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\u201cThe first ideas weren\u2019t necessarily acoustic,\u201d says Gary McCluskie, principal and lead designer for Diamond Schmitt. \u201cIt was experiential. Could we be closer to the music? Could we be around the musicians? That\u2019s a social idea.\u201d<\/p>\n\n\n\n
An assortment of acoustic panels, reflectors, undulating sound-absorbing-and-reflecting solid beech wood millwork, and horizontal slats around the stage allow the entire hall to be tuned for different levels of sonic intensity. Ten adjustable acoustic panels allow musicians in the orchestra to hear their discrete instruments within the crescendo of minutely timed vibrations emanating around them. For amplified events, fabric dampeners attach to the walls.<\/p>\n\n\n\n
\u201cIt was a real back and forth composition [with Paul Scarbrough] to create this undulating rippling wall effect which has a fundamental purpose of acoustic reflecting. It\u2019s so much about how we in the audience feel in the room as well,\u201d McCluskie says.<\/p>\n\n\n\n
The custom seating, with rose-petal fabric designed by TWBT and manufactured by Maharam, contributes a warm feel and helps with acoustics. Rows added on a parterre above and behind the stage are especially inexpensively priced and offer an embodied aural experience, placing the audience almost inside the orchestra. Face to face with the conductor from the perspective of the musicians, the hall becomes like an instrument played by the performers. These will be hot tickets.<\/p>\n\n\n\n <\/figure>\n\n\n\n\u201cThe quality of being inside a musical instrument, that\u2019s our theme,\u201d McCluskie says. \u201cThe experience at the parterre level, there\u2019s a warmth and envelopment that is really present. I love that with the orchestra there you can zero in and focus aurally and visually on an element of the music. The sound up there is so full.\u201d<\/p>\n\n\n\n
During film screenings, special events, and corporate product releases, a retractable screen rolls down above the stage. They rolled it out during the opening day concert, a composition by Trinidad-native jazz trumpeter and composer Etienne Charles that remembers the Black, Puerto Rican, and Afro-Caribbean San Juan Hill community destroyed by Lincoln Center. In the late 1950s, New York\u2019s civic leaders and power brokers diverted federal urban renewal funds earmarked for the demolition of slums and construction of affordable housing to build a highbrow cultural center. San Juan Hill disappeared forever.<\/p>\n\n\n\n
Lincoln Center intends to reclaim this history. A mural by Nina Chanel Abney<\/a>, titled San Juan Heal<\/em>, covers the north facade on 65th Street. Warm and inviting public spaces designed by Tod Williams Billie Tsien are meant to welcome a wider audience into the space and open its ground-level to the active pedestrian life of Broadway. Offices and an escalator were moved up and back, away from the facade, creating a 100-person Sidewalk Studio dedicated to small concerts, DJs, and special events. A video screen backdrop and metallic string curtains play with transparency and layering effects. A new ticket booth on the southeast corner is open from Broadway in addition to the main entrance from the plaza. The glass-canopied entry ramp belongs to Diller Scofidio + Renfro\u2019s 2009 Lincoln Center public space redesign. <\/p>\n\n\n\n <\/figure>\n\n\n\nSignificantly, the lobby has been opened and extended back, exposing Abramovitz\u2019s original structural columns, which appear like shapely bollards anchoring a freight ship. \u201cThis is to be a living room,\u201d says Williams, \u201cIt\u2019s important to be inviting.\u201d TWBT carpeted the lobby in a custom deep blue walk-off mat and furnished it with colorful sofas and lounge chairs. Visitors are served by a bar and caf\u00e9 as well as an Afro-Caribbean restaurant by James Beard Award-winning chef Kwame Onwuachi. A screen extending nearly its entire width shows lounge patrons live concerts happening inside for free. The rest of the time, a video piece by Jacolby Satterwhite<\/a>, An Eclectic Dance to the Music of Time<\/em>, animates the screen.<\/p>\n\n\n\nAt intermission, patrons luxuriate in an expanded glass-walled promenade on the second level. Diaphanous curtains, rose-petal felt accent walls, brass chandeliers, a black granite bar, and terrazzo floors with inlaid bronze accentuate the space\u2019s soaring ceilings, which are painted a deep blue. The translucent facade steps out to two arcaded terraces overlooking the plaza and the ballet theater, again animating the city with life.<\/p>\n\n\n\n
\u201cIt\u2019s not just that we\u2019re here and you must come to us,\u201d says Deborah Borda, president and CEO of the New York Philharmonic. \u201cWe want to invite you to come to us. Everything about this building is meant to be inviting.\u201d<\/p>\n\n\n\n <\/figure>\n\n\n\n