HomeMy WebLinkAboutM-79-0791fusion dance company, incorporated
12 November 1979
Mr. Joseph Grassie
City Manager - City of Miami
3500 Pan American Dr.
Miami, F1. 33133
o •
Dear Mr. Grassie,
Over the past several months, while researching the possibility of FUSION
taking -over Bayfront Auditorium, I have made several sight inspections
with Board members, patrons, engineers, architects and other interested
members of the local cultural community. These visits were often spur-
of-the-moment and provided no advance warning to your staff at Bayfront
Auditorium. 0n all occasions we were well and courteously received.
especially want to point out the time and informative background provided
by Mrs. Busch. She has been extremely helpful in our development of this
project, despite many inconveniences to her and her staff. We will be
presenting you with a formal proposal this week in anticipation of
appearing before the City Commission on November 20. I thank you and
your entire staff for the assistance and courtesy that has been provided
to us in developing this project.
Sincerely,
Raymond J. Hanle
Managing Director
RJH:sh
4542 southwest 75th avenue miami, florida 33155 phone (305) 264-0661
a not -for -profit corporation
79-791
Dance is the fastest growing, most
popular performing art in America.
Ten years ago there were 425 dance
companies in the United States;
today, 850. In`196i one million Amer-
icans attended performances: this
year more than twenty-one million
are expected. Two }ears ago more
Americans paid to see dance than
NFL football. And. for the past five
years more college students have
boughttickets for dance perfor-
mances than for rock and pop
concerts.
During the 1970s the United States
has become the dance capital of the
world. ;Recognized as the country
with the most companies, the largest
audience, and, more importantly, as
the world center for creative and per-
forming artists. it is also an innovative
force in developing film and television
technology suitable for recording and
extending the dance experience.
Judith Jedlicka is executive director,
National Corporate Fund for Dance.
4S
r7 Anarran jca.
�-a
DANC
Around America
\Vatching a dance performance this month?
More than 21 million Americans will see
dance on stage this year
By Judith. A. Jedlicka
Respectfully submitted:
Fusion Dance Company, Inc.
4542 SW 75th Ave.
Miami, F1. 33155
(305) 264-0661
Raymond J. Hanley, Executive Director
4
floor plan existing
1/16"=1'--0'
16
0
10
a
12
13
25
11
18
19
[11
24
22
key to spaces
t lobby i3. storage
2 auditorium .. _ i4..offices
a stage i5. lobby
4 storage 16. toilets,
5. storage - storage
6. mech,/deC. 19. ,storage.
7. toilets - 19. office
9. kitchen 20. office
t0. pantry 21. lobby
it mech. equip. 22. toilet
12. toilets 23. kitchen
24. patio.
25. service yard
PROGRAMMING
We request that the City of Miami create a major dance center
attractive to both tourist and resident populations. In support
of this goal, we propose that Fusion Dance Company assume programm-
ing and managerial responsibility for Bayfront Auditorium as
a quality -dance facility, with renovations capable of accomodating
the Miami Dance Project. This project would comprise:
1) a presenting series offering local and internationally acclaimed
dance companies; 2) the Fusion Dance School; and 3) the Fusion
Dance Company, a resident, performing troupe.
In light of Miami's rising tourist traffic from Latin America,
Europe and the Middle East, dance is an especially marketable
form of entertainment for tourist populations. With its
universal language, dance speaks to audiences from around
the world, transcending national, ethnic, and socioeconomic
barriers. A centrally located, easily accessible theatre
facility in the heart of Miami's New World Center would
be the ideal location for our international dance series.
The newly renovated, 600 seat theatre complex at Bayfront
Auditorium would feature the world's finest contemporary
dance companies in concert, attracting the expanding youth
market as well as established dance patrons. In addition,
we would work with the ,Miami Dade Tourist Development Council
to attract major dance conventions to the area.
Relocation to Bayfront`Auditorium would bring young, vital
members of the community downtown, while providing Greater Miami
with a professional educational center geared toward developing
the highest caliber of resident artists. As one of the finest
dance schools in the Southeast United States, the Fusion School
of Dance attracts an average of 100 students per day to its wide
range of activities, which, in addition to classes, includes
lectures,demonstrations, workshops, seminars, and films for the.
general public. Our curriculum also provides sound training for
serious students seeking professional careers in dance. It is
noteworthy that during the past eighteen months alone, several
Fusion students have received scholarships with leading dance
institutions,` such as the Joffrey Ballet and Alvin` Ailey Dance
Theatre.
