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Chicago Symphony Orchestra Makes Magnificent Music

Music of all kinds has been a part of my life for as long as I can remember. To this day, when asked what kind of music I listen to I have trouble finding the right answer because I can’t say there is any one kind. Country, rock, oldies, opera, movie hits, I listen to them all. There is a certain solace that comes from listening to music, whatever kind you like.

So when I had the chance to visit the Chicago Symphony Orchestra, and was given the chance to write the story on the building located at 220 S. Michigan Avenue, it was one I jumped at. Although it wasn’t the chance to listen to the magnificent sound of notes arising from instruments of every kind, it was an opportunity to tour the building they come from and learn about what it takes to make beautiful notes resonate in such a remarkable building.

I sat down that morning to talk with Frank Villella, CSO Archivist, Brendan Berry, Chief Engineer, John Maas, Director of Facilities, and Marc van Bree, Public Relations. After a brief history of the building, information on various renovation projects that had taken place over the years, and the CSO efforts to go “green” and reduce energy usage, we toured this regal building.

Born in October, 1835, in Germany, Theodore Thomas developed an interest in playing the violin at an early age. His family eventually moved to the United States where he began touring the Midwest, performing summer concerts with his orchestra. When the Great Chicago Fire destroyed the Crosby Opera House the night before his Chicago performance, and financial setbacks had become a burden, Thomas dissolved his orchestra and headed back to New York.

Just a few short years later, a prominent Chicago businessman enticed Thomas to return to Chicago with the offer of a permanent orchestra. Performing in the Auditorium Theatre, Thomas and the Chicago Orchestra gave their first concert in October of 1891. Never fully satisfied with the Auditorium, Thomas longed to have a permanent home and around the turn of the century his wishes were fulfilled.

In 1902, property located at 220 South Michigan Avenue was purchased for the erection of a new musical hall. Known for his classical revival style of design and involved in many philanthropic activities throughout Chicago, well-known architect Daniel Burnham offered his services gratis, and set out to encourage others to donate funds to raise the $750,000 needed to construct the new hall. By 1904, with the goal almost met, plans were completed and construction began on May 1. The new hall was completed and the dedicatory concert was given on December 14, 1904. In true Burnham fashion, the building was designed in Georgian style. White limestone pieces, lintels and decorative elements adorn the building. The facade directly above the second floor contains the names of five renowned musicians: Bach, Mozart, Beethoven, Schubert and Wagner, and separates the 3-story base from the next four floors. The ninth floor (an addition) is hidden by a limestone balustrade. For all the grandeur of the outside, it is what lies inside that leaves orchestral patrons awestruck.

Through a series of renovations beginning as early as 1950, the original Orchestra Hall has grown to a three-building complex known as the Symphony Center. The first renovation took place in 1950.

Years of performances and patrons had begun to take its toll on the interior of Orchestra Hall. Under the direction of Daniel Burnham, Jr., a $75,000 redecorating of the interior took place. Walls were painted a soft gray, the proscenium was painted white, the back wall of the stage, Wedgewood blue and the foyer a muted green with terra cotta accents. The addition of gray carpeting completed the project. It was hard to imagine the now cream and gold interior as being blue at one point. When I inquired as to a picture of what it looked like, Frank said there were none. “Unfortunately, at the time, photography was only done in black and white,” he said. “So we have no pictures of it being blue.” The Hall stayed this way until the first significant renovation took place in 1966.

For the past 62 years, Orchestra Hall had served a host of conductors and guest artists in hundreds of performances. Although the passenger elevator had been around since the mid-1800s, it wasn’t until 1966 that the first modern elevator was installed in Orchestra Hall. With year-round performances, new heating and air conditioning systems were installed as well. As popularity for the orchestra grew, and another sixteen years of patronage took its toll on the interior, decorating renovations once again took place. In order to accommodate increasing numbers of attendees, more space was needed for patrons as well as performers. Lobby space on three floors was expanded along with lounges and dressing rooms for the musicians. The auditorium was painted gray with ivory trim, replacing the Wedgewood blue. Seats were re-upholstered in deep red mohair fabric. Better acoustics were achieved by replacing the plaster ceiling with acoustically-designed aluminum panels. The original Lyon and Healy organ, installed in 1905, and rebuilt by Frank J. Sauter and Sons in 1946, was replaced with a temporary Allen electronic organ after it had been damaged during the renovation. It would not be until 1981 when the “temporary” organ would be replaced with the new Moeller pipe organ containing over 3,000 pipes.

