Design Make Fall 2017

VOLLAND, KANSAS

Fall 2017 | Research, Explorations, Inquiries

Contributing Authors Keegan Amos Nicole Bauknight Evelyne Chokkatu Lucas Downes Jonathan Eden Angel Llanes Tanner Lopez Karl Ndieli Dipen Patel Kaydee Seematter Amber Summers Austin Ungerbuehler Aoran Zhang

1.

2.

INTRO

3.

BACKGROUND

RESEARCH

PURPOSE

3

THE BEGINNINGS

21

OVERVIEW

37

STUDIO OVERVIEW

7

POPULATION CHANGE

23

WHY ARTIST RESIDENCY

39

PAST WORKS

8

THE VOLLAND STORE

25

DEFINING ARTIST RESIDENCY

41

PHASE 1: RESTORATION

29

INTERNATIONAL PRECEDENTS

43

THE STUDIO

10

STUDIO PROCESS

12

NATIONAL PRECEDENTS

54

SEMESTER TIMELINE

14

REGIONAL PRECEDENTS

70

INTERVIEWS

83

4.

SITE ANALYSIS

LOCATION

97

5.

PROGRAMMING

6.

ENGAGEMENTS

7.

PROPOSALS

OVERVIEW

113

OVERVIEW

131

OVERVIEW

169

DEMOGRAPHICS

101

SWOT ANALYSIS

120

LIGHTING STUDIES

133

COMPACT CREATIVITY

171

SITE DIAGRAMS

105

RESIDENCY ELEMENTS

122

BRICK STUDIES

141

THE HOUSE OF BRICK

179

MATERIALITY

108

N. HOUSE CONDITIONS

124

COMMUNITY

155

REFLECTING HISTORY

189

N. HOUSE FINDINGS

159

THE PLATFORM

201

CONCLUSIONS

211

1.

1

PURPOSE

3

STUDIO OVERVIEW

7

PAST WORKS

8

INTRODUCTION

THE STUDIO

10

STUDIO PROCESS

12

SEMESTER TIMELINE

14

VOLLAND, KS | A PLACE FOR ART

2

INTRODUCTION

3

PREFACE

This book serves as a synopsis of the work completed during the Fall Semester of Design Make studio. Academically, the book is intended to fulfill credit requirements of the Project Programming portion of fifth year studio, which directs students in laying a solid foundation for the design project. Externally, the book acts as a way to inform interested parties on the details of the project, as well as its progress. This book contains all the exploration, research, and design that this studio has accumulated throughout the semester, showing how we arrived at our final design proposals. Not only is this book a benefit to people uninvolved in the project, but it benefits our studio too. It reminds us of the history we must respect, past precedent studies we have learned from, and design lessons we have discovered.

The 2017-2018 Design Make studio aims to create a project that expands artist’s opportunity to develop their skills and craft in an environment that will impact them, just as it has impacted us. This endeavor hopes to foster inspiration through the beauty of the Flint Hills and the people that live in its landscape.

While Volland already possesses a unique and embracing community, the creation of a strong residency program will supplement the creative culture that surround the store and it’s people. Lastly, our studio hopes this project will act as one piece of many to come as Volland continues to develop it’s community, culture, and creativity.

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INTRODUCTION

5

ACKNOWLEDGMENTS

We would first like to thank the Department of Architecture at Kansas State University for giving us the opportunity to participate in the Design Make studio while keeping the ongoing relationship between Design Make studio and el dorado inc. The studio would also like to recognize a few key characters who have made the work that has been completed this semester possible. We would like to thank both Patty and Jerry Reece for the focus and design problem for our capstone studio by allowing us to help develop and further their investments. Their passion for Volland has served as a catalyst for design and exploration. Don Hendricks has provided a wealth of knowledge while exploring the houses of Volland.

He has given insight into the possibilities of what we may be able to structurally change and what will need to be addressed moving forward. Additionally,

Hesse McGraw and the artists who were interviewed assisted by giving us the artist perspective regarding an artist residency program. Their individual experiences in a multitude of different programs has allowed the studio to focus on the important aspects of successful artist residencies and how the design might be able to better respond to its intended purposes. Lastly, recognition is due to our professor, David Dowell, and the staff of el dorado inc who have contributed to the conversation and schematic design phase thus far.

These individuals have helped guide our activities, explorations, progress, and development. This book is evidence of the culmination of passion, contribution, and effort of these individuals and our studio.

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6

INTRODUCTION

7

STUDIO INTRODUCTION

THE STUDIO This book serves as a synopsis of the work completed during the Fall Semester of Design Make studio. Academically, the book is intended to fulfill credit requirements of the Project Programming portion of fifth year studio, which directs students in laying a solid foundation for the design project. Externally, the book acts as a way to inform interested parties on the details of the project, as well as its progress. This book contains all the exploration, research, and design that this studio has accumulated throughout the semester, showing how we arrived at our final design proposals. Not only is this book a benefit to people uninvolved in the project, but it benefits our studio too. It reminds us of the history we must respect, past precedent studies we have learned from, and design lessons we have discovered.

2017-2018 PROJECT The 2017-2018 Design Make studio aims to create a project that expands artist’s opportunity to develop their skills and craft in an environment that will impact them, just as it has impacted us. This endeavor hopes to foster inspiration through the beauty of the Flint Hills and the people that live in its landscape. While Volland already possesses a unique and embracing community, the creation of a strong residency program will supplement the creative culture that surround the store and it’s people. Lastly, our studio hopes this project will act as one piece of many to come as Volland continues to develop it’s community, culture, and creativity.

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INTRODUCTION

PAST WORKS

FLINT HILLS POOL TRELLIS Elmdale, Kansas

2014 2013

2015

GIRL SCOUT CAMP DAISY BATH HOUSE Dover, Kansas

JOHNSON COUNTY SUNSET PAVILION Olathe, Kansas

9

PRESTON EDUCATION CENTER Elmdale, Kansas

VOLLAND ART INSTITUTE Volland, Kansas

2016

2018 2017

THE WALDO DUPLEX Kansas City, Missouri

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INTRODUCTION

THE 2017-18 DESIGN MAKE STUDIO

AMBER SUMMERS

AUSTIN UNGERBUEHLER

Financial Coordinator, Design+Make

Co-Graphics Coordinator, Design+Make

JONATHAN EDEN Project Designer, Design+Make

DIPEN PATEL

KARL NDIELI

Marketing Director, Design+Make

Co-Graphics Coordinator, Design+Make

Social Media Director, Design+Make

AORAN ZHANG

EVELYNE CHOKKAT TU

Project Designer, Design+Make

Project Designer, Design+Make

Project Designer, Design+Make

ANGEL LLANES

KAYDEE SEEMAT TER

11

KEEGAN AMOS Fabrication Director, Design+Make

TANNER LOPEZ

DAVID DOWELL

Financial Director, Design+Make

Partner, el dorado inc

LUCAS DOWNES

MEGAN ELZINGA

TED ARENDES

Project Designer, Design+Make

Project Coordinator, APDesign

Associate, el dorado inc

NICOLE BAUKNIGHT

RANDI JENNER

HESSE MCGRAW

Communications Director, Design+Make

Project Coordinator, APDesign

Partner, el dorado inc

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INTRODUCTION

Research

Feedback

Design

13

THE STUDIO CYCLE

Design is an iterative process that requires trial and error as well as critiques and adjustments. This studio has been no different, but it’s this repetitive process that produces great architecture. It begins with research, which informs design. After investigating solutions, the product is presented and critiqued. Once feedback is given, the process begins again, incrementally improving the project outcome.

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INTRODUCTION

SEMESTER TIMELINE Research Design Feedback

Studio begins to study artist residencies in order to understand what makes an effective residency program.

The Studio visits Volland for the first time, introducing us to the store, the houses, and other site elements.

Studio visits Kansas City to be introduced to the Mattie Rhodes Organization and present tuning devices at el dorado inc.

PRECEDENT RESEARCH

VOLLAND TOUR

TUNING DEVICE PRESENTATIONS

AUGUST 23

SEPTEMBER 1

SEPTEMBER 8

August 21

August 30

SEPTEMBER 3

SEPTEMBER 11

FALL SEMESTER START

PRECEDENT PRESENTATION

TUNING DEVICES

TUNING DEVICE REFINEMENT

First day of class, studio and project introductions are made.