3) The third component of the Miami Dance Project would be the Fusion
Dance Company, Miami's own professional resident troupe. In its
new home at Bayfront Auditorium, the company would rehearse,
create and perform on a regular basis. With its focus on inno-
vative, new works and emerging young talents, Fusion belies
Miami's dated image as a cultural wasteland' The ten -member
company has over forty original works in its repertory, created
by company choreographers and guest choreographers of national
stature, with new works continually in progress.
[2]
The artistic excellence of Fusion has beenwidely recognized,
by both government and artistic sources. Government support.
has been demonstrated by several•grants from the National
Endowment for the `Arts, .the Dade County Council of, Arts
& Sciences, and the City of Miami. This year, Fusion was also
proud to receive the largest dance grant in the. State from the
Dance Panel of the Fine Arts Council of Florida. As James Roos,
Dance Critic for The Miami Herald, said, "Fusion is Miami's major
modern dance troupe...it has a personality, a reputation, and
it is so at home in our dance scene that we seem never to be
without it." The Miami Herald, 6/78
By bringing this creative talent to the New World Center, the
City of Miami would be demonstrating to the community and to
the nation its support and encouragement of emerging young
talents at home. With increasing international stature,
Fusion could tour abroad as Miami's cultural ambassador.
In summary, Bayfront Auditorium would be converted into a
multi -purpose dance complex. Renovations would inlcude a
600 seat theatre, studio space for the Fusion Dance School,
rehearsal facilities for Fusion Dance Company, and provisions
for administrative offices. We request a $1.00 per year lease
and a normal landlord/tenant relationship. The City would be
responsible for structural, mechanical and exterior maintenance
of the building, with Fusion assuming responsibility for operating
expenses. Delegation of programming and managerial responsibilities
of the facility to Fusion would relieve the City of current financial
liabilities for the auditorium, an estimated savings of approximately
$275,000 per year of City tax money. We estimate that total renovations
could be made for approximately`$1.5 million. We request that the City
fund Phase I of the project and jointly, with Fusion, seek Phase II
funding from Federal and private sources. Fusion will provide a
minimum of approximately $1.5 million in programming annually.
[31
-1101100111111.0.1111.110
PHASE
The purpose of Phase I will be to establish an operating program
as soon as possible to maximize impact on downtown development
and as a visible step forward in establishing Miami as a cultural
center. Most of the expenditures in Phase I will be in two cate-
gories: (1) architectural - certain structural dividing walls will
have to be created for fire and safety regulations as well as to
separate functions; (2) equipment - this is where most of the
money will be spent. The units will be designed in a manner to
be flexible so that during the initial programming year experi-
ments can be made in adapting the facility to various types of
use. An approach such as this will enable us to have a high degree
of flexibility in programming as well as maximize the potential
innovative design for the permanent
for the highest
installation.
quality
[4]
In Phase I we will primarily work within the existing shell making
almost no modifications to the structure of the building. In Phase II,
after a full year of operation, we will make whatever architectural
adjustments are necessary to the completion of the plan at the highest
possible functional and artistic level.
During Phase;I the City's Department of Tourism will retain areas
designated as 18, 19, 22, 23 and 24 from the existing floor plan.
Area 21 will be a shared common entrance. Fusion will operate the
rest of the facility. Estimated timetable will be for the facility
to open approximately 12 months after approval by the City Commission
and Phase II will begin at the end of the first programming year.
Immediate approval by the City Commission will mean that the facility
can be ready in time for the major portion of the tourist season
next year.
ESTIMATED COST RANGE.
Our Architect/Engineer team, has conducted a walk-thru investi
gation of the existing building and spoken with members of the
City staff regarding the structure's present condition. In
addition to all this, they have prepared a preliminary schematic
plan which could represent the modification necessary for dance
center occupancy. They have also prepared an outline cost estimate
which, based on information available, represents minimum and
maximum costs of construction at November 1979 prices for our
proposed 41,000 s.f. facility. Phase I expenditures should be
deducted from these figures. Phase II represents total' program
outlays. The 30% variation in Phase II figures is largely based
on the following factors: (1) the reuse capability of some of
Architectural
Electrical
Air Cond. & Heating
Plumbing
Equipment
Furnishings
Planning fees (7-8%)
/ PHASE
Minimum
$120,000 •
20,000
275,000
50,000
35,000
the building's existing components; (2) staff capability to 'make
do' with some present conditions such as existing toilet installations;.
