Todd Bolender Center for Dance & Creativity

The transformation of a dormant coal-burning power house into a vibrant, daylight-filled center for dance

Information

Location Kansas City, Missouri
Size 66,000 SF
Completion 2011
Services Architecture
Project Type Performing Arts

The relocation of the Kansas City Ballet to the new Todd Bolender Center for Dance and Creativity involved the preservation and adaptive reuse of the former Power House at Union Station. There is a strong parallel between the two dynamically different uses of the historic building. The original use for the building was the generation of steam and electricity from burning coal that powered Union Station, the surrounding rail yards, and buildings. The Kansas City Ballet creates the next generation of dancers through artistic energy and hard work of individuals that benefits the Kansas City community, demonstrating the power of dance. Six studios and a performance theater that seats 180 are large components of the program. Nestling beautifully in the northeast corner of the building, the 180-seat main professional studio theater is a soaring triple-height space brought to life by daylight from windows and views to the surrounding urban environment. The floor area of the studio theater matches the performance stage dimensions at the Kauffman Center for Performing Arts in Kansas City, Missouri. The Ballet’s new home also houses administrative offices, wardrobe, costumes and production areas.

Impact + Innovation

The challenge of creating an organized program diagram for the Kansas City Ballet within an existing historical building was welcomed by BNIM and resulted in creatively reusing existing structure and interior elements in new applications. The building was originally designed by architect Jarvis Hunt and was constructed from 1913-1914, representing an important era in Kansas City history and national historical significance as part of the Union Station complex. A predominant goal of this project was to restore the historic Power House to its original condition, as both the Kansas City Ballet and BNIM recognized the need to honor the building’s history. The design team meticulously replicated and restored features to adhere to the building’s original design, including huge expanses of existing windows which are restored and replicated to fit their historic design.

Process

The design process for the monumental task of transforming the Power House involved thoughtful integrated collaboration among the entire team of the client designers, preservationists, engineers, buildings, and project manager. From the outset, the design was also informed by meetings with the board, parent committees, professional dancers, and staff which provided greater insight into the needs of the new facility. It was through this process that the design evolved from a detailed space program and historic building into a new home for dance and creativity that offers a welcoming presence for everyone – students, dancers, staff, and parents.

People

Team

Steve McDowell
Rick Schladweiler
Joshua Hemberger
Julie Miller
Robert Glinn
Devan Case
Gary Jarvis
Barbara Cugno
Mike Pollmann
Celine Armstrong
Valerie Frye

Client

Kansas City Ballet

The Bolender Center is one of the best designed and thought-out dance facilities in the country, which means that it is one of the best in the world. This new facility surpasses our expectations. Large, open studios, natural light as well as a 180-seat studio theater will now make it possible to create, rehearse and perform in an expansive environment.

William Whitener, Former Artistic Director, Kansas City Ballet

Everything about this restoration—from the building’s use, to its design, to the power of ballet, the power of dance, the power of art—all of this restores that energy for which the Power House was initially designed. Kansas City Ballet was not the first organization to approach me about an adaptive reuse of the Power House, but theirs was the best approach. It was a beautiful and respectful fit.

Cydney Millstein, Architectural & Historical Research, LLC

Very early in the process we realized that this was not just about transforming an important building. It was also about a new energy, a transformational energy that will propel this building and in many ways the arts and culture of Kansas City into the next 100 years. The old energy was coal that moved through the building to power Union Station and the precinct. The new energy is a creative power that is the product of the students and professional dancers—beauty, creativity and art. This was a true marriage of old and new.

Steve McDowell, Principal, BNIM Architects