Behind the Scenes of the Kauffman Center

For more than a decade, BNIM has nurtured a heartfelt connection to the Kauffman Center for the Performing Arts. The grassy hill seen from our offices has evolved each day to become a crowning achievement for Kansas City and our region. BNIM is extraordinarily proud of our role as associate architect in making this great vision a reality. Many talented individuals within our firm have used their considerable skills and training to execute an incredibly precise instrument for the Performing Arts. These individuals have dedicated a significant portion of their professional lives to this building — and to Kansas City — over the last 13 years.

We want to introduce the team that has worked diligently "behind the scenes" of this Kansas City wonder.

Here they are ten years ago, standing on the blank site on groundbreaking day.

And here they are today — one by one — as they share their stories about the Kauffman Center for the Performing Arts, what it has meant to them and what they hope it will mean to Kansas City.

Casey Cassias, FAIA
Principal

What was your role? I served as Principal in Charge for BNIM and was primarily responsible for relations with the client, Moshe Safdie’s staff, JE Dunn and overall coordination with our entire team.

When did you start on the project? Long ago. 2005, I think. We transitioned the team wrapping up the Nelson-Atkins Bloch Building over to the Kauffman Center for the Performing Arts (KCPA).

What does this project mean to you? This project makes me really proud of the people involved. I am really proud of the BNIM team. Steve McDowell was amazing in his commitment to this project from the beginning (over ten years ago) and in his belief that we were the right local architect to help the team Julia Kauffman was forming. Our team at BNIM, that ultimately took the project forward, has been amazing. Amy Slattery was a phenomenal contributor because of her dedication, her drive, ongoing relationship building with MSA and for her leadership. John Collier saw the project through construction both in good times and in the challenging ones, where he was the constant target. John stepped up to every task that was asked of him. Jennifer Dewitt grew immensely during the project and owned her part of the work. Matthew Porreca, our Senior Project Architect, masterfully guided our team through the CD Phase. His leadership was essential, as was his attention to each and every detail on the project, not to mention his ability to handle thousands of tasks simultaneously. Greg Sheldon, well, the guy is just amazing. He is an “architect’s architect.” His ability to put the building skin together working with our consultants, the contractor and the sub-contractors was a delight to behold. When I look at the building’s envelope I will always see Greg Sheldon’s deft hand.

The Owner, especially Julia Irene Kauffman, stepped up time and again to fund the project and allow it to meet everyone’s high expectations without compromising a single detail.

What do you hope this project will do for KC? My hope is that KCPA will transform the performing arts in Kansas City and the region. For the first time in many decades we will have a facility that is worthy of – and has the potential to – support a world class symphony and provide a home for the ballet to allow them to reach their potential. Furthermore, my hope is that this facility will stimulate growth in the arts in its neighborhood (transforming the area into a true arts district), the City as a whole (for generations of children and their schools) and our region.

John Collier, AIA
Associate

What was your role? Project Architect. During the Construction Document Phase, I was in charge of “Back of House.” I reviewed building requirements with the owner’s theater consultant (Theater Projects Consultants) to coordinate the project programming requirements with the design development documents provided by MSA. I coordinated the numerous disciplines and worked with them to establish drawing and detail standards. During the Construction Administration phase, I represented BNIM at all meetings with the contractor. I continued the ongoing coordination of structural, mechanical, electrical, plumbing, security, technology, elevator and sound systems in order to keep construction moving along, while also meeting with the subcontractors and craftsmen working on site to resolve issues and answer questions. I also managed and organized the consultant teams to ensure that documents were coordinated and tasks were completed.

When did you start on the project? 2006

What has this project meant to you? This project has been an exceptional challenge, in both design and execution, due to both the complexity of the built artifact and the complexity of the relationships of those entrusted with its design and completion. This project has been the focus of my efforts and source of my frustrations for the past five years. But through this project, I have gained experience and a source of pride that I will look back on for the rest of my life. I hope that this building will serve as a source of pride for the city of Kansas City as well.

Jennifer DeWitt, AIA
Associate

What was your role? Project Architect

When did you start on the project? October 16, 2006 (my first day at BNIM; I remember it well)

What has this project meant to you? It was not an easy project by any stretch of the imagination (we all make the jokes about wanting to work on a nice, rectilinear little project the next time around). But, in spite of all the rough times, seeing the building at the “Hats off” soft opening, filled with people enjoying the space makes me proud to have been a part of this project.

