Austin Woodruff

Descriptive, Comparative, and Intellectual Oddments: Art as Collaboration Cincinnati, OH has a farther-reaching interest in the arts than other, comparably-sized Midwestern cities; more involved than Zanesville or Cleveland, the city of Cincinnati has a long, profound interest in the visual, musical, and performative arts. With art distributed across several museums, personal collections, and coming from a number of talented, young makers, Cincinnati has the depth of creativity to rival larger, coastal cities. With fewer individuals, however, selecting to study the fine arts -- and even fewer who have the opportunity to practice their art for a living -- the continued economic insecurity for prospective artists has taken an immense toll on the creative energy of these arts-oriented communities. As an aspiring artist, I hope to demonstrate the love I have for those who share their art with the world. There is, however, an apparent exclusivity provided to artists with privilege granted to their gender, race, or socioeconomic condition; this is an important challenge to address in designing a set of systems that may dismantle these disparities and provide contextualized equity for those involved. RESEARCH BOOK 01 | AUGUST 10, 2020

AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || RESEARCH BOOK 01, SCHEMATIC DESIGN

SCHEMATIC DESIGN PRESENTATION #04 | August 7, 2020

INTD 5001: SENIOR CAPSTONE SUMMER SEMESTER 2020

INTRODUCTION SLIDE -- CONTEXT AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Corie Mattie, 2020, Published by The Guardian [1]

MUSEUMS HAVE BEEN PARTICULARLY AFFECTED BY THE COVID-19 PANDEMIC. [45]

90% of museums have had to close their doors during the crisis.

>10% of museums may never reopen moving forward.

In 2020, there are 95,000 museums, 60% more than in 2012. Only 5% of museums in SIDS (Small Island Developing States) have been able to provide online content. UNESCO, 2020 [45]

CONTEXT & RELEVANT STATISTICS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Corie Mattie, 2020, Published by The Guardian [1]

“ Fostering a culture of remembrance is crucial to the future of our democracies... it creates awareness, not only of the historical conditions that have led to exclusion, degradation, and destruction, but also of our responsibility for ensuring that these processes - created and influenced by people - do not repeat themselves. “ [23] - Schafhausen and Bischoff, 2018

CONTEXT & RELEVANT STATISTICS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

“ THE PATRON “

“ THE CURATOR “

“ THE ARTIST “

Edward Hopper, 1950, “Cape Cod Morning” [46]

AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

BACKGROUND / CONTEXT

“ an exchange of diverging or opposite views, typically a heated or angry one. “

ARGUMENT

INTD 5001: SENIOR CAPSTONE SUMMER SEMESTER 2020

DEBATE DISCUSSION

“ a discussion to a conflict, aimed at resolution. “ “ the conversational element of literary or dramatic composition. ” “ to hold the attention of. “

Navigating INTD 5001 Opportunity and Creativity.

“ an exchange of ideas and opinions. “

DIALOGUE

DEBATE

“ reciprocal giving and receiving. “

“ an intention, hope, or idea of doing or recieving something. “

DISCOURSE

“ find (something or someone) unexpectedly or in the course of a search.” “display (a quality or feeling).”

“ acts or periods of investivation and discovery. “

CRITICAL

ENGAGE

“ to obtain the use or services of : “

“ careful thought, typically over a period of time. “

INTENTION

AUSTIN WOODRUFF

“ to provide occupation for : “

“ to part with, give, or transfer in consideration of something received as an equivalent. “

THOUGHT

TOUCHING at a DISTANCE

“ a formal discussion on a particular topic in a public meeting or legislative assembly, in which opposing arguments are put forward. “

EXPLORATION

MARGIN

COMMUNITY

CULTURE

A PLATFORM FOR SHARING DIFFERENCES AND RELATIONSHIPS. INSTITUTION FOR THOUGHT TRADING.

SCENE

CULTURE ETHNOLOGY

“ separating something into it’s elements.”

“a detailed analysis of subject. “

“ subjects of study concerned with the processes of human life, creativity, and history “

INVESITGATION

ACCESSIBLE INFORMATION, DIRECT INTERACTION

RESEARCH

CUSTOMS

EXCHANGE

DISCOVERY

“ the customs, arts, social institutions, and achievements of a particular nation, people, or other social group. “

“ the study of the characteristics of various people and the differences and relationships between them. “

RELATIONSHIP

PARTNER

“ a number of individuals w/ interest w/ shared losses. “

Quoted Definitions from the Merriam-Webster Dictionary [2] ASSIGNMENT 3 : KEY WORD MAPPING

BACKGROUND & CONTEXT || SUMMARY OF STATISTICS, TRENDS, KEY DRIVERS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

PROBLEM IDENTIFICATION AND EVALUATION

“ To demand exactitude in the pursuit of a historical truth is to go where no mind can venture and return whole. The load is too large to carry, the losses too many and too varied. Truth will drain from your hands like so much water. Instead, you will find yourself drawing on tales from the past... to make the bitter truth at least partially digestible. ” [25] - Kara Walker responding to “Exactitude” in a post-lock-down World.

Six Memos for the Next Millennium by Italo Calvino, 1988 [26]

“Lightness” “Quickness” “Exactitude” “Visibility” “Multiplicity” “Consistency”

Image of Calvino from HUP Translation [26]

IDENTIFIED PROBLEM || ISSUES YOU’RE ADDRESSING AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

PROBLEM IDENTIFICATION AND EVALUATION “ PRECISELY now [& moving forward] in the context of a global pandemic... it’s important to experience culture... organizing activities, talking about history, raising our voice, defending our rights. ” -- Patrick Charpenel [44]

Hiram Maristany, 1964, “The Gathering” [48]

“ Maristany’s heartwarming photographs are a clear reminder of El Museo del Barrio’s roots: it began as an educational project that emerged from the decentralisation of New York City’s schools in 1969. Puerto Rican parents in East Harlem—also known as Spanish Harlem or El Barrio—wanted their children to learn about their own history and culture. Working with their district superintendent, they hired the artist Raphael Montañez Ortiz to develop a curriculum. Ortiz had the idea to create a museum that would be by and for the community... In the ensuing decades, El Museo has grown from a grassroots project to an international institution. It has expanded its mission to represent not just Puerto Rican culture, but that of “all Latin Americans in the US”. It has found a permanent home and presented critically lauded exhibitions—but has also faced financial troubles, high staff turnover and waves of protest from local residents. Maristany’s photographs are an evocative symbol of the museum’s origins but they also amplify a question that has continually come up for debate: what is El Museo del Barrio’s future, and how should it reflect the past? ” -- Jillian Steinhauer, The Art Newspaper [47]