Studio presents precedents to David Dowell at KSU.

The studio is introduced to tuning devices as a

The studio is introduced to tuning devices as a method of understanding Volland.

method of understanding Volland.

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Studio begins to collect site data and document existing conditions.

Project is broken into three categories in order to gain a better understanding of the project requirements.

Accurate existing measurements are taken and modeled.

VOLLAND SITE ANALYSIS & DOCUMENTATION

PROGRAM, PLACE, & PEOPLE

MEASUREMENTS

SEPTEMBER 15

SEPTEMBER 22

SEPTEMBER 22

SEPTEMBER 18

SEPTEMBER 29

October 15

CONDUCTED INTERVIEWS

TUNING DEVICE PRESENTATIONS

PROGRAM TEST FITTING

Studio interviews key constituents involved in the project.

Tuning devices are evaluated and groups are formed according to similarities and goals.

Studio evaluates possible program with existing houses.

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INTRODUCTION

Studio sits down for dinner with the Volland board and light study tuning device is presented.

Study of brick stacking possibilities begins and the board decides to move forward with the north house.

Four groups established to explore different possibilities to the north house

LIGHT STUDY

BRICK STUDIES

4 PROPOSAL TEAMS

October 26

October 30

November 13

October 27

November 5

VOLLAND BOARD PRESENTATION

SELECTIVE DEMOLITION & EXTENSIVE RESEARCH

Conceptual proposals and site analysis are presented to the Volland board.

Studio begins exploratory demolition and study of conditions.

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Proposals are individually critiqued by David Dowell at Kansas State University

Proposals presented to Patty Reece to decide which design will move forward.

DESK CRITS @ KSU

SCHEME SELECTION

November 29

December 8

November 17

December 6

December 26

DESIGN CHARRETTE

FOUR HOUSE PROPOSALS PRESENTED

DESIGN DEVELOPMENT & CONSTRUCTION DOCUMENTS

Studio, artists, and el dorado inc conduct design charrette to further develop designs

Groups present each proposal to David Dowell in Kansas City at el dorado inc.

Design will be progressed and construction documents will begin at el dorado inc in Kansas City.

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19

BACKGROUND

THE BEGINNINGS

21

POPULATION CHANGE

23

THE VOLLAND STORE

25

RESTORATION SUCCESS

29

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20

RESEARCH

21

RAILWAY BEGINNINGS

The Chicago Rock Island & Pacific Railway, served the town of Volland located along Mill Creek in the Washington Township of Wabaunsee County, Kansas. In addition to creating a depot, which provided passenger and freight service, the railroad also created a railhead, providing a shipping point for cattle being moved in and out of the Flint Hills pastures. The Rock Island depot also was the home of the Western Union telegraph station which first provided nationwide communication for the town. Telegraph lines ran along the railroad tracks when the telegraph office was established in 1887. Many of the railroad maintenance workers and the section gang members lived along the tracks in Volland in small houses and makeshift barracks buildings crafted from old boxcars. The depot was a popular spot for men to gather, waiting for trains to bring freight and cattle into town. The railroad’s presence was strong in Volland during

the first half of the 20th century. After diesel-powered electrically driven locomotives became standard on the Rock Island line, it was no longer necessary for every passing train to stop to fill with water. So, a pole was erected along the tracks to which outgoing mail bags were attached, allowing mail trains to snatch the bag as they passed. The inbound mail bag was thrown from the train onto the railroad right-of-way. For the first 75 years of Volland’s life, the Rock Island Railway played a major role in the growth and subsistence of the Flint Hills town. An artery that fed the town of Volland, Kansas eventually severed as technology and time advanced, proving to be the end of Volland as it was in the mid 20th century.

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RESEARCH

Pictures by: Otto Kratzer

Pictures provided by: The Volland Store

23

POPULATION

Volland is one of the few small towns within Wabaunsee County, Kansas; it is located nearby the community of Alma which has a population of 802.

The population of Volland started as 26 people in 1910. However, in 1913, the Volland Store drew in residents and the town grew greatly. The store became a lifeline for the town as ranchers used Volland as a gathering place. The population of the Washington Township (area surrounding Volland) peaked at about 400 people. The Kratzer family was forced the close the store in 1970, due to Otto Kratzer’s death, and the town experienced a decline in population.

However, over a hundred years after the store was built, the town began renovating the dilapidated store and celebrated its history and the spirit and charm of Otto was revitalized thanks to Patty and Jerry Reece.

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RESEARCH

Picture by: Dave Leiker

Pictures courtesy of: The Volland Store

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THE VOLLAND STORE Volland, Kansas was founded in the late 1800’s when Rock Island Railroad built a depot at the town’s southern edge.

On October 18, 1913 Kratzer Brothers Mercantile opened in Volland, built by brothers Otto and Bill. Filled with merchandise and serving as a post office with two telephone lines, the store quickly became a cultural hub for the surrounding community.

On Thursday evenings couples came to shop and stayed to visit. Sunday afternoons families came to picnic on the west lawn under the trees. The teacher from the nearby one room school stopped in almost every afternoon, and children walked to the store for penny candy. The Volland Store was a centerpiece of the community until the early 1970s when it closed after the death of its storekeeper, Otto Kratzer. But the memories remain strong, and the building is still known as The Volland Store. After the store closed in 1971, the building sat empty for 30 years.

Source: El Dorado Inc. Picture by: Otto Kratzer

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RESEARCH

Old Store Then & Now Photo by: Tom Parish

Community Then & Now Photo by: Tom Parish

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Depot Then & Now Photo by: Tom Parish VOLLAND, KS | A PLACE FOR ART

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RESEARCH

Pictures courtesy of: The Volland Store

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VOLLAND STORE RENOVATION

Source: El Dorado Inc.

In 2013, Patty and Jerry Reece purchased the building, and decided to turn it into an art gallery with a small living space serving as an artist’s retreat. While the roof, second and third floors had collapsed, the masonry shell was left structurally intact. The design team laid out a floor plan similar to the original: a large, open space at the front for events and exhibitions were the general store was, and a second-story living space at the back, above a catering kitchen and restrooms. The majority of the second story was not rebuilt, leaving the gallery open, flexible and filled with light. The design solution was simple, relying on clean forms and honoring the integrity of original materials and context of the surrounding tallgrass prairie.

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RESEARCH

Pictures courtesy of: The Volland Store

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VOLLAND STORE EVENTS The Volland Store is not only an art gallery, but it is a place for the community to gather and share memories, experiences, and each other. Being an intrinsic piece of Volland’s history, the store is the perfect place for people to gather. Whether patrons have been in the area for decades, or whether they stumbled upon Volland; these gatherings are what gives Volland it’s charm and appeal. Countless events have been held at the store, and this residency aims to offer many more events to bring the community together in order to continue the wholesome culture in Volland.

Pictures courtesy of: The Volland Store

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RESEARCH

Pictures courtesy of: The Volland Store

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VOLLAND STORE ART EXHIBITIONS The Volland Store has been home to a multitude of artists’ work in the short time it has been established as a gallery. The subject matter has ranged from Kansas Cellars to Vintage American Quilts. Regardless of the medium or style, the community is drawn in by the art shown at the store. This residency will produce countless new exhibitions that will continue to impact the local community.

Pictures courtesy of: The Volland Store

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35

RESEARCH

OVERVIEW

37

WHY AN ARTIST RESIDENCY

39

DEFINING ARTIST RESIDENCY

41

INTERNATIONAL PRECEDENTS

43

NATIONAL PRECEDENTS

54

REGIONAL PRECEDENTS

70

INTERVIEWS

83

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RESEARCH

37

RESEARCH

Research is arguably the most important aspect of the work flow process. Attempting an intervention of any kind without obtaining a solid foundation of a place inevitably results in a product that does not belong in its surroundings. Investigation into the history of a place tells its story, adding context and understanding to what makes a place unique. History also informs us on mistakes made in the past, and helps us to avoid repeating any such events. Knowledge of the past is vital to shaping the future.

Becoming familiar with a project’s surroundings, both immediate and extended, is a common task for architectural designers; however, this commonality does not reduce it’s importance. Site analysis reveals relationships and conditions that otherwise could not be observed. It breaks down an area into key elements, allowing designers to improve, replace, hide, or expose them. This analysis

reveals opportunities to exploit, as well as challenges to overcome. All of these facts and characteristics make up a place’s physicality, and they are all things to respect and consider.