(3) the quality of new equipment and building components to be specified;
(4) some program elements accounted for in our maximum allowance
column ( such as certain equipment items) would have to be eliminated
from the minimum program. $500,000 represents the minimum needed
for Phase I occupancy. $1.3 million represents a satisfactory level
for long-range occupancy. The $1.8 million figure represents a
first class program effort in the Bayfront facility.
PHASE II
Minimum
$400,000.
150,000
175,000
40,000
400,000
75,000
100,000
Maximum
$600,000.
200,000
200,000
60,000
550,000
125,000
130,000.
TOTAL: $500,000
$1,340,000 $1,865,000
[51
11111111111111111111111111111 II
7
3!1
4_r
%'
14
21
19
18
19
17
20
21
16
16
16
21
12
'15
31
23 30
24
floor proposed
28
27
26
25
21
1291
__1
key to spaces
g lobby 1408 s f 16. small dance studios 3040 s f
2. 600 seat auditorium. , 8832 s f Iz large dunce studio . . 2aoo s f
3. stage... 3264 s f 18. lockers and showers 1371 s f
4. work/rehearsal area.. 1560 s f 19. toilets 22a s f
5. costume 336 5 f 20. student lounge 1006 S f
6. technical.. . .. ... 336 S f 21. condor 25z5 s f
7. elec./mech.equip... ..690 sf 22. school office/coffee.. . . 240 sf
a toilets . 192 s f 23 staff lounge/meeting . . 828 sf
9. dressing rooms .. 864 s f 24 company studio . 2sao sf
10. green room .. 756- S t 25. compmy lockers/showers.. 840 s f
It_ corridor n44 s f 26: company offices .. 672 s f
12. rest rooms . .
668 s f 27 lobby . . . .. .. 672 5 f
13. concession. .. . .. 216 sf 28. conference.. . . . _ . . ..352 sf
I4. box office 2t6 s f 29. staff/company toilets 836 - -s f
15. management offices 2160 s f 30_ garden ..... 768 s f
31. outdoor rehearsal /work area 3808 5 f
total area under roof 41.00o s.f.
[6]
I�lulIIIIIII linhlll
STRUCTURAL AND ARCHITECTURAL
The basic super structure of the building is in fairlygood
condition with no major modifications necessary in order
to accomodate our new program. The roofing will continue
to require some ongoing maintenance expenditures, but
a major replacement would not be warranted at this time.
Considerable interior partition work will have to be done
in order to create the spaces needed by the school and
company. The greatest expenditure, however, will be made
on the theatre itself in order to provide sloping platforms
for the seating and a new stage area in front of the existing
fly tower. The new stage is required because the present
proscenium opening is inadequate for dance.
Additional expense is foreseen in the provisions of new finishes
for most of the spaces. New wood flooring, for instance,
would be required for all the performing areas. However,
finish specifications can vary widely based on quality and
reuse, and so it is anticipated that considerable budget
control could be exercised in this area.
Other than painting, little expenditure on architectural
work is required on the exterior of the building. We feel
that the primary thrust of this effort should be made on
interior improvements in order to provide quality programming
to the public. (The play is the thing.)
ELECTRICAL
The existing electrical equipment was judged to be outdated
and near the end of its useful life. Therefore, our estimate
represents that a new system including new service, panelboards,
interior lighting, branch wiring and devices, would have to be
installed to serve the increased demands of th new stage area, as
well as central lighting and receptacles for other functions. In
some cases savings might be found by reuse of existing circuitry
where such conditions warrant it. No allowance for specialized
stage lighting is accounted for under this category, as its cost
is included as an 'equipment' item.
MECHANICAL
The estimate for air conditioning, heating, and ventillation work
is based on the assumption that most of the existing system will soon
have to be replaced. Replacement costs will vary based on our ability
to recycle existing ductwork.
Plumbing costs are based on replacement of existing fixtures in
facilities to be kept, and new facilities provided in reworked
existing locations. The variation in this figure is based on
possible continued use of existing fixtures, such as the theatre
lobby toilet area.
[71
CONCLUDING REMARKS
It is the opinion of the design team that the Bayfront Park
Auditoruum would be converted to accomodate the dance
program with considerable cost effectiveness as compared
the additional burden of expenditure and time delays for a
totally new facility. The majority of our budget is being
spent on items that would be necessary expenditures with new
construction or renovation. The dance program seems to fit.
very well into the existing building shell, which is in
reasonably good condition and with normal maintenance can
be expected to yield continued useful life.
