of design on each function.

His unique abilities also made him a valued recruit for Ron Skaggs and Ralph Hawkins, who were expanding HKS’s healthcare specialty prac-tice. These same functional planning and design attributes made him the clear choice to lead HKS Clinical Solutions & Research.

Is the building layout helping operations or cre-ating barriers? Can lean design practices help boost the bottom line? These are questions that are being answered by the group. Harvey’s top three goals include: incorporating functional process improvement into hospital architec-ture; offering design improvements through research; and informing and educating design teams, allowing them to work more effectively and efficiently with clients.

His group is researching not just healing and patient-focused trends, but also the bottom-line-oriented caregivers – focusing on minimizing errors, improving workf low and reducing walk-ing distances.

Harvey envisions developing original research that will have a wide inf luence throughout the healthcare industry. His ideal healthcare facility is highly productive, efficient and streamlined, delivering healthcare in an aesthetic, poetic envi-ronment that contributes to healing.

Terry Ritchey, RN, MBA Vice President/Manager and Clinical Advisor

HKS Clinical Solutions & Research

Terry Ritchey has been bringing innovation to the healthcare field throughout her career. She uses the tenets of her nursing credo, which include listening, accessing, planning and evaluating, in all that she does.

A registered nurse, Ritchey spent the first seven years of her career in a traditional nursing role. Recognizing her leadership and critical deci-sion-making talents, she was asked to serve in a quality assurance role developing a first-time infection control program.

Her next opportunity came via her employment with Sisters of Charity Healthcare Systems, where she served as a quality director working in a five-state region. Focusing on regulatory and accreditation preparedness, Ritchey co-developed and implemented a groundbreaking healthcare system quality scorecard program.

Next, she developed and led an innovative, sys-tem-specific customer initiative for Colorado’s Centura Health. From the corporate office, she moved to the C-suite, where she was named chief nursing officer and subsequently served as chief nursing officer for the new community hospital.

In 2006, after much soul-searching, Ritchey decided to use her vast knowledge to transition into a new, meaningful and challenging career. Having worked with HKS to open the $52 million Parker Adventist Hospital in Parker, Colo., the field of architecture seemed a logical choice.

Hired as a member of HKS Clinical Solutions & Research, Ritchey set a goal to develop a pre-design platform that allowed owners to explore design choices, based on specific operational needs – before the programming process began. Today, that platform is called Process-Driven Planning.

Ritchey’s career has come full circle, but her philosophy remains the same. Just like Stephen Covey, she believes in seeking first to under-stand, and then to be understood.

Debajyoti Pati, PhD, FIIA Director of Research

HKS Clinical Solutions & Research

Dr. Debajyoti Pati believes that scientific inqui-ries lead to creative design solutions.

A graduate of Sir J.J. College of Architecture, University of Bombay, Pati’s exposure to studies in environmental psychology during his intern-ship days generated a keen interest in research.

He went on to pursue a Master of Advanced Studies in Architecture degree at the University of British Columbia, which boosted his commit-ment to research-informed design.

Following, he returned home to India to open an architectural practice. Although the firm was well recognized and respected, due to his knowl-edge-based designs, Pati wanted to further his studies in research-informed design.

In 1999, he traveled to the Georgia Institute of Technology to earn a PhD in Architecture, focusing on Environmental Psychology and Building Technology.

While in the United States, Pati contributed to several projects including the award-winning, HKS-designed Emory University Neuro ICU, where he met Craig Beale and Ron Gover. Both men recognized Pati’s talent and offered him a position as the firm’s director of research, just days before he was scheduled to move back to India.

Knowing the position offered an opportunity to bridge practice and research, he unpacked his bags and today, he and his family call Dallas home.

In just three years, Pati has made a difference in healthcare design by conducting a number of significant research studies. Among other proj-ects, he is reviewing the impact of light on stress and alertness; evaluating room-handedness for efficiency and safety; and comparing headwalls and ceiling booms on teamwork safety. These studies have resulted in numerous articles in peer-reviewed publications and invitations to make international conference presentations.

For Pati, these are just the first steps in transla-tional research in architecture. He envisions the day when information from scientific studies will create a strong, world-wide foundation to produce healing architecture.