Gaining insight through interviews and personal interaction can be extremely beneficial to design.

Interviews bring an outside perspective to the design, as well as insight into an unknown field. Conversations with relevant people can improve the understanding of a place as it sits in the present. All these elements contribute to the design process and, ultimately, the final product. Effective design cannot happen without this important step in the work flow process.

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RESEARCH

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Finding the proper fit

Photo courtesy of the Volland Store

There are many opportunities to further engage the community in Volland, Kansas. There are a multitude of factors that support the integration of an artist residency. The first is that the Volland Store provides the connection and basis for art and community.

Artists that come to the residency will be supported and encouraged by the Volland Store and will be entering a community that supports and welcomes art and art exploration. The Volland Store provides information and inspiration to incoming artists which serves as the larger institution to govern the artist residency.

Secondly, the location of Volland is the ideal location for such a residency.

A majority of artist residencies are set in rural communities and are still in high demand by a variety of artist backgrounds. Volland has the attractive attributes of being surrounded by prairie landscape, being set in the infamous Flint Hills, providing the

isolation, and the solitude that artists desire with the open space for creativity. Our analysis shows that the components for sustaining a successful artist residency are located within and around Volland, making it an ideal location for artists to come and explore themselves further through their art in the Volland artist residency program.

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GROWING SUCCESS OF ARTIST RESIDENCY PROGRAMS

OTHER SPECIALTY

URBAN

COMMUNITY ENGAGEMENT

RURAL

90% have public programs that engage their local communities

60% are in rural areas and small towns, while 40% are in urban areas

ARTISTS NATIONALLY

ARTISTS INTERNATIONALLY

More than 30,000 artists are provided residencies each year (~10,000 in the U.S.)

Source: www.artistcommunities.org

MULTIDISCIPLINARY

70% are multidisciplinary, serving visual artists, writers, composers, filmmakers, choreographers, and others

NATIONAL PROGRAMS

INTERNATIONAL PROGRAMS

There is an estimated 500 artists communities in the US and more than 1,500 worldwide

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WHAT IS AN ARTIST RESIDENCY? An artist residency is a program that allows artists to experience a new location and environment to foster his or her form of art. It is an opportunity for new influences and inspiration to infiltrate the artist’s work. Many artists seek and apply to programs that are different from their normal studio or creative space. The draw is the challenge of creating with the resources that are provided and the escape from the every-day life they are used to living.

Artist Residency in St.John’s, Newfoundland

Some support one artistic genre while most are interdisciplinary, welcoming visual artists, writers, composers, choreographers, scholars and other creative individuals. There are programs that are active centers for public programs and others that offer solitude and retreat. Many provide room and board as a home-away-fromhome; others offer not a place to live, but a community for local artists in which to work and be supported in the creation of new art.

Artists’ residencies (also called artists’ communities, colonies, retreats, workspaces, and studio collectives) provide dedicated time and space for creative work. Beyond this core value, these creative communities are a diverse group, and provide artists of all disciplines with many different styles and models of support. Residencies can be found in urban or rural areas, serving one artist at a time or multiple.

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RESEARCH NEW FOUNDLAND, CANADA

TONDELA, PORTUGAL

SINTHIAN, SENEGAL

BAHIA, BRAZIL

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INTERNATIONAL PRECEDENTS

HAKODATE, JAPAN

International artist residencies are popular for their content, atmosphere, location and unique perspectives that they bring. There are varying experiences and qualities combined with a unique location and potential for international connections.

These programs provide artists with rare options and incentives to develop themselves and their art with new outside perspectives. These selected international examples were beneficial for our research as they provided an understanding of differing spaces, programs and attributes for us to learn from.

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RESEARCH

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ARTIST RESIDENCY IN SENEGAL

Program Title The Artist Residency in Senegal

Location Sinthian, Senegal

Interviewers Keegan Amos

Summary Located in the rural village of Sinthian in south-eastern Senegal, this cultural center and artist residency offers artists a diverse range of programs that provide the people of Sinthain opportunities to discover new forms of creativity and cultivate skills. The community center and artist residency functions as a hub for markets, education, performance, and gathering for the local community and artists in residence. The center and residency was constructed using only local materials such as bamboo, brick and thatch. The inverted pitched roof incorporates an innovative design using locally grown and harvested materials that provided a low cost and sustainable design. The thatched roof is capable of collecting 40% of the village’s domestic water usage during rainfall . The retained rainwater is siphoned into a reservoir where it is readily available for the needs of the community. It is also recycled for agricultural projects during Senegal’s eight month dry season. By utilizing the local materials for this project it provided a cultural and social extension for the people of Sinthian. The design is cost effective and easily maintained due to the obtainable materials located in the surrounding environment. The idea was to retreat from vernacular architecture to 21st century engineering while maintaining the use of local materials that the community is familiar with to create a piece of architecture that speaks to its local occupants.

All photos by Iwan Baan

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RESEARCH

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OLD RUSSIAN CONSULATE

Program Title The Artist Residency in Hakodate

Location Hakodate, Japan

Interviewers Austin Ungerbuehler

Summary The Old Russian Consulate is a charming historical building located on the Mount Hakodate slopes. The project aims to enhance its potentials as a first class destination in the city. Surrounded by temples and at the edge of the Mount’s forest, its garden is a generous retreat and meeting place for artists inspired by the stupendous view toward the city bay. On the model of the Villa Medici in Rome, the Consulate will host an International Artist Residency in Hakodate. Artists will be hosted for a short to mid-term stay while creating pieces. The stay is concluded with the display of their work in the new exhibition rooms. Exchange between international and local designers is organized into workshops with top end equipment. A sharp, glass facade, reflecting the bay landscape and the consulate’s garden, creates a strong architectural gesture. The private artist residency program is dispatched on a strip along the south retaining wall. The five artists’ studios, made of solid wood panels, are composed of a working room with a terrace opening through the garden and a living room on tatami at mezzanine level oriented toward the south. Two small baths for artist concentration and wellbeing are embedded into the garden’s topography. Workshop skylights and the street shop complete the plan. A café conceived as a translucent winter garden offers a generous deck for events above the Hakodate famous scenery.

All photos by Lucien Puech

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FOGO ISLAND

Program Title Fogo Island Arts

Location New Foundland, Canada

Interviewers Karl Ndieli

Summary Fogo Island is an elemental place of subtle and abiding beauty, a place where time is not obliterated by the circulation of everything. Its people are inextricably bound to this place where they belong. They are a culturally rich and resourceful people who live in close connection with each other and with their people who have come before them. The Shorefast Foundation works with the people of Fogo Island to find ways to preserve this special place and this special culture. The five structures of the Fogo Island Arts represent one of the methods by which the culture of the Newfoundland natives are preserved and sustained. Designed by Saunders Architecture for the Shorefast Foundation, the project is the basis for an artist residency program that started in 2010. The studios are built in remote settings on Fogo Island in conjunction with traditional Newfoundland salt-box homes in various communities. The idea behind the forms of the various studios was to create a bold geometric structure to starkly contrast, yet lay silently in the strikingly harsh, natural environment. The studios are all oriented towards the sea and elevated above the ground to provide the resident artist with a feeling of being unobstructed and unbound. The materials and construction methods chosen reflect that of the local architecture of Fogo Island. The environment will leave its marks on the studios by weathering the structures over time.

All photos by Fogo Island Arts

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INSTITUTO SACATAR

Program Title Instituto Sacatar

Location Bahia, Brazil

Interviewers Amber Summers

Summary Through its Instituto Sacatar, centered on the Island of Itaparica in Bahia, Brazil, Sacatar supports residency fellowships for creative individuals of all nationalities and ages working within and across their respective creative disciplines. During their two-month residency period, Sacatar Fellows are encouraged and supported to utilize their creative practice to engage with the local Bahian communities in Salvador and Itaparica, resulting in rich intercultural collaborative exchanges that are shared through public programs locally and across the world. Since its inception in 2001, the Instituto Sacatar has hosted more than 300 residency Fellows from over 60 countries and has been involved with more than 400 community-based partnership programs and exchanges in Bahia and abroad. Sacatar is generously supported by public and private foundations, corporations, governmental agencies, and individuals like you. We welcome your support of and engagement with the ideals found in the practice of creative inter-cultural exchange and promoted through the Sacatar Foundation and its programs. Bahia embodies a dynamic, ever-evolving, and endlessly inventive culture inextricably linked to its natural environment, where indigenous, African, and European traditions and histories combine and cross-pollinate in rich complexity.