If not a "once-in-a-lifetime" project, it definitely could be classified as a "not-your-everyday" project, for sure. I loved having the opportunity to work on this building, and to work with such a broad array of folks from all over, but what I love most is seeing how excited Kansas Citians are about the project.

Sarah Hirsch
Associate

What was your role? I was responsible for writing specifications on KCPA, which was a lot like playing a game of tag.

When did you start on the project? I started writing the Schematic Design Specifications while Moshe Safdie’s office worked on the drawings in the late Fall of 2002. As the project moved to Design Development the specifications moved to Safdie’s Boston office for updating. Later the specifications came back to our offices and Gary Jarvis took his turn at writing them. Eventually, the project became too much for one person and I was asked to lend a hand again.

What is the most significant memory you take away from this project? The real specification mastermind on this project was Gary Jarvis. If you wanted to know the technicalities of the stainless steel skin, the precast panels or the waterproofing, Gary was your man. A row of sharpened red pencils was always to the right of his keyboard. Details given to him to inform a specification section or two often were returned marked up in red as to how they could be improved. Through those months we spent together on KCPA, Gary and I often played “specification tag,” passing sections back and forth as one freed up and the other was swamped.

In November 2010, Gary Jarvis passed away. Kansas City lost a detail oriented, highly professional and ethical architect — and I lost a loyal and supportive friend and mentor.

Now as KCPA opens, I regret that I cannot “tag” Gary one more time, if only to say it’s his turn to toast a job well done.

Steve McDowell, FAIA
Principal

What was your role? Project Principal

When did you start on the project? Back in 1998, we helped to determine that downtown was the right place for the center and evaluated a variety of sites in addition to the new home. Those efforts ended up looking most closely at 12th and Main on the blocks that are now the Grocery Store and HR Block. Both sites ended up as homes to the arts; the Central site has proven wonderful for the new Kauffman Center and HR Block has the new Copaken Stage for the Missouri Repertory Theater. Both are very important new arts venues.

What does this project mean for Kansas City? Kansas City needed these venues. Music, dance, opera and theater are important to our community and important to our family. Before the Kauffman Center the facilities for each company were out of date and not the kind that could support world class performances and art. BNIM, and my family, have been subscribers to the Symphony, Ballet and Rep for many years and it is time that we are able to hear, see and experience the great talent.

Ten or twelve years ago there was not clear consensus around Julia Kauffman's mission for the new center. That is not that unusual in Kansas City, where we struggle to get behind big ideas at times. Who would have predicted that while this building was being designed and created, Kansas City arts would experience such a renaissance. Michael Stern would become music director for the Symphony and reinvent the orchestra. William Whitener would lead the Kansas City Ballet into a nationally recognized dance troupe once again. Eric Rosen would bring his extraordinary creative leadership to the Kansas City Repertory Theater and Peter Witte would have a vision for bringing the UMKC Conservatory next door to the Kaufmann Center.

I deeply appreciate Julia Irene Kauffman’s commitment to giving Kansas City this incredible gift. Here we are today with performance spaces designed by Moshe Safdie, Yasu Toyota and Richard Pilbrow. Yasu’s contribution to the project was a gift that will long be remembered for long into the future. Julia's pursuit of excellence is insured because of the people she collaborated with and selected to design these facilities.

What has this project meant to you? As the project nears completion, I think back to the first time we advised on the project in 1998. In 2001, we were officially selected as the Associate Architect. Now, today, 13 years later, I am very proud of what we have done. The team did such an excellent job. At the recent “Hats off” celebration our client, Moshe Safdie Associates and many others went out of their way to praise the efforts of the entire team in making this project possible.

BNIM is like all firms that we collaborate with — excellence and precision are important in all that we do. When we first began conversations with Moshe (I remember the day, it was December 26, 2000) the initial dialogue was about collaboration and how our teams would work best together. From the beginning, our approach has been singular: make this the most beautiful space for performance. Period.

The lobby is like Moshe conceived it — and I imagined it — after all of these years. The connection to the Crossroads, Crown Center and Liberty Memorial is celebrated. It is very much part of Kansas City's landscape and community. Its transparency — viewing in and viewing out — is unlike any space of its kind. Kansas City has a very unique sky that I have not experienced elsewhere in the world. During the first gathering that I attended in the lobby, I noticed that the sky was ever present as I moved around the lobby. Later that evening as I drove away through the neighborhood I looked back at the building and the roof and glass were reflecting the sky and clouds. I know Moshe was very concerned about interweaving the building in its place. I think that in some ways he was successful.