IDENTIFIED PROBLEM || ISSUES YOU’RE ADDRESSING AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

PROBLEM IDENTIFICATION AND EVALUATION “ The data presented in this study therefore hilights the enormous challenge facing museums if they are to continute to play their role in the fields of education, the dissemination of culture, the promotion of social cohesion, and the strengthening of the local and regional creative economy in the future. The important place that this sector has assumed in national cultural policies during the past decade could be weakened if urgent policies to support this sector are not adopted by states ... ... The physical closure of museums has led these institutions to seek, through the crisis, alternatives and opportunities for recovery ... ... Resiliance is one of the fundamental characteristics of museums and this has become even more evident sine the beginning of the Covid-19 crisis. Museums have always been able to reinvent themselves and adapt to changes in society. This report indicates that they [museums] are already rethinking their operations and their relationship with the public in order to move forward and to survive post-Covid-19. There is no single answer; each region, each country, and each museum will have to make its own assesment and identify the lessons that will enable it to adapt to a new reality and new challenges. “ [45]

IDENTIFIED PROBLEM || ISSUES YOU’RE ADDRESSING AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Hiram Maristany, 1965, “Children at Play” [48]

TREND ANALYSIS This balance is simple, less cluttered, less suffocating.

Calls for a sense of presence that is lost.

BUCOLIC BALANCE SLOW DOWN

WHAT IS NEXT ?

“ Relating to the pleasant aspects of the countryside and country life. “ Louvre Abu Dhabi, UAE, 2019 Jean Nouvel

Constantly yearning for an escape from a pervasive dependece upon technology in an exponentially developing market, those who chose to disregard this in favor of ambient wellness - harmony alongside nature. This “ambient wellness” referenced above is from the trendwatching.com report on trends following the coronvirus in 2020, and the “desire to remain safe,” will likely be reflected in design trends that restore peace and comfort to the spaces we’re closed in for a majority of the day, allowing us to feel the generous, warm embrace of the world beyond sterile, concrete walls.

In 2021, natural, unfinished woods and rustic “modern” will be prevalent design trends and clearly resonate with the social calls of bucolic balance. These suggest that a sense of refined simplicity, removal Buttercups in a Meadow from excess ornament, and Stanley Spencer, 1950 [3] gained presence will be values held closely in the coming year (trenddesignbook.com). [6]

Merville Garden Village Near Belfast Stanley Spencer, 1951 [3]

17 Magazine, 1970 [4]

Photo by Anne-Marie Curtis, 2018 “Pastoral” Clothing [5]

AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

MANIFESTATIONS BUCOLIC BALANCE

Photo from homecrux.com *

Photos by Anne-Marie Curtis *

“How to Connect w/ Nature” by Gooley *

Cao Junjie, a father concerned with his son’s safety during the pandemic, fashioned a chest-mounted safety-pod with built-in air filters to safely take a child - who may refuse to wear a face mask - outdoors in the midst of a health panic. [7]

These images of the draped, parachuted, and monochromatic fabric of the AnneMarie Curtis garment depicted above demonstrates the simple, less suffocating appeals of the bucolic scale. This balance is even illustrated in the oversized, draping lines of the sun hat, which shades from the sun not unlike the canopy of a tree.

Gooley suggests that nature is something that can be “read,” but frustrations have grown surrounding the widespread loss of literacy in this regard. The power of observation lies in our capacity to reveal clues or hints that may otherwise be irrelevant into other factors, it promotes philosophy.

Ruben Rojas, a Californian artist, said “every time we paint a mural, we are creating culture and history;” removed from the concrete walls of the urban sprawl, nature is the most primitive mural behind our DNA - the culture of our natural roots will always be a trend of human activity, this is an insight that Anne-Marie Curtis beautifully captures. [5]

“Our senses repay us in so many surprising ways. We become aware of the way things change and react. It is so much easier to react to something or someone that reacts to you.” [8]

Somewhat like the story of David Vetter, a young boy who lived his short 12 year life inside a bubble due to severe combined immunodeficiency -- the insights taken from this manifestation bring a sense of empathy for those who may not realize the severity of the pandemic for those who can’t care for themselves and are living in states of significant danger. Nature’s call can’t, however, be stopped.

AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Nature is inherentvvly a part of us, and removal from it dulls the finely tuned skills and systems we use daily.

TREND ANALYSIS Exploiting these areas welcomes the Extravagant to the world of “beauty.”

* This should be explored on personal and public scales.

SENSE & SENSUALITY SELF-EXPRESSION

TOO MUCH IS ?

A moral ambiguity surrounding the full world of pleasures surrounding us. Image from europeanceo.com [9]

The widespread commentary on these facets of living - sense and sensuality - indicates a trend in the exposition of moral ambiguities surrounding life and self-representation. Although electronic communication is at an all-time high, trendwatching.com predicts that a post-coronavirus world will grow more accustomed to the idea of virtual companionship. While somewhat taboo in society today, the “virtual companion” has the power to “entertain, educate, befriend, and heal,” which grows increasingly important in such a highly-social world that is now sheltered, demanding for privacy and isolation - thus limiting expression of sense and sensuality. [13]

“Aireal” technology from Disney Interactive, free-air, tactile [10]

“Epidermal VR,” 2019 [11] Northwestern University Engineering

Photos by Kito Munoz (above and to right), for Palomo AW18 [12]

AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

MANIFESTATIONS SENSE AND SENSUALITY

Photo from Ludovic de Saint Sernin *

Screengrab from “Deeper Understanding” *

Lil Miquela, “AI Influencer”

Choosing to see gender as easy, something that shouldn’t be cared about, Ludovic de Saint Sernin creates clothing that epitomize the body’s adornment and welcomes extravagance to a point of view vague in gender and sexuality. [14]

A songwriter renown for her story-telling abilities, Kate Bush crafts the narrative of a man pulled away from his family by an addiction to a virtual companion. He “turns to his computer, like a friend... pick[s] up the phone, press execute.” [15]

The bright and polarizing materials arranged in the minimal garments produced by this French designer engage the senses and activate our feelings of light, lightness, and softness.