All photos by Instituto Sacatar

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ARTERRA ARTISTIC RESIDENCY

Program Title Arterra Artistic Residency

Location Tondela, Protugal

Interviewers Amber Summers

Summary This space for creativity and artistic training comes from a need for physical spaces where artists can meet and reflect on the art processes, and develop them in an intensive and focused way. The ARTERRA is a private initiative working since 2010. The artists find in ARTERRA a house with a series of facilities, and a “creation yard”, where there are several spaces and studios to create and develop an artistic work. They seek to provide artists and projects all the conditions for the development of the creative process. The ARTERRA has physical and technical conditions to be realized by several outbreaks of artwork, from design exhibitions, theatrical creation, studio, workshops and training. This program facilitates the communication with nature , to foster a dynamic group strictly for work in residence in a rural environment. ARTERRA’s goals include: to diversify and decentralize the cultural offer, and to develop training activities and contributing to the qualifications for the arts. This space is intended for professionals from different artistic areas, groups or independent creators, Portuguese and international artists. Artists can also receive exceptional training projects for the general public and for children.

All photos by Artist Communities

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NATIONAL PRECEDENTS

Artist residence programs are growing on a large scale and there are many more new programs popping up across the nation weekly. Some provide artists with the solitude and natural landscapes that stimulate creativity while providing them with space to explore and create. Rural and small town artist residencies are in high demand with growing interest on an international scale while more urban based programs focus on connection within a larger artist community. Every residency is unique in its charge and founding purpose and each provides an individual approach to the formation and social integration of these communities.

HOUSTON, TEXAS

55

BELLAIRE, MICHIGAN

MADISON, MAINE

PETERBOROUGH, NEW HAMPSHIRE

SHANGHAI, WEST VIRGINIA

ATLANTA, GEORGIA

CAPTIVA, FLORIDA

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FOOD FOR THOUGHT

Program Title Rauschenberg Artist Residence

Location Captiva, Florida

Interviewers Evelyne Chokkattu

Summary Part of the enticement of a rural artist residency is its disconnect from the rest of the world. In order to sustain this separation from the urban environment the artist program needs to seek means of standing alone as a community. At the Rauschenberg Artist Residency, the Chef-in-Residence Program (CIR) was created in January 2016 partly in response to the resident artists’ appeal for fresh, locally-grown Florida food, and to prioritize the Foundation’s emphasis on environmental conservation and stewardship. The position as a CIR is for one year, beginning January. The chef prepares meals for the artists in residence, while continuing to implement and maintain sustainable practices and has the opportunity to pursue personal culinary interests and research.

This inaugural program aligns with the Foundation’s focus on environmental conservation and stewardship, stemming from Robert Rauschenberg’s long-standing concern for the safekeeping of the environment, the notion of individual responsibility, as well as a love of food and cooking. The selected candidate must have at least five years of experience working in a commercial kitchen, with a minimum of two years in management. Volland could consider expanding and utilizing the existing vegetable garden to its full potential and broadening the residency program to include culinary arts.

All photos by Rauschenberg Artist Residence

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CONNECTION TO NATURE

Program Title Crosshatch Center

Location Bellaire, Michigan

Interviewers Jonathan Eden

Summary Offered residency programs at the Crosshatch Center for Art & Ecology include performing arts, visual arts, design, writing, and the Edible Trails Project. It is the center’s goal to build strong communities through the intersections of art, farming, ecology and economy. Imagine our public spaces full of plants that produce an abundance of fresh, delicious food each year, edible forest landscapes of fruit and nut trees, berry bushes, and more. Imagine kids, adults, local businesses, and organizations all working and learning together to repair the ecosystem while increasing access to local, sustainable food. The Edible Trails Project exists to facilitate this transformation. Preservation Station, an enclosed cargo trailer that unpacks into a high-efficiency, three-season food preservation kitchen and workshop space is able to travel to different locations and venues. The trailer can be pulled onto farms, community gardens, farm markets or your own backyard for canning classes. Preservation Station is currently outfitted for hot water bath canning of high acid foods, as well as pickling, fermenting and jellying. In the future, the trailer will include equipment for pressure canning, meat curing, drying, freezing, smoking and other traditional preservation techniques. Artists who are selected for this residency program are encouraged to participate and learn in these interactive events to increase their knowledge on the importance of sustainability and ecology.

All photos by Crosshatch Center

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CONNECTION TO SOCIETY

Program Title Macdowell Colony

Location Peterborough, New Hampshire

Interviewers Aoran Zhang

Summary MacDowell Colony is one of the oldest artist residencies in America, and it is located at Peterborough, New Hampshire, with a pleasant view of Mount Monadnock to the west. The mission of The MacDowell Colony is to nurture the arts by offering creative individuals of the highest talent an inspiring environment in which they can produce enduring works of the imagination. MacDowell is well connected with the society in a way that people can always learn about events and activities through multiple forms of social media. This is significant to Volland since it is located in an isolated place and since it will be a new program there will be a need to get the word out for more artists to become interested. As for the colony, artists are getting information from social networks, like Twitter, Facebook, Vimeo. These platforms are continuously updated by showing the latest activities and highlights of the artists’ lives there. Updating is necessary so that it doesn’t feel inactive to the public. Their website is well organized, and audiences can easily find everything they need on the website. Also, their web page on Alliance of Artist Communities is easy to find which helps them promote their brand.

Photo on Left by: Paul Rocheleau Photo on Top provided by MacDowell Colony

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SKOWHEGAN SCHOOL

Program Title Skowhegan School of Painting & Sculpture

Location Madison, Maine

Interviewers Nicole Bauknight

Summary The Skowhegan School was established in 1946 by four artists that desired to create a space for art development and cross collaboration between art fields. The school has since become a haven for artists of diverse medias to come and develop his or her art while receiving feedback from professionals and their peers. The summer residency hosts 65 students from diverse backgrounds for nine weeks. The residency sits on 350 acres of historic farm land with a nearby lake and woods to enjoy. Each artist gets their own studio space with access to multiple open studio creation spaces and a well stocked library. During their residency, established artists come for one week visits to give individual critiques as well as a lecture aimed at furthering the residency artists education. The program is designed around fostering peer collaboration in order to advance the artists’ individual creations. Artists come without a preconceived program and leave with works of art that are stronger because they were created in community. At the end of the residency the artists get the opportunity to showcase the art that was made during the residency in downtown New York. This is an invaluable opportunity for growing artists to establish themselves as professionals and become recognized by well known art figures.

All photos by Skowhegan School

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NORTH MOUNTAIN ARTIST RESIDENCY

Program Title North Mountain Residency

Location Shanghai, West Virginia

Interviewers Angel Llanes

Summary North Mountain is located on 400 mountainous acres of apple orchards and woodlands in the Eastern Panhandle area of West Virginia, near the small town of Shanghai. From the middle of the 19th century until the beginning of the 21st, the property was one of many active apple farms in the region. Now dormant and unkept, the apple trees of the orchards primarily feed wildlife, along with the occasional passing resident. Walking trails on the property lead to old orchards, a pond, and forests of oaks, maples, and sycamores. In addition to the grounds, the residency maintains a library with collections of literature and reference; graphic arts, typography, print making, and photography; architecture and urban planning; and ecology and Appalachian culture.

The residency is focused on trying to increase equity and accessibility in the arts for those of different backgrounds, perspectives, and practices. This goal is achieved by privileging certain types of applications through a jury and curatorial process. They are also strengthening their connections within the cultures and ecologies local to West Virginia’s Eastern Panhandle. They highly encourage their residents to focus on the geography, culture, and ecology of the site. In doing so they also work in collaboration with neighboring organizations to curate, direct, and facilitate research at the residency. They currently provide residents and staff with comfortable living and working space, access to material resources, research assistance, documentation, and opportunities to publicly share their work.