We turned to John Maas, Director of Facilities, and Brendan Berry, Chief Engineer to talk about the mechanics of the building and how the Symphony Center was handling the “greening” process and energy conservation. John has been with the Symphony Center for the past two-and-a-half years. Using the year 2005 as a base year, and the implementation of several energy saving concepts, John has achieved an 18% savings on utility consumption.

Temperature and humidity control is the most crucial process at the Symphony Center. A wooden stage, and musical instruments that run into the hundreds of thousands, possibly even millions, of dollars, make this a very large concern for the engineering staff. Humidity control in the piano storage area is perhaps the most critical. Steinway pianos sit here waiting to be lifted to the stage area through the use of a mini-hydraulic lift system. Room humidity is monitored continuously through the use of a dedicated Liebert system. In the past, the entire support building fan needed to operate in order to maintain a controlled humidity environment for this room. The addition of the Liebert unit was actually the first energy conservation project and resulted in a straight line control of room conditions. In addition, they were able to reduce electrical and chilled water consumption. One of two air handlers is dedicated to the storage area.

Mechanical rooms located on the seventh floor house the two air handlers for the support building. Two, 75HP supply fans and two, 40HP return fans serve Orchestra Hall while the support building has two, 100HP supply and two, 40HP return fans. CFM on each fan is controlled by inlet vanes. Discharge shutters can be closed in the event of fan motor failure so that air can still be provided to designated areas.

With the acquisition of the Chapin & Gore building in the mid-1990s, Orchestra Hall soon moved all the administrative offices and opened a new musical education center. The Rotunda, a six-story atrium, links the three buildings. Three additional air handlers serve these areas along with the 8th and 9th floor Club and Lobby areas.

John went on to explain that cutting the natural gas therm usage has been the other area in which they have drastically cut utility consumption by up to 25%. A hot water heat valve program allows them to run the baseboard heat system off of outside air temperature. At an ideal temperature of 50-52ºF, they no longer require heat. Brendan added that all of the valves were already in place. In order to achieve maximum efficiency, they automated them. Installation of actuators and software programming allowed them to be controlled by outside air temperature or return air temperature.

Brendan told us that each air handler has a cool fog humidification unit. A 75 horsepower screw air compressor provides air for the atomization of water to provide the fog-like mist. Water for this unit is pre-treated with heaters, softeners, a carbon filter to remove the chlorine and, after that, is run through a reverse osmosis system. This provides the highest quality of water available.

Symphony Center is currently undergoing a recommissioning process as part of their ongoing work to save energy. With experience in construction and remodeling, and a keen understanding of the recommissioning process, Brendan and his staff are currently evaluating every piece of equipment on the property. With the challenge of improving operating conditions, Brendan researches as much information as possible about the original design of a particular piece of equipment. They then physically check and calibrate that piece of equipment to ensure that computer readings are accurate, valves and dampers are functioning as required, and that the equipment serves its designated area in the most efficient way possible. Questions such as, “Can we modify this equipment to serve us better?” are asked and answered. Modifications or repairs are made and they move on to the next piece. In this way, all mechanical operations will be functioning at the highest level attainable. Through this process, Symphony Center has accomplished significant savings.

Brendan added their next energy saving project involved water usage. With a seating capacity of 2,530 patrons, and 100+ musicians at any given time, water consumption in the three buildings can go from almost nothing to “astronomical” within an hour. “Intermissions seem like half-time at the Super Bowl in terms of water usage,” Brendan told us. Over 100 water fixtures serve Orchestra Hall alone. To achieve maximum usage efficiency, Brendan said the existing pumping system has been brought back to original design parameters, and at times they are now able to maintain adequate pressure with the cushion tank rather than running pumps. Eventually, frequency drives being added to the domestic water system will enable variable water usage conditions to operate at optimal efficiency.