His need to confide in this artificial companion consumes the man who finds himself obsessed with it’s absolute passivity and compliance. Written before such programs had been created, this vision into the future provides insight into the danger of abandoning the world of human senses for an artificial glimpse into false closeness, feigned sensuality. The confusing world of pleasures around us tempts the natural human sense.

The mere existence of a figure like Lil Miquela fulfills the dark premonition had by Kate Bush; this computer generated model of an actress, model, singer, entertainer, and internet influencer subverts the genre of sense and sensuality by creating something with feeling that has an unknown, predetermined agenda. While some fear the rise of Miquela’s popularity, Muccia Prada welcomes her to runways with open arms, pictured above. [16]

An insight that can be drawn from the gender-fluid art of LSS is that passions and sensuality are an inherent part of the human experience and define the paths of personal and public expression.

AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

In an increasingly digital age, it is important to ask whether or not a digital entity can demand the same empathy and convey the same sense and sensuality as humans who, often, don’t receive the

TREND ANALYSIS With more and more reason to remove oneself are becoming valid, the value of society remains.

Demands a reaction to the mental anguish in us.

“ THE BURNOUT “ INEQUALITY

FEAR

The predicted rising numbers of these society memebers is the result of increasing social competition.

Cramped subwaydoodle.com [17]

One of the more controversial trends identified by trendwatching.com is the return of the “burnout.” While this language is derogatory and inappropriately generalizes exploitation, mental illness, and other factors that can put someone in this position, it is fair to recognize that our current times have done nothing but sponsor inequalities in our society and further separate factions of our peoples. [13]

forbes.com [18]

There will be a distinct need to re-stimulate this mass and find a way to support the continued participation in society, especially through such trying times where individual value can feel lost among so much else. forbes.com [18]

AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

MANIFESTATIONS “ THE BURNOUT “

Information from trendwatching.com * [13]

NY Times, May 2020 *

GQ Magazine * [20]

Recently, amidst the chaos of covid-19 distancing, a Russian division of Unilever held a digital job fair for those sheltering in place to enter the format of a 2-d video game where they can enter digital versions of company buildings and interact with representatives to learn about operational processing and employment opportunities.

A growing manifestation of covid19’s rapid consumption of the world’s population is the fatigue of healthcare workers who have a more important job than ever at this critical time. While we, as a society, have done as much as we can to share our appreciation for these invaluable workers, there is an inevitably large strain on these individuals who are putting countless hours into an increasingly challenging battle. [19]

An increasingly visible, ironic as it may sound, manifestation of the trend of “the burnout” in 2020 is the ever-present screen fatigue that follows us all with a sense of relentlessness.

By tapping into the interest of those who are confined to abide by the ruled placed from afar add some comfort and context for individuals who feel personally dissuaded by the crisis at hand. This is, perhaps, an insight into the future of employing those who may feel exhausted by the dry, stagnancy growing by day.

The fear of healthcare burnout is incredibly real, but we’re given a special insight into the strength of human will in observing the strength of these individuals who have committed beyond their personal capacity to serve society.

AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Opening one’s eyes at the start of a day only to lock them on digital screens until slipping back into a state of exhaustion sounds like a tragic fate, but it is the reality that becomes so many of us. The fetish of technology has gripped every corner of our lives and demands our attention at each personal, professional, and social moment of our lives. Escaping from this cycle would ease screen fatigue, but it is clear that society’s dependence upon technology is unhealthy.

Pendelton Art Center * [51] “ The center strives to encourage and nurture artistic creativity, by providing a supportive and inspiring environment for artists and by offering art exhibitions, events and educational programs that raise public awareness and appreciation for the arts. “ -- James R. Verdin ( 1936 - 2018 ) * Studio Rental and “Artist Listing” in Middletown, Ohio, Cincinnati, Ohio, and Rising Sun, Indiana. Built from Verdin’s vision and innovation in the clock and bell industry. Cincinnati Contemporary Arts Center * [52]

Built to represent “art of the last five minutes,” this incredible space designed by Zaha Hadid in 2003 curates new developments in painting, sculpture, photography, architecture, performance art, and new media. Yearly exhibits feature the University of Cincinnati’s MFA graduates’ works among other emerging artists, and those established in the field of Fine Arts.

PRECEDENCE AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Cincinnati Art Museum * [53] “ As institutions built on the belief that art has the power to change hearts and open minds, closing our doors during this time is painful, but we know it is the right thing to do to keep all of us safe... While our doors may be closed, we won’t let that keep us from our mission to inspire, challenge and delight you. We are also committed to ensuring that the people who make our work possible, our staff, are paid during this period of closure. “ -- Cameron Kitchin, Dir. CAM, March 2020 Wave Pool Gallery * [54]

“ The Wave Pool Art Space Is Your Space Program awards sponsored residencies to local, national, and international artists interested in engaging Cincinnati with their artistic practice. Residencies of 2-6 weeks include flexible live/work studio space, a month long exhibition in our gallery (when appropriate), opportunities for artistic community engagement and programming, and a $1500 stipend for the project (which includes living/travel expenses). “ Values include: Service, Listening, Community, Experimentation, and Optimism. - wavepoolgallery.org

PRECEDENCE AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Cincinnati Museum Center * [55]

Cincinnati Museum Center, Photo by Chris Dobbs [55]

“ ... this month, Cincinnati Museum Center announced that it was forced to eliminate 175 full- and part-time jobs amid revenue losses in the millions of dollars due to Covid-19. “ YET ArtsWave CEO Alecia Kinter has high hopes for the 10,000 individuals across 225 organizations she oversees. Her response over the start of 2020 has been: “short term emergency funding of $300,000 in 47 emergency grants, $2.4 million in grant funding to the largest 44 arts organizations for operating revenues, launching the Arts Vibrancy Recovery Plan to fundraise towards ArtsWave’s $12.4 million goal.”

“We like to talk about the positive ripple effect in the arts. Unfortunately, this is a situation where there are a lot of negative ripple effects outside of our control that impact all of our small businesses and our community members. This segment of our economy is compromised in a unique way. The art forms themselves, that rely on the human body and human interaction to tell a story, are particularly jeopardized...“ [56]

PRECEDENCE AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

4101 SPRING GROVE AVENUE

BLUE ROCK STREET

FERGUS STREET

KNOWLTON STREET

Built in 1921 by C.G. Preis, this property sits on 2.3 acres and was added to the NRHP in 2007. The building is five stories tall and has a floor area of approximately 180,000 square feet [27]. Surprisingly, this space, built by the American Can Company, was used to produced can-making machines, as opposed to actual cans. The large floor area and regular, columnar grid allow for adaptability with an extremely high glazing floor area ratio, allowing 360 degree daylighting into all five levels of the building.