All photos by North Mountain Residency

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CREATIVE COMMUNITY

Program Title The Creative Community Housing Project

Location Atlanta, Georgia

Interviewers Amber Summers

Summary The Creative Community Housing Project’s mission is to enrich and strengthen local communities through quality arts-based education and outreach, while celebrating and elevating the city’s visual and performing artists. The community functions as an open network where artists interact daily, collaborate, and build diverse connections. Each resident artist also receives customized professional development workshops and teacher training sessions. This platform not only enables artists to create powerful pieces, but also to become advocates of social change and educational leaders in their respected fields. In exchange for housing and training, artists give back to the local community through Community Arts Programs. The Creative Community Housing Project is a vital force in Atlanta’s arts community. TCCHP strengthens and unites arts, education, community, and commerce by creating an arts ecosystem that empowers eager citizens to recognize Atlanta’s potential. TCCHP patrons donate subsidized housing and free studio space to support the artists as they serve in Atlanta neighborhoods to generate vibrant and fertile communities poised for economic growth and development. They encourage the learning and teaching among peers who specialize in different forms of expression. Upon acceptance into the program there is opportunity for the artists to join a mentorship program. This links an emerging artist with a more established local artist to share knowledge and to create the most powerful collection as possible.

All photos by Creative Community Project

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PROJECT ROW HOUSES

Program Title Project Row House

Location Houston, Texas

Interviewers Lucas Downes

Summary Project Row House (PRH) is an artist residency rooted in the Third Ward in Houston. Founded by Rick Lowe and a group of colleagues and friends, it is a residency immersed in the culture and history of the neighborhood. It is that exact community that directly influences the work produced by the artist residency. Though the program was only founded in 1993, it is nestled in one of the oldest African American communities in the city affording the residency a historically rich neighborhood. PRH holds two biannual events each year, one starting in March and the other in October, which they call Rounds. The Rounds last 4 months and are held in a series of seven Row Houses that are opened up to the public for viewing. These Rounds help connect the community and keep the town’s history thriving. Round 45 demonstrated the historical focus of the Residency. This Round consisted of seven different artists deeply rooted in the artist community in Houston. The artists produced work acting as a narrative for the culture, place and identity of African Americans in the neighborhood. Each of these 46 Rounds are all different in artist, media, and delivery method, but they are all intended to help the area’s culture and history continue to flourish.

All photos by Project Row House

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RESEARCH Marquette, Nebraska

Volland, Kansas

Matfield Green, Kansas

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Kansas City, Missouri

REGIONAL PRECEDENTS

Kansas City, Kansas

There are several established local artist residencies surrounding our project site.

Researching them was imperative to gaining knowledge on how these residencies could influence our project directly and indirectly.

Since every program is distinct in its goals and attributes, these residencies are located anywhere and everywhere. The strong focus of each new program is to define what makes them special whether this be the location, operation, or atmosphere. They each flourish in their own characteristics and will draw attention based on its most unique aspects.

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THE ART FARM

Program Title The Art Farm

Location Marquette, Nebraska

Interviewers Tanner Lopez

Summary Art Farm is a compilation of 17 buildings that were salvaged from nearby farms. Central to Art Farm is a 12,000 SF barn complex. A project lasting seven years has joined them into one unit. The barns range history and character which tells a visual story of the owner’s attempt to adapt with the changing times. These structures follow the tradition of vernacular architecture in the region based on programmatic observation and function.

Barn builders adapted a plan and a shape from a general concept and then individually modified it to serve their needs. Using this same practice as a model, the work at Art Farm includes restoring, repairing, and converting barns for living and studio space. Art Farm is located in Marquette, Nebraska, 80 miles west of Lincoln, Nebraska. The nearest shopping centers are Aurora (12 miles south) and Central City (12 miles north). The population of Marquette is around 230 people. The landscape varies from flat, to gentle rolling hills, to shallow wetland basins mainly hidden by cornfields. Two miles north of Art Farm is the Platte River where the flat landscape changes into clay bluffs. There is not much elevation change for miles allowing one to look up and experience the basic forces of nature.

All photos by The Art Farm

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PRAIRIESIDE COTTAGE & OUTPOST

Program Title Prairieside Outpost Artist Program

Location Matfield Green, Kansas

Interviewers Kaydee Seematter

Summary The Prairieside Outpost Artist Program is located near Matfield Green, Kansas, which resides in the heart of the rolling Flint Hills of Kansas where it serves as an artist retreat. The Outpost portion of the program includes a studio that is located adjacent to the house where visiting artists have a space to create. The cottage and outpost space are surrounded by eight acres of land, which allows for the visiting artists who typically live in an urbanized environment to be able to isolate themselves into the beauty of the surrounding landscapes. Like the Volland Store, Prairieside Outpost Artist Program works in conjunction with the Tallgrass Artist Residency to provide its invited artists with an opportunity for connection within the Great Plains of the Midwest. Prairieside Cottage + Outpost invites in artists of varying mediums and allows them to have a peaceful, nature oriented experience. The Tallgrass Residency Program seeks to create connection and conversation across the Great Plains by inviting applicants who currently live in a place that is ecologically considered prairie even though they might be urbanized. Since there is only a fraction of the unique tallgrass ecosystem remaining, the Tallgrass Residency Program helps to educate through the impacts that it has on the artists, their works, and getting presented to surrounding communities.

All photos by Prairieside Cottage

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LAWRENCE ART CENTER

Program Title Lawrence Art Center

Location Lawrence, Kansas

Interviewers Amber Summers

Summary The Lawrence Arts Center offers a 12-month artist residency program to select artists in ceramics and print making. They also offer shorter term project based residencies throughout the year. The visiting and resident artists program at the Lawrence Arts Center offers community members a unique opportunity to study visual arts with practitioners of varied backgrounds and diverse skills. New artists are invited each year to become a part of the Lawrence community and share their professional skills with Lawrence Arts Center students and artists. These 12-month programs are designed to provide a creative and supportive environment in which artists may immerse themselves in creating new work and expanding their own understanding of their medium and other media available at the Arts Center. The residencies are a multi-faceted experience including teaching, community outreach, interaction with other artists, and studio care, and culminate in an exhibition of new work. The Lawrence Arts Center, built in 2002 and located in downtown Lawrence, Kansas has 40,000 square feet of programming spaces. The Center’s mission is to enrich individuals and the community by nurturing a love of the arts through education, exploration, and expression. The facility consists of five exhibition galleries, a 300 seat theatre, two dance studios, two arts-based preschool classrooms, seven visual arts studios. The Center, sustained by a thriving membership program, offers programs to the public and all visitors to Lawrence, attracting 100,000 people annually.

All photos by Lawrence Art Center

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KANSAS CITY ARTIST COALITION

Program Title The Kansas City Artist Coalition

Location Kansas City, Kansas

Interviewers Amber Summers

Summary The Kansas City Artists Coalition (KCAC), an artist-centered, artist-run alternative space, brings artists from around the world together in order to build friendships and improve inter-cultural understanding. Artists are provided with a supportive environment, time, and a large studio space to create art that others in the Kansas City community will be able to view and/or learn. The program seeks to enrich the resident artists’ experiences by encouraging travel and the importance of inter-cultural connections, promoting the value of exchanging ideas among art-producing peers. The program seeks applications from dedicated artists who create visual artwork (of any medium) of exceptional quality, and whose work and career are at a level to benefit from an international exchange with peers. The program is especially geared toward artists from abroad who have never before worked in the United States. This program will provide time and space for at least four weeks of residency (and up to 3 months of residency).

International visual artists will receive priority for the residency.

All photos by KC Artist Coalition

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CHARLOTTE STREET FOUNDATION

Program Title Charlotte Street Foundation

Location Kansas City, Missouri

Interviewers Amber Summers

Summary Charlotte Street’s Studio Residency Program advances the organization’s vision of Kansas City as a dynamic home for artists in various career stages and disciplines to thrive, while serving as natural catalysts for an exciting, innovative, and culturally rich city. The residency provides free studio work and rehearsal space, and related support that enables exceptional artists of all disciplines to advance their art practices and artistic careers. Over the past fourteen years, Charlotte Street Foundation’s Studio Residency Program has supported the development of hundreds of artists. Artists accepted into the one year residency term have access to the studios beginning each September. The residency studios are housed in a re-purposed corporate office space on the 6th floor in Town Pavilion, which is located in downtown Kansas City, Missouri. The artist studios include dedicated spaces for visual artists, writers, and performing artists (composers/musicians, choreographers/dancers, theatre artists). Each resident has constant access throughout the term. The program aims to support creative production, artistic experimentation and collaboration, professional development, and close connection and exchange among the multi-disciplinary community of participating artists. Components include annual open studios, exhibition and performance opportunities at Charlotte Street’s other venues, monthly all-resident group meetings with guest presentations, studio visits, and mentorships.