Additionally, the engineering department, composed of four employees working two shifts, 7 days a week, handle basic plumbing, carpentry, and lock work. Lighting is accomplished by stage hands for the Hall and Local 134 electricians for other electrical needs. There are no chillers on the property; cooling comes from Unicom. Two boilers rated at 250HP each operate at 22 pounds pressure and are run year-round for reheat and humidity control. Perhaps the most amazing feat is that all of the major maintenance work is accomplished from June through September when the symphony is not in season.

John concluded that he was currently working on a “greening” program as well. The building will be retrofitted with light occupancy sensors to control lighting and bulbs will be replaced with T8 lamps and ballasts. Paper consumption is being reduced as well as energy usage.

Frank showed us the Rosenthal Archives, which is a critical temperature and humidity-controlled room as well. Rows and rows of storage included recordings, posters, photographs, news releases, musical scores and historical information on Symphony Center. In addition, Frank told me that most of the musical performances were now recorded. Selected performances are released and sold on the CSO Resound label on iTunes and in CD format.

Due to the critical nature of this room, it carries two forms of fire protection. The first system, supplied by Inergen, protects the contents of the room. A non-water based fire suppression system strips the room of oxygen in an effort to put out the fire. This protects archival pieces that cannot be replaced. Should this system fail, and the building itself becomes compromised, the second system, water-based, activates.

Perhaps the most ambitious renovation project to be undertaken was completed in 1997, after three years and at a cost of $110 million. Although these changes were mostly acoustical and interior upgrades, they none-the-less added to the efficiency and appeal of the building. A new angled roof was built, raising it to 36 feet above the floor, adding a concrete reflector to rebound the music back into the building, taking advantage of the larger volume area. A 30 x 40 foot steel and glass acoustical canopy, weighing in around 11,300 pounds, is held high above Armour Stage by an adjustable cable system. The canopy can be raised or lowered to accommodate the type and number of musicians performing. Microphones hanging from the canopy enable musicians to hear each other better and listeners to focus on the sound. Well-hidden amongst the microphones is actually a Johnson temperature control that continually monitors room temperature and humidity.

Rights to the alley behind the building were purchased from the city enabling the stage to be extended 16 feet backwards. This gives the performers more room, provided more space for restrooms to be added, and lobbies to be made larger and refurbished. Chairs were made larger and provided more legroom. To accommodate the loss of seating area, 200 terrace seats were added behind the orchestra. The auditorium is now four stories high and extends the entire depth of the property. As I walked out on the stage and drank in the richness and grandeur of the area, there was no doubt in my mind the music being performed on this stage was just as rich and grandiose as the surroundings.

Marc van Bree, Public Relations Department, explained that the new Rotunda, which links the three buildings of the complex, has become a popular place today for weddings and parties of all kinds. The luxurious staircase, highlighted by natural light provided by skylights, makes the perfect backdrop to the perfect function. The addition of the Rhapsody restaurant, the souvenir shop, and the educational center rounds out a visit to this magnificent cultural center.

I briefly toured the Grainger Ballroom, noting that it had been renovated to look exactly as it had when it was first built. With the original chandeliers and wall sconces still in place, furniture and wall coverings were replicated to match the originals. This small intimate setting provides the perfect place for small gatherings. We also visited the 9th floor, the original meeting place of the Cliff Dwellers, a private club comprised of the “cultural society”, where they would socialize and share ideas. Rich green furnishings surrounding a small but cozy fireplace setting begets an intimate meeting place for those small gatherings.

I left the Symphony Center that day still in awe at the magnificence of the building. Although I had never attended a performance, there was no doubt in my mind that the brilliant musicians whose performances are attended by thousands yearly are served well by the engineering staff who make every effort to ensure that this building works in the most efficient ways possible.

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