FERGUS STREET

LANGLAND STREET

4101 SPRING GROVE AVENUE | SITE SELECTION

SP RI

N G

GR O VE

AV E

SPRING GROVE AVENUE

250’ 0’ Image from Google Earth

RESEARCH FINDINGS || EVIDENCES & INSIGHTS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

The neighborhood, Northside, has a population of 7,467 according to the 2010 US census - and was originally a small settlement on Shawnee and Myaamia land that has grown from industry failure (1960s) [28].

4101 SPRING GROVE AVENUE | SITE SELECTION

NORTHSIDE .

i M 5

LOCATION

PROPERITES

ACCESS, DIVERSITY

SIZE, GREEN SPACE, LIGHT

CHARACTER MODERN, INDUSTRIAL, BRIGHT

LIGHTNESS

BRIGHT, LIGHT, ILLUMINATED

QUICKNESS

ACCESS, EGRESS, REGULAR

EXACTITUDE REGULAR, INTENTIONAL, RIGHT

VISIBILITY

Images from Google Maps

RESEARCH FINDINGS || EVIDENCES & INSIGHTS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

TALL, OPEN, CONNECTED

MULTIPLICITY

ZONING DIVERSITY, HISTORY

CONSISTENCY

RIGHT, COLUMNAR, REGULAR

20 4101 SPRING GROVE AVENUE | SITE SELECTION

( STRENGTHS )

( WEAKNESSES )

( OPPORTUNITIES )

( THREATS )

HIGH DIVERSITY

MIXED-USE ZONING

ACCESS TO METRO

LARGE INCOME GAP

LARGE FLOOR AREA

STRONG NIGHTLIFE

LIMITED CHANGES TO BUILDING FACADE

REGULAR GRID

LIMITED LOCAL JOB OPPORTUNITIES

LARGE FAMILY PRESENCE

MIXED ZONING

GOOD DAYLIGHTING

OVER 2 ACRES OF LAND OUTDOOR EXPANSION

WALKING ROUTES

SOLAR ACCESS

WELL DOCUMENTED

SURROUNDED BY UNDEVELOPED PARCELS

PARKING SPACE

EXISTING INTEIOR CONDITIONS

RESEARCH FINDINGS || EVIDENCES & INSIGHTS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

ACCESSIBILITY TO THOSE SOUTH OF THE SITE LOCAL CRIME

21 SITE STUDY -- “MICRO” SCALE

200’

KNOWLTON SENIOR CENTER

0’

[PARKING]

FERGUS STREET

STONE CRAFT, SUPPLY

TOWING LOT

SPRING GROVE AVENUE

PARK

Commercial Zoning Residential Zoning, Private Property Green Space / Parks

LAWN SUPPLY

4101 SPRING GROVE AVENUE

SCHOTT MEMORIAL

RK [PA [PARKING]

[PARKING] THE GANTRY “B” BUILDING

BLUE ROCK STREET

]

ING

KNOWLTON STREET

THE GANTRY “C” BUILDING

]

ING

[PA “NORTHSIDE GRINDING”

N.T.C.

SITE CONTEXT & EXISTING BUILDING SHELL SUMMARY AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Northside Transit Center, Summer 2020 EXP.

MAKING SPACE EXHIBIT SPACE (30%)

EVENT (20%)

OFFICE (20%)

SPEAKER (15%)

(10%)

MEETING SPACE

RESEARCH FINDINGS || EVIDENCES & INSIGHTS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

(10%)

Image Courtesy of PAR Projects, est. 2010

Image Courtesy of PAR, ft. PAR Project Executive Director Jonathan Sears

MAKING SPACE EXHIBIT SPACE (30%)

EVENT (20%)

OFFICE (20%)

SPEAKER (15%)

(10%)

MEETING SPACE

RESEARCH FINDINGS || EVIDENCES & INSIGHTS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

(10%)

Image Courtesy of PAR Projects, est. 2010

Socail Space: “welcoming public space for the neighborhood, community meeting space...” Recreation: “Community wellness, mixed use...” Creative Space: “Art Festivals, Performance, Films, Traveling Art...”

RESEARCH FINDINGS || EVIDENCES & INSIGHTS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

DONOR / FINANCIER

ARTIST / CURATOR

COMMUNITY MEMBERS

RESEARCH FINDINGS || EVIDENCES & INSIGHTS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

SITE IDENTIFICATION AND EVALUATION Issues associated with the selection of a site in this study are many in number and should respond to the individuals being served. Categories of affected individuals should include “the artist,” “the patron,” and “the curator.” (Empathy maps pictured to the right) As we continue to question how we might address the problem at hand, some more specific “how might we” questions include: How might we ... restructure the platform on which artists exchange thoughts, questions, and knowledge ? Create a sequence of open, adaptable spaces that have access to natural light and storage for varied use ? Create adaptable indoor/outdoor spaces that activate the facade ? Offer a large number of work spaces to encourage local artists and makers to activate the space and enhance “ambient wellness?” Find hours and operational procedures to meet the public need and maintain safety ? Location... should be accessible without the use of a car for local residents, should tap into existing forms of public transit, should be large enough to accommodate a mixed public/studio space, should reserve outdoor space to extend the program beyond the brick-face. Building Properties... should access natural light from any desired position, should be easily divided into smaller, private spaces, should offer space for storage, should have room for growth. Building Character... should not be intimidating, should welcome the public, should provide ethos for involved parties.

RESEARCH FINDINGS || EVIDENCES & INSIGHTS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

SAYS: “who will listen?” “where can I go?” “I’m not done.”

THINKS: “am I done?” “I have no space.” “with what to make?”

THE ARTIST DOES: Continues thinking. Challenges challenge. Makes change.

FEELS: Unheard, unrecognized. Out of resources. A need for change.

SAYS: “I can’t afford art.” “what is the point?” “where are artists?”

THINKS: “now isn’t the time.” “what is art?” “this isn’t essential.”

THE PATRON DOES: Stays home. Questions necessity. Looks for meaning.

FEELS: Bored. Isolated, lonely. Trapped by enivrons.

SAYS: “how do we survive?” “who are we?” “how are we?”

THINKS: “who can I help?” “how can I help?” “where can I help?”

THE CURATOR DOES: Asseses patterns. Challenges trends. Empowers voices.