All photos by Charlotte Foundation

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ARTIST & RESIDENCY INTERVIEWS

Pictured Left: Works from Vintage American Quilts

Collection by Elizabeth Wilson Photos provided by: The Volland Store

In order to form a creative environment that influences artists, it is vital to gain an understanding of the way they work, think, and see the world around them. Multiple artists have been interviewed and given insight into their lives and work. From this information, a more interesting, impactful, and effective residency can be designed. We reached out to curators, program administrators, and a variety of artists to garner this valuable insight.

Every artist residency allows for the free expression and creation of artwork in it’s own unique way.

Expectations and requirements vary greatly; however, it is the relationship between the resident and the host that is often an important aspect of a residency program. They provide a time of reflection, research, presentation, production and immersion into a new culture while

often allowing an individual to explore their practice within a new flourishing community.

Some residency programs are incorporated within larger institutions such as museums, universities, galleries, studio spaces, theaters, artist-run spaces, municipalities, governmental offices, and even festivals. Many others are independently operated entities that provide their own interpretation of a residency program.

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PATTY REECE The Volland Store

Title

Founder of The Volland Store

Occupation

Artist, Teacher, Philanthropist

Other Accomplishments Founder & Manager of Warnoll House Retail Store Chairman of Harris-Kearney House Board Exhibit Director and Chairman of Society for Contemporary Photography Board on Board of Symphony in the Flint Hills

Interviewers

Summary

Nicole Bauknight Lucas Downes Angel Llanes Amber Summers

Peers from the Design+Make Studio had the opportunity to interview Patty Reece. Without Patty, along with her husband Jerry, the mere existence and condition of Volland, Kansas, would still be in disarray. After coming across the store for the first time by word of mouth, they both realized and saw the potential the store possessed. The walls, made up of brick, were in exceptional condition, and the building itself was an anomaly in the vernacular architecture of Kansas. Hesitant at first to rehabilitate the town, Patty and Jerry kept their interest in the property. It was the Symphony in the Flint Hills that brought further light into the Volland Store and its history. Learning of the towns own photography Otto Kratzer bolstered their passion for the history of the store and the town. Ultimately, it was this passion that delivered the property to them, placing Patty and Jerry into the very history of Volland that intrigued them in the beginning.

Graduating from the University of Oklahoma with a degree in French and minor in History, Patty later went on to University of Missouri-Kansas City to obtain a Masters in Education. Although she never received a teaching position, she substituted for teachers on occasion. Though teaching never caught on for her, Patty spent much of her time volunteering. She first started working with People To People and the Pi Phi Alumni Club. Through her three children she found more organizations to volunteer for, including United Way, Boy-scouts, PTA, and Junior League. After her children moved on from their activities, she helped manage and create a retail store that acted as a fundraiser for the Warnoll House. The Warnoll House Retail Store, coupled with a chairman position in the Harris-Kearney House, started Patty on her path of historic preservation. Through her interest in photography, she became involved in the Society for Contemporary Photography in Kansas City serving as their Exhibit Director Chair. After going on to practice photography for some time, Patty joined the Board of Symphony in the Flint Hills, serving during their second year until their tenth year of existence. Patty later found the Nature Conservancy, and further onto the Volland Store.

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ABBEY BLAKE Print Making Artist

Title

Art Student

Occupation Graduate Art Student

Other Accomplishments Has attended multiple artists residencies

Interviewers Nicole Bauknight Angel Llanes Amber Summers

Summary Abbey is a young developing artist who’s media focus is the abstraction of environments through printmaking, and robotics. She is currently finishing her collegiate education, which brought her to the Tallgrass residency program, located in Matfield Green. She seeks residencies that take place during her school breaks and do not disrupt her responsibilities in her home setting. She explained that the location of the residencies in which she has attended is important to her which, in many cases, she draws inspiration from unique natural settings to provide ideas for her future pieces. She has completed two residencies in her short career, one in the Flint Hills of Kansas and one in a mountainous region of Chile. She spoke about both of these experiences with the same level of appreciation and merit. From her point of view, residencies that are unique and provide a once in a lifetime experience spark curiosity and encourage exploration for her work. Her fascination with nature and the outdoors has established her creative work in the natural environment and allow her to experience new regions and social interactions.

Tallgrass provided a special experience because it was her first time visiting the rolling prairie landscape of Kansas, which in turn influenced the artwork she created during and after the residency program. At the current stage in her career, the time spent at Tallgrass was the proper amount for her, because it allow inspiration and thought provoking experiences, influence the creation of works after the residency period. Another major positive experience for her was the isolation and independence that the residency program gave her. She wished that the program would have focused more on community outreach; however, she enjoyed coming back months later to showcase her work at The Bank Art Space.

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HESSE MCGRAW Artist Curator Principal at Eldo

Title Partner at el dorado inc

Occupation Curator

Other Accomplishments Chief Curator Bemis Center in Omaha, NE Founding director and curator of Paragraph KCMO

Interviewers Jonathan Eden Angel Llanes

Summary Hesse, a renowned artist, curator, and critic, is currently a partner at el dorado inc in Kansas City, Missouri. He has worked closely with many upcoming and accomplished artists, such as Michael Jones McKean. From 2008 to 2013 McGraw served as chief curator at the Bemis Center for Contemporary Arts in Omaha, Nebraska, where he developed an exhibition program focused on site-specific, immersive, cross-disciplinary, and socially engaging projects.

The exhibit has included major projects with artists such as Theaster Gates and Michael Jones McKean. He holds a Bachelor’s of Fine Arts from University of Kansas and a graduate degree from European Graduate School in Saas-Fee, Switzerland. Hesse serves as a consultant on artists and artist residency programs to Patty Reece and el dorado inc. His expertise with artist residencies makes him invaluable in the organization and programming of the potential Volland Institute residency program.

Some insights provided by Hesse on residencies include: engagement of local artists, curator expectations, connection between artist and community, scale, and place making. The major attributes of the residency must include community events and engagement through food and social interaction via art talks, open studios, Pecha Kucha (brief 6 minute) presentations, and/or gallery events. To foster community engagement with the artist, many programs utilize food as a bridge for social interaction with the creators. He notes that the most successful programs provide stipends for their residents. These funds can be raised through a variety of sources including grants, application fees, and private donors.

Many artists in resident experience the best production of work by being provided freedom without expectations and the ability to explore their creative potential through various mediums. He explains that the outreach to communities should be lightly structured to allow for impromptu interactions.

In his vision for Volland, the environment needs to become a destination by creating density. He recommends between six and eight artists to be in residence at a time to create this atmosphere. Through phasing the program can eventually reach this scale of on-site residence. To create place, Volland requires amenities as it acquires residence over time. These amenities may be subject to the types of artists Volland attracts, regardless of their level of expertise.

1

“Hesse McGraw.” San Francisco Art Institute, SFAI, www.sfai.edu/bios/hesse-mcgraw.

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COREY SMITH Performance Art

Title Artist

Occupation Digital Marketing

Other Accomplishments Performance Exhibitions in Chicago

Interviewers Nicole Bauknight Angel Llanes Amber Summers

Summary Corey is a young artist, based in Chicago, who’s main media is interpretive, theatrical performances. Corey explained the challenge of transportation to the isolated residency, indicating that this is the main issue for many artists who may not have the funds to visit a residency such as Tallgrass. His art was inspired by the residency, itself, rather than the work produced during the residency. He found that the residency fits within a larger community outreach project that he has been working on for multiple years now. He expressed that his time at the residency was lonely but not debilitating, as it allowed him to experience the landscape surrounding Matfield Green. Though interaction with his surroundings was impactful, he was not able to interact with many residents of the Matfield Green community. An important characteristic of artwork for Corey is it’s relationship between art, culture, and the place where art is created. He also noted that the short time span of the Tallgrass residency provided good pressure to encourage the development of his work and allowed him to integrate it into his professional work schedule.