We feel optimistic that further study on electrical and
mechanical systems may reveal savings on expenditures in
these area, since much of the original equipment used was
of fairly high quality.
A more detailed study would be necessary in order to
further define actual costs. However we feel comfortable,
that the above figures safely identify the overall
context that we are dealing with.
[8]
ACKNOWLEDGEMENTS
Peter C. Wilson, R.A.
Principal, Bosco/Wilson Architects`& Planners, Inc.
2600 S. Dixie Highway, Miami,`Fl. 856-9823
Graduate of University of Detroit and Harvard Graduate School
of Design where he specialized in theatre design for his Masters.
Degree. Recipient of Fulbirght Research Fellowship, 1973-74.
Peter has had experience in developing building reuse feasability
studies for housing projects in Detroit, Michigan, schools
in Boston, Mass., and locally for Dade County H.U.D. and the
City of Miami.
Raphael Pena, Jr., P.E. (Mechanical)
Principal, Design Engineering Corp., 550 LeJeune Road., Miami,
FI. 444-7818
Graduate of. University of Florida with Masters Degree in Mechanical
Engineering and a member of A.S.M.E. and Ashrae. Ralph has
practiced locally with two major architectural and engineering
firms for six years and has had a variety of design experiences
on all building types. At present he is a principal in his
own consulting andcontracting company. in 1973 he won an
award for "Best State of the Art Technical Paper" which was.
subsequently published in Ashrae "Transactions".
Juan Dalla Rizza, P.E. (Electrical)
Principal Juan Dalla Rizza, P.E. 1235 Coral Way, Miami,
F1 858-6688
Graduate of Michigan Technilogical University, Juan has accumu-
lated nine years of experience with local firms prior to beginning
his own consulting practice. During that period he has enjoyed
working with a large variety of building types. This year
he was recipient of an award from the American Society of
Illuminating Engineers for outstanding lighting design on
a recent project.
[91
Bufman, Zev
Miami Beach Theatre of
the Performing Arts
1700 Washington Ave.
Miami Beach, F1. 33139
Charney, Lorraine
c/o Ryder System, Inc.
3600 N.W. 82nd Ave.
Miami, F1. 33166
Cherin, John
3699 Klebba Dr.
Coconut Grove, Fl. 33133
Haft, Joy
7401 Beechview Dr.
N. Bay Village, FI. 33141
FUSION BOARD OF DIRECTORS
Hanley, Raymond J.
1441 N.W. 19th St.
Apt. 207
Miami, Fl. 33136.
Hind -Marsh, B. Douglas
12780 N. Bayshore Dr.
Keystone Island #5
Miami, Fl. 33181
Johnson, Ralph B.
3418 Franklin Ave
Coconut Grove, Fl.
Luft, Jack
1900 Tigertail Ave.
Miami, F1. 33133
McGrath, Peter
,c/o'Sound Components
33133 2710 Ponce de Leon Blvd.
Coral Gables, Fl. 33134
Kahn, Donald
395 Marquesa Dr.
Coral Gables, F1. 33156
Platt, Ronald
c/o Burger King Corp.
P.O. Box 520783
Miami,Fl. 33152
Pukel, Sandy
c/o Oak Feed Store
3030 Grand Ave.
Coconut Grove, F.1.
Shack, Richard
7630 Biscayne Blvd.
Miami, Fl 33138
Vadia, Rosario
6595.Granada Blvd.
Coral`Gables, F1. 33149
Wescott, William Flynn
13301 S.W. 80th Rd.
Miami, F1. 33156
Chairman of the Board
Ronald Platt
Vice -Chairman of the Board
William P. Lord
Secretary/Treasurer
John Cherin
Werth, Susan (attorney
c/o Paul Thomson Attorneys.
1300 S.E. 1st National Bank Bldg.
Miami, Fl. 33131
[10]
B
I
Dance Projec
in the realm of the arts there are
always projects, big and small,
surefire and blue sky. The best of
them are worth boosting. But once
in a while a plan comes along that
outstrips itself by its very ambition
and courts disaster at the start.
Such a plan is the so•catted
"Miami Dance Project," which goes
to the Miami City Commission for
preliminary perusal Thursday,
courtesy of Fusion Dance Company.