FEELS: Overwhelmed. Incapable. Out of touch.

prov es

economic opportunity

pan

“ the renaissance “

dem i

c im

SCENARIO DVLP.

the renaissance The School of Athens, Raphael * [21] Given the variability of social creativity, economic opportunity, and the progression of the 2020 pandemic, there are a number of scenarios that could develop in the coming months and years. The scenario that would best allow for continued dialogue, engagement, and exchange - and that best resembles the future painted by Corie Mattie [1] - is “the renaissance.” This scenario offers the greatest opportunity for those who seek a home in the community of the arts, documenting a record of our lives in 2020 and allowing for expression beyond the four walls of our homes, when safe.

SCENARIO || NARRATIVE, JUSTIFICATION, ASSUMPTIONS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

social creativity

SCENARIO DVLP. “ the renaissance “ Michelangelo, 1508-12, “The Creation of Adam” [49]

“ 2020 Will Bring a New Renaissance: Humanity Over Technology “ - Gerd Leonhard, Forbes.com * [50]

“ Each year I travel the world as part of my job to discover, discuss, and share the future with people from all walks of life. And what I found is this: the future is likely to be better than we think -- but we need to design and govern it wisely. Just two decades in, the twenty-first century has already presented us with a massive economic crash, geopolitical quagmires, and worrisome swings towards popularism. This may not be the optimal context for heralding a New Renaissance - but then again, the original renaissance wasn’t born in idyllic circumstances either. Rather it was a literal rebirth of human culture... I believe the exact same process is happening today, but not for the same reasons. “ [50] “ Technology is the new religion ... ‘Business as usual’ will kill us ... Our world is going to change more in the next 20 years than in the previous 30 years ... Our future is to be more human, not less. “ -- Gerd Leonhard, Futurist w/ Forbes Media SCENARIO || NARRATIVE, JUSTIFICATION, ASSUMPTIONS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

HOW MIGHT WE RESTRUCTURE THE PLATFORM ON WHICH ARTISTS EXCHANGE THOUGHTS, QUESTIONS, AND IDEAS ? WE MAY ... Restructure the platform on which artists exchange thoughts, questions, and ideas BY ... Bringing Artists and Curators together under one roof to maximize the potential of visibility from both residents of Cincinnati and the global market. Providing Artists with the resources and curatorial provisions needed to make, share, and profit from art in the comfort of their own studios. Inviting Patrons to activate the same space occupied by Artists and Curators, stimulating exchange and networking. By housing the making, documentation, curation, and demonstration of art, important to the story of our lives, in a collaborative environment that provides resources to those with stories to share and voices to be heard, we may be able to restructure this platform. “HOW MIGHT WE” QUESTION AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

ERIC [ 36 ]

ERIC WILLIAMS (30) QUEER ILLUSTRATOR / COMIC ARTIST SELF-PUBLISHED CANADIAN EDUCATED

PRODUCTS / SERVICES: Posters. Illustrations, Comic Books, Entertainment, Queer Culture, Queer Experience, Stories. PAIN RELIEVERS: Sharing with those who Understand, Removing Experiences from one’s Shoulders, Actualizing Self-Identity. GAIN CREATORS: Teaching those who don’t understand Queer life, Creating Unity with those who do, an Expandable Audience. PAINS: Lack of Ethos, Lack of Contact with Relevant Audience, Lack of Exposure, Lack of Guidance, Homophobia. JOBS: Sharing the Perspective in which Life is Framed, Illustrating Important, Relevant Ideas, Extending Surreal View of World in Art. GAINS: An interested Audience, Engagement with Queer Culture, representation of Queer Identity, Freedom for Change.

VALUE PROPOSITION & TARGET USER PROFILES AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

31 STAGE

AWARENESS

CONSIDERATION

DECISIONS

ENGAGEMENT & USE

LOYALTY & ADVOCACY

ACTIVITIES

Making Art, Illustrating, Writing

Searching for Work, Applications

Moving to Cincinnati, Engaging with / finding a new Culture / Community.

Creating Content, Illustrating, Spending Less Time Marketing, Cycling Themes and Content, Changing Points of Reference.

Expanding Network, Sharing with other Artists, Dedication to Community.

GOALS

Expanded Audience, More Opportunity

Finding Residency, Consistent Work, Fun

Finding New Opportunities for Work, New References, Help Distributing Art.

Sharing the Queer Experience and Illustrating Stories, Develop Enhanced Empathy, Assistance from Makers and Curators.

Extended Support through Crises following Covid-19, Industry Security.

TOUCH POINTS

Word of Mouth, SM, Arts Orgs. Internet

Digital Vision, Direct Interest, Call of Need

Access to Physical Space, Discussion from others in the Field, Contact with Curator.

Direct Engagement with Fellow Artists, Resources from the Network, a Distinct Network, Social Media “ Megaphone “

Local Relevance, Social Media Presence, Access to Organizations outside ntwk.

exhausted

intrigued

EXPERIENCE

excited

supported

capable

insight, critical

bonded

established

successful

Illustration by Eric Kostuik Williams [36]

TARGET USER PROFILES & USER JOURNEY MAP AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

User Journey Map -- Eric Williams

JUNO [ 37 ]

JUNO BIRCH (26) MANCHESTER-BASED ARTIST TRANSGENDER WOMAN SCULPTOR, MAKE-UP ARTIST STUNNING HUMAN PRODUCTS / SERVICES: Entertainment, Scultures, Education in Activism, Love, Joy, Positivity, and A Sense of Belonging for all. PAIN RELIEVERS: Acceptance for Diversity, Celebration of Differences, Access to Clay and Paint and Body Paint, Humor. GAIN CREATORS: Social Media, Mobile Journalism, Self-Worth, Self-Expression, Readaptation, Reidentification. PAINS: Transphobia, Bigotry, Censorship, Aduience Breadth, Cost of Representation, Extended Network, Audience Distance. JOBS: Being Stunning, Creating Humor, Comforting those in Discomfort, Being a Role-Model, Inspiring, Creating, Questioning. GAINS: Engagement with Queer Culture, Diversity of Content, Audience Diversity, Public Interest, Brand Exposure.

VALUE PROPOSITION & TARGET USER PROFILES AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

33 STAGE

AWARENESS

CONSIDERATION

DECISIONS

ENGAGEMENT & USE

LOYALTY & ADVOCACY

ACTIVITIES

Making Art, Sculpting, Doing Drag.