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LEVI ROB Artist & Architect

Title Independent Artist

Occupation Architectural Project Manager

Other Accomplishments Frenetic Pause Exhibition at The Volland Store Flint Hills Installation - Alma, KS

Interviewers Karl Ndieli, Tanner Lopez

Summary Levi Robb is an artist from Des Moines, Iowa, specializing in printmaking, sculpture and installation. Having spent a fair amount of time in Volland, Levi had a couple of things to say about creating in the Flint Hills. He was attracted to the small world feel of the Wabaunsee community because it reminded him of his small town origins in Iowa. In terms of maximizing the aesthetic of the surrounding landscape, Levi thinks that the buildings on the site already pay sufficient attention to the context of the environment. The way the structures complement the area in such a historically accurate aesthetic is valuable when it comes to comprehending the context and character of Volland. As a result of his site specific work, Levi is of the opinion that Volland could be a gold mine of subject matter for any artists interested in contextual work.

Levi responds to the spatial conditions he comes across through observation and analysis. Context, people, and setting are of the utmost importance when he searches for residencies, along with the opportunity to interact with various artists of different mediums. Creating an avenue for optional seclusion while simultaneously fostering the opportunity for interaction is valuable to creating a strong residency experience. In terms of accommodation, the amount of comfort provided to an artist would directly depend on the length of the artist’s stay. However, no matter the length of the artists stay, accommodations (like natural lighting and sufficient space) should be made to ensure that the artist is able to fully express themselves.

While preferences vary, most artists don’t seem to mind creating in their living spaces. Having a workshop in close proximity to one’s living space can help bolster productivity.

Considering how remote Volland is, provisions need to be made to ensure the artist’s creative process is not hindered in any way. Streamlining the process by which an artist may be able to receive the materials needed for their work will be extremely beneficial to the work-flow of the entire residency.

With the current gallery space in the store, it’s a little challenging to ensure that displayed works are appropriately lit. To combat this, augmented lighting in an entirely different space may be a solution. In conclusion the most important aspect of Volland is it’s context, the people, and how or where they live.

The final aim of the created program should be to further foster that sense of community that is already so neatly stitched into the community.

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DEREK & KATHERINE HAMM

Title

Coordinator at Tall Grass Artist Residency

Other Accomplishments

Coordinator of Tallgrass Artist Residency

Occupation

Designer/Curator

Manager for the Bank Art Space

Interviewers

Nicole Bauknight Angel Llanes Amber Summers

Summary Derek and Katherine Hamm took over management of The Bank Art Space in 2016 and have been acting as coordinators and curators of the gallery. The Bank is an inviting place where locals, travelers, and visitors meet. They are accompanied by fresh coffee, internet access, and contemporary art on display.

Derek and Katherine are both native Kansans, graphic designers, and enjoy living in the prairie. They love sharing the experience of the prairie with other artists through the Tallgrass Residency Program. Their involvement with the Tallgrass residency is an extensive management position where they provide residents with lodging information and coordination. They also organize artist events with the Tallgrass Prairie National Preserve, and provide general hospitality support for the artists. The programs lodging is channeled through local AirBnB and vacation rental housing by the allocation of funding from Tallgrass. This provides ample living space for the artists throughout the duration of the program. They also provide transportation, reimbursement costs and a stipend given to the artists. Derek and Katherine act as local guides for the residents during their stay, pointing them to inspiration and connecting them with local people that are beneficial to their works. They are an essential part to the day-to-day operations of the Tallgrass Artist Residency and look forward to their growing involvement within the program.

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KELLY YARBROUGHFRASIER

Tall Grass Artist Residency

Title

Tallgrass Artist Residency

Occupation Artist

Other Accomplishments

Founded the Tallgrass Artist Program in 2015

Interviewers

Nicole Bauknight Angel Llanes Amber Summers

Summary Kelly is an artist educator who founded the Tallgrass Artist Residency in Kansas. Her efforts on the residency program has brought a major grant from the Kansas Creative Arts Industry Commission to fund the Tallgrass program. She has a long history of creating art and working as an educator at Kansas State University where she also obtained her master’s degree in fine arts. She has held a variety of exhibitions throughout the Midwest and has proven her capabilities as a residency director with the increasing popularity of the Tallgrass program. As a native from Plano, Texas Kelly found herself in Manhattan, Kansas and was surprised of all the activity going on in the region. Her residency program transpired through the partnership with the small town of Matfield Green and the Tallgrass Prairie National Preserve. Tallgrass Artist Residency functions on an annual bases that brings around eight to ten resident artists in the Spring and into the Fall. The program starts around late March or early April and runs through September with closing events that hold group exhibitions and talks with the artists. Tallgrass brings artists that are currently living in a what is ecologically defined and considered a prairie. It ranges all across North America and even into Canada. Their first year as an artist residency, Tallgrass received roughly 30 applicants, which then jumped to 99 applicant in their second year. This past year the applicants came from a wide range across the US, with applicants from 16 different states and some from Canada. The Tallgrass Artist Residency program is a young but flourishing program that will continue to expand and become more successful through the coming years.

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LAURA BERMAN Prairie Side Cottage

Title

Prairieside Cottage and Outpost

Occupation Artist

Other Accomplishments Kick started the Prairieside Program in 2014

Interviewers

Keegan Amos Dipen Patel

Summary Laura Berman, along with her husband, is the founder and director of the Prairieside Cottage and Outpost located in the Flint Hills of Kansas. She is a native of Barcelona, Spain, where she discovered her love for pattern, design, and bold colors. Her work primarily focuses on the relationships and combination of forms that relate back to her nomadic history of relocation and travel. Laura’s work has been featured in many books such as The Book of Probes by David Carson and Marshall McLuhan, Printmaking at the Edge by Richard Noyce, Contemporary American Printmakers by Roone, Standish, and A Survey of Contemporary Printmaking by Ehlers, Ehlbekc and Muise. Prairieside Cottage and Outpost started in 2014 operating as a two-tiered business, which allows artists to attend but also openly invites regular families to rent the space as well. During their first year in business there wasn’t any applications to attend, except for relying on word of mouth to bring in an artist residence. Networking was a big part of how their program functioned in its early stages. It wasn’t until after the first two years that Prairieside accepted applications for entire year periods. Prairieside Cottage is a very experimental artist residency and, at the time, they allowed artist to attend for free or at a reduced stay. The Prairieside Cottage and Outpost is a partner with other artist residencies under the larger group called the Tallgrass Artist Residency.

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SHREEPAD JOGLEKAR Photography Professor

Title Associate Professor of Photography

Occupation Photographer

Awarded Artist Residencies National Center for Contemporary Art, Kronstadt, St. Petersburg; Weir Farm National Historic Site, Branchville, CT; the Millay Colony for the Arts in Austerlitz, NY; A.I.R. Studio in Paducah, KY.

Interviewer

Summary

Aoran Zhang

Professor Joglekar is a lens based artist from Mumbai, India. Having spent extensive time at four artist residencies, he felt that a month is a relatively suitable amount of time for an artist residency. However, it may vary between disciplines. Most of the residencies that he attended encouraged interactions between artists of different mediums. During his four week stay in St. Petersburg, there was a flow of at least two different artists in and out of the studio during his stay to encourage collaboration across mediums. He finds that this type of program strengthened the artist residency as a tool for networking.

In his experience, isolation provides a break from the day to day environment, and for an artist, this can be crucial to really understand what your work could become. He also noted that when you’re in the environment that you’re familiar with, you may be oblivious to the connections in between your ideas, which you begin to identify outside of your familiar environment. It gives you the opportunity to look at your work from a different perspective.

Photographers are often attracted to places that can become a hub for traveling around. Joglekar stressed the fact that a place is always different before reading, watching, studying and after physically experiencing said environment. Part of the artist residency experience is immersing yourself in that new environment, becoming familiar with the local life and interacting with the people who live in that part of the world.

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I-135

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LOCATION

KS Volland, KS Major Hwy Network Minor Hwy Network

The Town of Volland is located between Alma and Alta Vista, about 20 minutes south of I-70. The original Volland Store was established as a place for commuters of the railway to stop for refreshments along their journey. Located in the rural Flint Hills of central Kansas it is among the few towns that embrace the tallgrass prairie.

