Stained concrete floors, carpet, wood floors (in species often used for musical instruments—curly maple, walnut and ash), resilient floors and neutral paint colors complement the building’s character.
Collaboration
Boyd and Nicholson relied on each other’s knowledge to guide them through the design of the facility. For example, as the local architect, Boyd took Nicholson through the nearby Bristol Train Station to provide some inspiration for their work on the Birthplace of Country Music Museum. Consequently, Nicholson integrated the train-station experience into the museum. “The musicians used to come to Bristol by train and, as they were waiting to leave or were coming in, they’d play their music in the train station,” Nicholson points out. “It seemed appropriate to pick up on that in the waiting area prior to the Orientation Theater.”
In addition, Boyd and Nicholson relied on an array of specialty consultants and engineers whose work overlapped with their own. Audio engineers created optimal sound quality, ensuring music and film didn’t bleed from one gallery to another. Audiovisual producers/integrators laid cabling for touchscreen interactive exhibits, and IT professionals set up computer rooms, all the while collaborating with mechanical engineers on temperature control. “There are so many separate systems, but you can see how this all begins to work together,” Nicholson notes. “It gives you a sense of the kind of complex team that Peyton and I were working with.”
Despite the complexities, Boyd and Nicholson—both of whom have been architects for 45 years—are grateful for the experience. They note every team member and the building owner collaborated so well together that they wish they could complete a project like the museum more often. “We really ended up with a seamless integration of the building with the exhibits and full owner participation throughout,” Nicholson states. “I wish I could do one of these projects every year!”
Although Nicholson and Boyd are very proud of the building and the response it has gotten from visitors and the country music industry, they were careful not to overlook the history of the building itself. The design team pays homage to the history of the building in an exhibit. “With remnants from the shops that once were housed on the first floor, we explain what the building was and how it had been used, up to the point when it was totally closed,” Nicholson concludes. “Peyton and I thought it was only right that we were able to make that gesture to the history of the building.”
Retrofit Team
ARCHITECT: Peyton Boyd Architect PC, Abingdon, Va.
EXHIBIT ARCHITECT: studioMUSarx LLC, Philadelphia
MECHANICAL, ELECTRICAL, PLUMBING ENGINEER: West Welch Reed Engineers Inc., Knoxville, Tenn.
STRUCTURAL ENGINEER: Spoden Wilson Consulting Engineers, Kingsport, Tenn.
LIGHTING DESIGNER: Architectural Lighting Design LLC, Ambler, Pa.
CONSTRUCTION MANAGER AND GENERAL CONTRACTOR: BurWil Construction Co. Inc., Bristol, Tenn.
MEDIA PRODUCER: Hillmann & Carr Inc., Washington, D.C.
AUDIOVISUAL ENGINEER: Electrosonic Inc., Los Angeles
ACOUSTICAL ENGINEER: SH Acoustics LLC, Milford, Conn.
EXHIBIT FABRICATOR: 1220, Nashville, Tenn.
EXHIBIT STRUCTURAL ENGINEER: Keast & Hood Co., Philadelphia
BRICK AND MORTAR STAINING: Brushworks Decorative Painting, Meadowview, Va.
EXTERIOR SIGNAGE: Gropen, Charlottesville, Va.
Materials
STEEL WINDOWS: Hope’s Custom Crafted Windows & Doors
TEMPERED-GLASS GUARDRAILS: Livers Bronze Co.
ZERO-VOC PAINT: The Sherwin-Williams Co.
LEATHER-BELT PANELS: Ting London
FABRIC-COVERED ACOUSTICALLY TRANSPARENT CEILING CLOUDS AND WALL PANELS: Whisper Walls
TENSION CABLE SYSTEMS: Arakawa Hanging Systems
WINDOW SOLAR SCREENS: Parallax Digital
ACRYLIC EDGE-LIT LED LIGHT PANELS: Green LED Lighting Solutions Inc.
VINYL WALL TILES: Tandus Centiva
MODULAR CARPET TILES: Mohawk Group
WOOD-VENEER PERFORATED ACOUSTICAL WALL PANELS: Acoustictrade
TRANSLUCENT RESIN PANELS: 3form LLC
PERFORATED METAL SHEETS: McNichols Co.
DIGITAL HIGH-PRESSURE LAMINATE GRAPHIC PANELS: iZone Imaging