Searching for Residency, New Interest

Relocating Operations to Cincinnati, Delving into a New Culture, Study Community

Creating Content, Sculpting, Performing, Creating Digital Media, Challenging Convention, Garnering Pride.

Expanding Network, Sharing with other Artists, New Community Exposure.

GOALS

Expanded Audience, New Opportunity

Establishing a Nuanced Community, Expanding Net.

New, Diverse Opportunities for Work, New References, Help Producing Art

To Widen Opportunities for Epanding Production, Improving Digital Ethos, Work Collectively alongside Artists.

Extended Support through Crises following Covid-19, Industry Security.

TOUCH POINTS

Social Media, Arts News, Internet, Other Artists

Arts Resources, Interested Curators, Web Resources.

Access to Physical Space, Discussion from others in the Field, Contact with Curator.

Social Media “ Megaphone, “ Digital Media, Youtube, Cincinnati’s Queer Community, Nightlife, Cincinnati Pride.

Local Relevance, Social Media Presence, Access to Organizations outside ntwk.

intrigued

dissuaded

EXPERIENCE

enticed

excited

supported

insight, critical

bonded

inspired

successful

Sculpture by Juno Birch [37]

TARGET USER PROFILES & USER JOURNEY MAP AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

User Journey Map -- Juno Birch

User Experience Map -- Digital Collage

USER EXPERIENCE MAP - “THE ARTIST” AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

JAYNELLE [ 40 ]

JAYNELLE CLARK HAZARD AMBASSADOR OF CULTURAL HERITAGE EXHIBITION EXPERT DIRECTOR OF GREATER RESTON ARTS CENTER PRODUCTS / SERVICES: Collections, Catalogues of Thought and Works from Artists, External Points of View, Safety for Involved. PAIN RELIEVERS: Filling a Space with Meaning, Finding Meaning in a Collection of Works, Opportunity to Gather. GAIN CREATORS: Visibility, Opportunities to Engage with Public, Platforms on which to Speak, Venues to Engage w/ Emerging Art. PAINS: Lack of Visibility, Lack of Diversity, Gentrification, Coronavirus, Activity of Artists, Lack of Artist Support. JOBS: Serving as an Ambassador of Cultural Heritage, Curating Exhibits, Telling Stories, Amplifying Voices. GAINS: Increased Viewership, New Sources of Information, Opportunities for Increasingly Diverse Collaboration.

VALUE PROPOSITION & TARGET USER PROFILES AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

36 STAGE

AWARENESS

CONSIDERATION

DECISIONS

ENGAGEMENT & USE

LOYALTY & ADVOCACY

ACTIVITIES

Collecting Stories, Serving the Arts.

Assisting Artists, Sharing.

Relocating Practice to Cincinnati, Exploring new Communities, Networking.

Curating Content, Giving Voice to Stories, Expanding Network of Interest, Spaces to Activate with Content, Places to Make.

Hearing from Cincinnati’s Voices, Sharing the Reality of the World Around Us.

GOALS

Expanded Audience, Diverse Material.

To Provide Opportunities for Artists to Engage in Relevant Discussions, Establishing the Need for these “relevant discussions.”

Extended Support through Crises following Covid-19, Industry Security.

TOUCH POINTS

Social Media, Arts News, Internet, Curators.

Fellow Arts Members, Institutions, Internet.

Social Media “ Megaphone, “ News Interest in Events, Contact with the Arts Community, Interest from Patrons, Patron Gifts.

Local Relevance, Social Media Presence, Access to Organizations outside ntwk.

exhausted

unmotivated

Defining a Expanded Network of Art Community, to Work with, Platforms to share Expressing Stories, Access to Artists. POV, Learning.

Contact with Artists, Access to Physical Opportunities, Web Presence, Social Media.

EXPERIENCE

enticed

excited

fufilled

appreciative

bonded

inspired

enriched

Exhibit Curated by Jaynelle Hazard [37]

TARGET USER PROFILES & USER JOURNEY MAP AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

User Journey Map -- Jaynelle Hazard

User Experience Map -- Digital Collage

USER EXPERIENCE MAP - “THE CURATOR” AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

User Experience Map -- Digital Collage

USER EXPERIENCE MAP - “THE PATRON” AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

50’

WEST EXTERIOR ELEVATION

0’

SITE CONTEXT & EXISTING BUILDING SHELL SUMMARY MICRO AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

EX. “RESIDENTIAL”

EX. PARKING

EX. CAFE / RESTARAUNT

EX. OFFICES

40 R

APT. ENTRANCE

PARKING 9

ELEV. 8

MAIL ROOM 7

RESIDENCE 1 5

RESIDENCE 2 4

RESIDENCE 3 3

FIRE EXITS

50’ 0’

SITE CONTEXT & EXISTING BUILDING SHELL SUMMARY AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

KNOWLTON

100’ NRTHSD. GRIND.

WEST SECTION

AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN 4101 SPRING GROVE AVENUE

0’

SITE CONTEXT & EXISTING BUILDING SHELL SUMMARY MACRO FLOOR 1 | GALLERY “B” AND “C” OFFICES FLOORS 2-5 | REMAIN RESIDENTIAL, EX. RES.

GALLERY “B” EX. RESIDENTIAL

PUBLIC ENTRANCE / EX. PARKING

GALLERY “A”, EX. CAFE / RESTARAUNT

GALLERY “A” STUDIO, EX. COMMERCE OFFICE

GATHERING PLACE #1, EX. COMMERCE OFFICE

GANTRY “C”

SPRING GROVE N.T.C.

CURATOR EGRESS

ARTIST RESOURCE LIBRARY AND MATERIAL COLLECTION

ARTIST EGRESS ARTIST WORKSPACE PUBLIC EGRESS

GALLERY “A” STUDIO

GALLERY “A” OFFICE

GALLERY “A”

GALLERY “B” STUDIO

GALLERY “B” OFFICE

GALLERY “B”

GALLERY “A” EXHIBIT

COMMUNITY RESOURCE LIBRARY

OPEN, COMMUNITY STUDIO SPACE

GALLERY “B” EXHIBIT

FOR PERSONAL AND GROUP USE

PUBLIC ENTRANCE PUBLIC AND ASSIGNED PARKING

GALLERY “C” EXHIBIT

GALLERY “C” GALLERY “C” STUDIO

GALLERY “C” OFFICE

LARGE SPEAKER SPACE SPEAKER ENTRANCE

TECHNOLOGY RESOURCES / MEDIA

SITE CONTEXT & EXISTING BUILDING SHELL SUMMARY POTENTIAL AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

COMMUNITY MEETING SPACE

PRESENTATION RESOURCES

ARTISTS’ ENTRANCE

GALLERY “C” STUDIO

GALLERY “C” OFFICE

5,000 SQ.FT.