No doubt, it seemed like a brain-
storm in the making, this project to
turn Miami into a year-round dance
town.
Probably,'it was like building a
beautiful castle in the sky. "Let's
take Bayfront Auditorium," some-
one must have said. (the one at 499
Biscayne Blvd.), "and renovate it as
a home for Fusion and the other
dance troupes in town.
"The local companies can dance
there half the year and the other 26
weeks we'll bring in some visiting
troupes, say. 10 for starters. Natu-
rally, we'll have to renovate the au-
ditorium first, but that should only
cost about $500,000.
"EVEN WITH just 500 seats we
ought to be able to break even if we
scale tickets at. say, $14 for 350
seats, 88 for 120, and price the rest
at just $4 for senior citizens and
students. All we'll need then is
maybe $200,000 of the Dade Tourist
Tax money to make ends meet.
"That is, If we can lure at least
3,000 peopie downtown during the
two -to -three-week runs of each of
the visiting companies. And, of
course, we'll probably have to aver-
age as many in the audience for the
26 weeks when our local troupes
are dancing six times a week."
Well, nothing Looks more en-
ttrancing than a castle in the air.
while you are imagining it, or more.
ridiculous when it collapses. The i
fact is that since the project sur-
faced a few months ago, the origi-
nal estimate to renovate Bayfront
Auditorium has ballooned to about
$1.2 million.
The hall would presumably be
designed •almost • exclusively for
,dance, a questionable proposition at
best. For if the city were to spend
such a big sum at this point in
Dede's cultural development, a ren-
ovated hall ought to also be avail-
able for other types of perfor-
mances.
Undeniably many of us love
dance — my heretic friends have
been known to call me a balletoma-
niac — but the mind boggles at the
notion that Miami, or even New
LYork, could support 52 weeks a
year of dance companies perform -
six six times a week in any audito-
rium. •11
• PROJECT PROPONENTS are
quick to point out that their calcula-
tions take into account that only an
average 38 per cent of the seats
would have to be filled — which is
still 190 seats a night, a big order
when you consider that so many of
the same dance fans attend perfor-
mances here. .
Proponents also claim by the
time the project would get under-
way In 1980 there would be 3,000
hotel rooms within walking dis-
tance of Bayfront Auditorium, rep-
, THE MIAMI HERALD. /Ry
•••
�►...Pie-in-Sky Vision
i,4 .i`•�'. L.i.'s: a, :t, fit.-iG, �,.r",'•,.•'J,`: .
•
resenting "a conservative potential
of 5,000 new patrons weekly."
Hmmm.
They also insist cruise ship pas-
sengers would add "significantly"
to the potential audience, which is
questionable. In truth, does the
number of hotel rooms honestly
represent the number of customers
for dance, modern or otherwise?
Plainly dance has become a more
popular art form than ever before
and Fusion Dance Company an4
other area troupes have slowly but
steadily built a loyal Miami follow-
ing through a great deal of sheer
sweat and labor. But this project. to
me. seems overly ambitious, and it
is surprising that the Dade County
Council of Arts and Sciences en-
dorsed It "in concept" last week,
with only one dissenting vote.
• IN THE BEST of all possible
worlds you shoot for the moon, but
there are times, too, when common
sense dictates that even dance fans
know the limits of a potential audi-
ence for the art they love. By all
means a newly renovated hall.
But why not a hall with 800 to
900 seats that might be more com-
mercially practical and suitable for
wider purposes? Make it fit for
dance — give it a resilient stage,
good sightlines and resonant acous-
tics.
?'But don't live"under the'de usion
that it can be used six times a week,
52 weeks a year to attract strictly
' dance lovers. As things stand, the
Miami Dance Project seems to me
the beginning of a costly, white ele-
phant that won't work.
Frankly, as much as i admire Fu-
sion Dance Company and Its efforts
to promote dance in South Florida,
this projects smacks of a boondog-
gle to make the renovated hall the
company's new home at tourist tax-
•
payers expense.
but a new hall — which the city
ought to consider — for dance and
music and theater — and all the
other lively arts — could be a fine
place to start a manageable sub-
scription series for dance lovers,
bringing major visiting troupes and
featuring local companies. •
The Friends of Chamber Music
have been doing that on another
•
front for 25 successful seasons with ries in a new halt could be a g
a basic audience of about 1,000 sub- • start toward building a similar,,
scribers. A Friends of the Dance se- dience for dance.
•
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79-794