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On the bOards:

SoliS Hotel & ReSidenceSluSail MaSteR developMent

doHa, QataR

Building Type: Mixed Use (Retail, Hospitality and Residential)

Program: Hotel – 210 keys, plus ballroom and meeting rooms;

Residential – 114 units; Retail – 30,000 sf

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The Building’s formal program applicaTion

gave rise To four unique, poeTic sTaTemenTs for

which each Building design was expressed:

The Dunes: This is a singular-building concept that draws on the wind, waves and desert for its building form. The movement of sand blowing across the dune is expressed in the curvilinear form of the overall building, reaching from the land toward the sea. The program is stacked, with the hotel occupying the lower f loors and the residences on the upper levels. The juncture between program elements is celebrated through an opening in the building, where restau-rants and an outdoor pool would be located.

The sTiTching: This singular-building concept derives its form from the customary dress of the local Muslim women. The elegance of the stitchery of the burkas suggests a level of complexity below an austere outer shell. This is further emphasized in the juxtaposition of designer clothes revealed in the gaps and folds as the women move and walk. The idea is transformed into architecture by separating the hotel and residences – when pulled apart, the elegant stitching is revealed. The overall massing is separated vertically as well as offset horizontally, heightening the tension between the two main building forms. The in-between space is dramati-cally expressed through the resultant diagonal columns and special spaces (recalling jewels) peeking out from under the sober forms of the building’s envelope.

The Dance: This is a dual-tower concept in which the inter-play of the building forms suggests movement of the towers themselves and a kinetic connection between them. The bridge, or connector, between two unequal masses holds them both in stasis, as if keeping the other from falling. This

action creates an unmistakably f luid composition, suggesting an elegance of movement among the buildings. One inher-ited a more masculine countenance, with deep recesses and a thick, articulated masonry screen protecting a more delicate inner core. The other was delineated in a more feminine manner, with movement and curves adorned in delicate, light translucent glass with intricate detailing. A spectacular sky lobby and gourmet restaurants occupy the connector.

The Oasis: This dual-tower concept seeks to capture the essence of the protection and solace offered by an oasis. A shell is erected around the perimeter of the buildable bound-aries to form a protective barrier. The shell is framed by a grid of overlapping glass panels of various colors and metal screens of different patterns, providing a defense against the harsh elements. In turn, the shielding allows a world of green to erupt in and among the two buildings. The gridded perimeter also provides for the placement of meeting rooms and restaurants at various heights and locations between the two towers.

1: Two buildings with a grand,

ground-floor lobby, or

2: Two buildings with a sky lobby, or

3: a single building with a grand,

ground-floor lobby

PrOlOgue: the cOncept Originated

frOm a site OccupatiOn strategy

that sOught tO either cOmbine func-

tiOns intO a single structure fOr

bOth residences and the hOtel Or

separate the functiOns intO unique

fOrms. the three initial Occupancy

apprOaches were tO have:

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tHe dance

ePilOgue: The client narrowed the conceptual design to two building expressions – The Stitching and The Dance. Due to cultural obstacles prohibiting the referral of men and women dancing together, as well as a male-female designation to any building form, The Dance was renamed The Dialogue.

The Stitching scheme’s evolution continued with the refine-ment of the exterior screen surrounding the upper levels of the residential component. The balconies occupied the inter-stitial space between the screen and the exterior wall surface. A simple, rhythmic, over-scaled grid formed the primary reading of the main façades, creating a more proportionate fenestration articulation from a distance.

The Dialogue scheme accentuates desert culture’s use of varied and frequent shading devices. Formally, this scheme was orga-nized so the residential tower was rotated outwardly, to take advantage of views of the sea and downtown Doha. Poetically, its development includes a complex series of screens and panels over a simple rectangular box, much like tent f laps protect desert-dwelling inhabitants. They are configured in sharp angles, accentuating an almost crystalline-like quality. Light and the ref lection/refraction from the glass panel screens form an initial perception of the residential tower. The hotel component was designed as a delicate glass-like core surrounded by a visually heavier mass of slotted openings. The glass core was further de-materialized by a metal screen indicative of lace patterns found in the region.

POsTscriPT: Ultimately, The Dialogue scheme emerged the victor among the conceptual designs presented. Its sophisticated incorpo-ration of shading/screening elements, and the dynamic interplay among the forms, became the distinguishing features in the creation of an iconic building on the Doha skyline.

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To find out how your business or association can have its own professional magazine,

please contact Aran Jackson at 502.423.7272 or ajackson@ipipublishing.com.

www.ipipublishing.com

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