4,500 SQ.FT.

SEMI-PRIVATE MTG. ENTRANCE

ARTISTS’ RESOURCE LIBRARY - 1,200 SQ.FT. ARTISTS’ ENTRANCE

GALLERY “A” STUDIO 4,000 SQ.FT.

SEMI-PRIVATE SPEAKER ENTRANCE

50’

GALLERY “B” PUBLIC ENTRANCE

GATHERING PLACE #1

2,500 SQ.FT.

10,950 SQ.FT. GALLERY “B” STUDIO

3,150 SQ.FT.

1,500 SQ.FT.

CURATOR ENTRANCE

0’

ARTISTS’ ENTRANCE

ARTIST ENTRANCE

CONCEPT DIAGRAMS || ZONING, CIRCULATION, INGRESS/EGRESS, SERVICES, ETC. AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

“A” GALLERY

“A” OFFICE

RESOURCE LIB. PUBLIC EGRESS

25’ 0’

SCHEMATIC FLOOR PLAN AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

PUB. MTG.

“C” GALLERY

“B” GALLERY

“B” OFFICE

PUBLIC EGRESS

P U B LI C E N T R

CE NORTH INTERIOR ELEVATION

WEST INTERIOR ELEVATION

0’

E RY

25’

“A”

SCHEMATIC INTERIOR ELEVATIONS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

R E S O U R C E LI

RY DIGITAL INFO. PANEL

SOUTH INTERIOR ELEVATION

EAST INTERIOR ELEVATION

E RY

25’ 0’

“B

ETIN G

”

SCHEMATIC INTERIOR ELEVATIONS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

INTERIOR PERSPECTIVES AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

PRELIMINARY MATERIAL SELECTIONS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

THANK YOU, NEXT STEPS AND QUESTIONS INCLUDE... HOW MAY THIS SCHEMATIC GUIDE THE FUTURE DESIGN OF A DIGITAL REPRESENTATION OF THESE SPACES ? WHAT MAY DRAW THOSE, WHO MAY NOT BE NATURALLY INCLINED TO ENGAGE WITH THESE SPACES, THROUGH THEM ? ARE THERE SYSTEMS ON A SMALLER SCALE THAT MAY ASSIST IN THE SHARING OF INFORMATION THROUGHOUT THESE SPACES ?

NEXT STEPS & QUESTIONS AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Thank you to the following sources -[1] -- https://www.theguardian.com/artanddesign/2020/may/19/artists-murals-coronavirus-santa-monica [2] -- http://www.merriamwebster.com [3] -- https://www.artswave.org/ [4] -- https://scalar.lehigh.edu/ [5] -- https://www.anne-mariecurtis.com/fashion-pastoral/kai-z-feng [6] -- https://www.trendesignbook.com/ [7] -- https://www.homecrux.com/chinese-dad-builds-safety-pod-for-baby/140578/ [8] -- How to Connect with Nature, Tristan Gooley [9] -- https://www.europeanceo.com [10] -- http://www.cnn.com/2013/10/29/tech/innovation/feel-objects-in-thin-air/index.html [11] -- Northwestern University Engineering [12] -- http://www.kitomunoz.com/ [13] -- https://www.trendwatching.com [14] -- https://www.interviewmagazine.com/fashion/ludovic-de-saint-sernin-reflects-on-the-giddy-joy-of-gender-apathy [15] -- https://www.youtube.com/watch?v=nzqF_gBpS84 [16] -- https://www.prada.com/be/en/pradasphere/fashion-shows/2018/fw-womenswear.html [17] -- https://www.subwaydoodle.com [18] -- https://www.forbes.com [19] -- https://www.nytimes.com/2020/05/16/health/coronavirus-ptsd-medical-workers.html [20] -- https://www.gq.com/story/six-ways-to-fight-screen-fatigue [21] -- https://en.wikipedia.org/wiki/The_School_of_Athens

WORKS CITED AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Thank you to the following sources -[22] -- https://www.artforum.com/news/covid-19-impact-reports-say-13-percent-of-museums-may-never-reopen-83098 [23] -- https://frieze.com/article/how-contemporary-art-can-help-create-culture-remembrance [24] -- Teju Cole, Twitter [25] -- https://frieze.com/article/kara-walker-post-lockdown-world [26] -- https://designopendata.files.wordpress.com/2014/05/sixmemosforthenextmillennium_italocalvino.pdf [27] -- National Register Information System”. National Register of Historic Places. National Park Service. March 13, 2009. [28] -- American Can Company Building, Ohio Historical Society, 2007 [29] -- https://www.niche.com/places-to-live/n/northside-cincinnati-oh/?map [30] -- National Register Information System”. National Register of Historic Places. National Park Service. April 15, 2008. [31] -- https://www.niche.com/places-to-live/n/over-the-rhine-cincinnati-oh/?map [32] -- National Register Information System”. National Register of Historic Places. National Park Service. July 9, 2010. [33] -- Owen, Lorrie K., ed. Dictionary of Ohio Historic Places. Vol. 1. St. Clair Shores: Somerset, 1999. [34] -- https://www.niche.com/places-to-live/n/walnut-hills-cincinnati-oh/?map [35] -- CBC Arts - https://www.youtube.com/watch?v=HF9GtFZk99c [36] -- CBC Arts - https://www.youtube.com/watch?v=OE9nC1b2U1o // http://www.kostiukwilliams.com/ [37] -- https://vmagazine.com/article/everything-you-wanted-to-know-about-juno-birch/ [38] -- http://www.coriemattie.com/ [39] -- https://davidhoule.com/ [40] -- https://www.jaynellehazard.com/about [41] -- https://en.wikipedia.org/wiki/Mireille_Eagan [42] -- https://museumoflondon.academia.edu/BeatriceBehlen