Matthew Porreca, AIA
Associate Principal

What was your role? I served as the Senior Project Architect/PM for the project. I led BNIM’s overall team through the construction documents and have continued that role through construction. I was able to mentor so many BNIM-ers through this project, which have all put in a great effort and have grown tremendously with the project (Amy & John especially). I’ve been involved with all aspects of the project from coordination with the entire consultant team, to developing the design for the cable glass system with Novum Structures, to design reviews/development with MSA, to making bi-weekly trips from San Diego during construction for the past three years.

When did you start on the project? Summer 2006. I started on the project at the start of Construction Documents. I came back from being on site at the Nelson-Atkins and immediately started this project without, seemingly, a day in between. I’m very excited to have seen this project through to completion.

What has this project meant to you? I personally enjoyed leading our team and representing BNIM on this significant project. Civic projects are the greatest opportunities to have a lasting impact on a community. This facility will provide venues which currently don’t exist in Kansas City and to be part of that is truly memorable. I’m looking forward to the opening day when I can bring my family to the KCPA and enjoy it as patrons.

Can you describe an aspect of the project that has impacted you in some way? The technical aspect of executing this building’s form and architecture was truly memorable for me. The super structure is a unique construct, which is unmatched any place the world. The cable glass system — and the engineering embedded within the structural frame, concrete foundations and cables themselves — is an orchestrated composition of balance and precision. It’s an extreme structure.

What do you hope this project will do for KC? As with the Nelson-Atkins, I hope that this project will have a lasting impact on the city and a role in defining its culture for the future. It’s been an amazing opportunity and privilege to participate in the Nelson-Atkins — and now KCPA — which will both define KC for many generations and be shared by the community. This will be a great venue for the KC community that will be truly enjoyed.

Rick Schladweiler, AIA
Associate

What was your role? I worked on an alternate site study that explored renovating and adding to the Lyric. This study ultimately clarified the strengths of the current location. I helped the Kansas City Ballet relocate, as their building was demolished to make way for the Kauffman Center. When the Ballet selected the Powerhouse location, I became their Project Architect and have been committed to seeing their new home through to completion.

When did you start on the project? 2003

What has this project meant to you? It has been a privilege to work with the finest and most talented group of artists over the years to realize this facility. It has been a wonderful experience to serve the Kansas City Ballet on this journey to design their new home, and ultimately watching their new stage come to life. Their vision and legacy have inspired me.

Greg Sheldon, AIA
Associate Principal

What was your role? I was one of our team’s Senior Project Architects, focusing primarily on the enclosure of the building.

When did you start on the project? I think it was in 2000; I was in our original interview for the project with Moshe Safdie and Isaac Franco.

What has this project meant to you? I love working on projects that present new design challenges and learning opportunities. The cable supported glass system envisioned by Moshe to enclose the grand lobby/atrium certainly presented one of these challenges. The structural and environmental control challenges of creating this highly transparent, almost outdoor, space were immense and working through them with the project team was an opportunity both to make a personal contribution and to learn more.

Can you describe a moment that was truly memorable or impacted you in some way? The most memorable moments have been seeing the space coming to life, feeling like a great urban piazza; softly sun-drenched by day, a festival of lights by night.

Amy Slattery, AIA
Associate

What was your role? Project Architect. I was responsible for organizing the construction document set, coordinating the consultant team and contractor communication during construction administration. The KCPA will have a transformative effect on the Kansas City urban core, economy and strong arts community and has had the same impact on my career. Over the course of the project, I have grown to be a leader within the team and will continue my relationship with Moshe Safdie’s office and the Kauffman Center beyond the opening and for years to come. It will always be a part of my life.

When did you start on the project? I started working on the Kauffman Center in 2004 when I was asked to work in the office of Moshe Safdie in Boston for four months.

What has this project meant to you? The experience of working on a project with this impact on my hometown, and my children’s hometown, is something that I will always cherish. One of the most memorable moments came in 2008 when we visited the site one evening to see the first pieces of steel to be erected. It was late in the day and the sun was setting. I had spent many hours working on the steel fabrication shop drawings, and after all that time, I still was surprised at the size and magnitude of the structure. It was an unforgettable moment.

What do you hope this project will do for KC? Our hardhat stickers said “KCPA World Class Team.” This building puts Kansas City on the international map for the arts. The quality of the facility will elevate the resident organizations’ work, bring in exciting national and international performances and show the world that our city is a place for the arts. This is where it’s happening. “Fly over city” no more.