WORKS CITED AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Thank you to the following sources -[43] -- CGTN America - https://www.youtube.com/watch?v=G8F4cBqHOCU [44] -- https://www.nytimes.com/2017/12/03/arts/design/el-museo-del-barrio-patrick-charpenel.html [45] -- UNESCO Report on Museums in 2020 [46] -- https://americanart.si.edu/artwork/cape-cod-morning-10760 [47] -- https://www.theartnewspaper.com/feature/whose-museum-is-it-anyway [48] -- https://ww.northcountrypublicradio.org/news/npr/541268772/what-hiram-maristany-saw-looking-through-the-lens-at-el-barrio [49] -- https://www.britannica.com/art/Renaissance-art [50] -- https://www.forbes.com/sites/cognitiveworld/2020/01/05/2020-will-bring-a-new-renaissance-humanity-over-technology [51] -- https://www.cincinnatiartmuseum.org/about/press-room/museum-closure-statement/ [52] -- http://www.wavepoolgallery.org/our-story [53] -- https://www.bizjournals.com/cincinnati/news/2020/06/12/artswave-ceo-remains-optimistic.html [54] -- https://www.cincymuseum.org/2019/01/07/cincinnati-museum-center-has-reopened/

WORKS CITED AUSTIN G. WOODRUFF || INTD 5001 CAPSTONE || PRESENTATION 4, SCHEMATIC DESIGN

Descriptive, Comparative, and Intellectual Oddments: Art as Collaboration

MUSEUMS HAVE BEEN PARTICULARLY AFFECTED BY THE COVID-19 PANDEMIC. [45]

Austin G. Woodruff | INTD 5002 -- CAPSTONE II

90% of museums have had to close their doors during the crisis.

>10% of museums may never reopen moving forward.

In 2020, there are 95,000 museums, 60% more than in 2012. Only 5% of museums in SIDS (Small Island Developing States) have been able to provide online content. ~ UNESCO, 2020 [45] ~

1510 - 1518 KNOWLTON ST. CINCINNATI, OH 45223

1511 KNOWLTON ST. CINCINNATI, OH 45223

50’ 0’

KNOWLTON STREET

ex. WEST SECTION

FERGUS STREET

NORTHSIDE TRANSIT CENTER 45223

4101 SPRING GROVE AVENUE SPRING GROVE AVENUE

TOUCHING at

SITE STUDY -- “MICRO” SCALE PARK

200’

KNOWLTON SENIOR CENTER

“ an exchange of diverging or opposite views, typically a heated or angry one. “

0’ ARGUMENT

[PARKING]

FERGUS STREET

DISCUSSION

STONE CRAFT, SUPPLY

TOWING LOT

SPRING GROVE AVENUE

DEBATE

RK [PA SCHOTT MEMORIAL

ING

[PARKING] THE GANTRY “B” BUILDING

BLUE ROCK STREET

[PARKING]

]

KNOWLTON STREET

[PA

“NORTHSIDE GRINDING”

0.5

“ to hold the attention of. “

“ an exchange of ideas and opinions. “

DIALOGUE

“ careful thought, typically over a period of time. “

THOUGHT

INTENTION

DEBATE

“ an intention, hope, or idea of doing or recieving something. “

DISCOURSE

“display (a quality or feeling).”

“ acts or periods of investivation and discovery. “

CRITICAL

ENGAGE

“ to obtain the use or services of : “

“ reciprocal giving and receiving. “

“ find (something or someone) unexpectedly or in the course of a search.”

AUSTIN WOODRUFF

“ to provide occupation for : “

“ to part with, give, or transfer in consideration of something received as an equivalent. “

EXPLORATION

MARGIN

COMMUNITY

CULTURE

A PLATFORM FOR SHARING DIFFERENCES AND RELATIONSHIPS. INSTITUTION FOR THOUGHT TRADING.

SCENE

CULTURE ETHNOLOGY

“ separating something into it’s elements.”

“a detailed analysis of subject. “

“ subjects of study concerned with the processes of human life, creativity, and history “

INVESITGATION

ACCESSIBLE INFORMATION, DIRECT INTERACTION

RESEARCH

CUSTOMS

EXCHANGE

DISCOVERY

“ the customs, arts, social institutions, and achievements of a particular nation, people, or other social group. “

“ the study of the characteristics of various people and the differences and relationships between them. “

RELATIONSHIP

PARTNER

“ a number of individuals w/ interest w/ shared losses. “

N.T.C.

ASSIGNMENT 3 : KEY WORD MAPPING The city of Cincinnati has a long, profound interest in the visual, musical, and performative arts. With art distributed across several museums, personal collections, and coming from a number of talented, young makers, Cincinnati has a profound depth of creativity. With fewer individuals, however, selecting to study the fine arts -- and even fewer who have the opportunity to practice their art for a living -- the continued economic insecurity for prospective artists has taken an immense toll on the creative energy of these arts-oriented communities. There is, however, an apparent exclusivity provided to artists with privilege granted to their gender, race, or socioeconomic condition; an important challenge to address in designing a set of systems that may dismantle these disparities and provide contextualized equity for those involved.

50’ 0’

PROGRAM SCHEME . . .

Northside Transit Center, Open as of 2021

The neighborhood, Northside, has a population of 7,467 - according to the 2010 US census - and was originally a small settlement on Shawnee and Myaamia land that has grown from industry failure (1960s) [28].

50’ 0’

Navigating INTD 5001 Opportunity and Creativity.

a DISTANCE

Quoted Definitions from the Merriam-Webster Dictionary [2]

] ING

THE GANTRY “C” BUILDING

LAWN SUPPLY

4101 SPRING GROVE AVENUE

“ a discussion to a conflict, aimed at resolution. “ “ the conversational element of literary or dramatic composition. ”

“ a formal discussion on a particular topic in a public meeting or legislative assembly, in which opposing arguments are put forward. “

ex. WEST EXTERIOR ELEVATION

Commercial Zoning Residential Zoning, Private Property Green Space / Parks

HOW MIGHT WE RESTRUCTURE THE PLATFORM ON WHICH ARTISTS EXCHANGE THOUGHTS, QUESTIONS, AND IDEAS ? WE MAY ... Restructure the platform on which artists exchange thoughts, questions, and ideas BY ... Bringing Artists and Curators together under one roof to maximize the potential of visibility from both residents of Cincinnati and the global market. Providing Artists with the resources and curatorial provisions needed to make, share, and profit from art in the comfort of their own studios. Inviting Patrons to activate the same space occupied by Artists and Curators, stimulating exchange and networking. By housing the making, documentation, curation, and demonstration of arts, important to the story of our lives, in a collaborative environment that provides resources to those with stories to share and voices to be heard, we may be able to restructure this platform.

50’ 0’

LONGITUDINAL SECTION