Volland Kansas is located just 10 miles from I-70 Hwy. I-70 Hwy is a major interstate that runs East to West across Kansas connecting the state to nearby Missouri and Colorado. It provides a fast route to major cities such as Kansas City with speed limits of 75 MPH. Other interstates include I-35 and I-135 that is 24 miles long that connects other highway junctions to cities such as Wichita, Emporia, Manhattan, Dodge City, Garden City, etc.

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SITE ANALYSIS

Volland, K 20 miles

40 miles

100 miles

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MAJOR TOWNS AND CITIES

KS TOPEKA, KS

EMPORIA, KS

127,000 POPULATION 45 MILES 50 MIN DRIVE 24,800 POPULATION 60 MILES 75 MIN DRIVE

WICHITA, KS

390,000 POPULATION 123 MILES 129 MIN DRIVE

KANSAS CITY, MO

480,000 POPULATION 110 MILES 107 MIN DRIVE

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SITE ANALYSIS

Manhattan

Junction City

Alma

Volland

Alta Vista

Council Grove

35 to 40 minute drive

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LOCAL TOWNS

MANHATTAN,KS

55,000 POPULATION 26.5 MILES 40 MIN DRIVE

JUNCTION CITY, KS

24,000 POPULATION 33.7 MILES 45 MIN DRIVE

ALMA, KS

792 POPULATION 10 MILES 15 MIN DRIVE

ALTA VISTA, KS

422 POPULATION 9 MILES 17 MIN DRIVE

COUNCIL GROVE, KS

2,000 POPULATION 25 MILES 35 MIN DRIVE

LAKE WABAUNSEE, KS

6,891 POPULATION 19 MILES 30 MIN DRIVE

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SITE ANALYSIS

DEMOGRAPHICS

KANSAS Median Age - 36 years Household income - $50,972 House Value - $129,700

Gender Demographics

Race Demographics

Females (50.6%) Males (49.4%)

Caucasian (83%) Hispanic (10%) African American (5%) Other (2%)

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ALTA VISTA

ALMA

Median Age - 40.4 years Household income - $42,484 House Value - $53,638

Median Age - 38.6 years Household income - $37,733 House Value - $88,689

Gender Demographics

Females 214 (49.1%) Males 222 (50.9%)

Race Demographics

Caucasian 418 (94.1%) Hispanic 19 (4.3%) Other 7 (1.6%)

Gender Demographics

Females 443 (54.4%) Males 370 (45.6%)

Race Demographics

Caucasian 783 (94.1%) Hispanic 31 (3.7%) Other 18 (2.1%)

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SITE ANALYSIS

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SITE CONTEXT

Volland Store Houses Additional Buildings Out Buildings Blacksmith Shop Potential Additions

Almost all of the houses are oriented towards Volland Road, with the Volland Store and its supporting buildings breaking that rule. They are facing the railroad tracks, in a way pointing towards Volland’s humble beginnings.

Currently the most activated part of the property is the immediate area surrounding the Volland Store. When arriving and leaving, the parking area itself is an informal meeting place. After having arrived, visitors proceed to events and exhibits that normally take place in the store and occasionally in the blacksmith shop. Lawn chairs under an awning at the South entry of the store provides a seating area boasting a gracious view to the south and activating the lawn between the store and the surviving ruins of the old Kratzer House.

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SITE ANALYSIS

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ROAD NETWORK

Old K10 Road Volland Road Property Boundaries Existing Structures Railroad Track

The most common approach is from the north, turning from Old K-10 onto a gravel road, passing the houses to the west along Volland Road and turning into a gravel parking area on the north side of the Volland Store.

Parking on the street is typically avoided to keep the road clear for farming vehicles or tractors to pass by. The houses are a short walk north of the car park.

This approach does not allow visitors to experience the front facade of the Volland Store which was once the front of the town.

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SITE ANALYSIS

MATERIALITY

LIMESTONE Limestone is a key feature for the Flint Hills area and is present in Volland as an influence of context. Although limestone is abundantly used throughout the region its use in Volland is currently minimal.

Usage includes non-structural elements such as the newly built flower bed and the existing retaining wall.

WOOD SIDING The wood siding found on all the support buildings is natural, exposed wood adding an additional layer of natural materiality to the overall character. Consideration should be given to the type of wood used for possible future material palettes. The wood siding found on the existing houses is painted white, making these structures cohesive elements of the same architectural vernacular.

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IRON The railroad, being an important feature of Volland, echoes the historical character to the site through it’s combination of wood and iron elements.

RED BRICK Found on the exterior facades of the Volland Store. The original brick is part of the existing historical character of the town. The store is the only red brick building in all of Wabaunsee County. This material should be respected in future material considerations since it is so special to the enduring Volland Store.

STEEL & GLASS The incorporation of steel and glass in the restoration of the Volland Store adheres to the historical character of the time period of Volland’s establishment while incorporating a modern aesthetic.

Future material consideration could include continued use of these two materials.

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PROGRAMMING

OVERVIEW

113

SWOT ANALYSIS

120

RESIDENCY ELEMENTS

122

NORTH HOUSE CONDITIONS

124

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THE BEGINNINGS

Our journey began with acquainting ourselves with Volland and researching our project topic: artist residencies.

These initial steps were broad overviews of information on Volland as a town, culture, and place; as well as understanding what an artist residency program includes. This place making and precedent study was our first introduction into the project at hand and was our first attempt at gathering applicable information that would guide us down the right path to the final design proposal.

As our research continued to mature and be refined, they led to more investigation into Volland’s culture, history, current state of affairs, community, site and existing structures. This research informed ideas on how an artist residency could work in the rural community of Volland. We began conducting indepth research into residencies from around the world, extracting traits that could be translated and applied to this specific site.

With the knowledge of Volland secured and a firm grasp on the variety of artist residencies that exist, we started to critically think about what aspects of artist residencies Volland required to be successful. The initial, preconceived program included housing and space for multiple artists, support spaces like studios and workshops, as well as communal spaces such as kitchen and library.

Though this was not the finalized program, it helped us understand the possibilities of what Volland’s artist residency could become in future expanding phases.

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CONNECTING WITH VOLLAND

To confirm what programmatic elements were necessary to our specific design problem we visited a local artist residency and conducted interviews with artists, coordinators, art curators and members of the local community.

Our goal was to understand, from their perspectives, which quality elements of an artist residency program could better inform and refine the program for Volland. These interviews gave insightful perspectives that allowed us to refine the needs and spaces of our program, ultimately leading to a more successful project.

At this stage, an understanding began to form about how the program is influenced by the existing structures on site. Ideas were presented on how the program could be dispersed throughout the three houses on site working together as a campus.

Production of schemes toggled back and forth between individual design concepts and group design

development. Working on both individual and collective levels we produced a broad range of ideas to be explored, as well as the grouping of similar ideas to make them stronger.

In order to successfully implement designs in the houses, the documentation of each house in detail, recording dimensions, heights and topography specifics, better informed the design process. The culmination of research, design, and collaboration resulted in a Test Fit of the program which comprised of placing each design scheme into the houses and showing how the program would fill the gaps of Volland’s culture. These schemes showed how the program would function and impact the community.

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TUNING INTO VOLLAND

Tuning Devices were the first thinking tool used in our quest to understand Volland. The purpose of a tuning device is to get a better and deeper understanding of place that, in turn, leads to a design intervention meant to reflect the environment and amplify it. This activity began with our initial analytical research of Volland which informed us on how to create a design that develops the character of Volland while serving a necessary function. Individual proposals were produced with these objectives in mind.

As the tuning devices were resolved into a final few categories, the proposals were planned and moved to an implementation stage. Of these, only two advanced on to further design development. The lighting study came to fruition and was presented to a group of Volland Board members and became a provocative success.

The remaining device, The Signal, required some more research on how it could be executed to its fullest potential. In maintaining the unique material palette of Volland, The Signal is imagined to be constructed out of bricks. The studio began stacking bricks in order to become familiar with the material. This practice revealed further understanding of how bricks function, their limitations, and their possibilities. Valuable lessons were gained through this exercise that informed the continued design of the signal. The realization of the signal has not yet become a reality, however it is still in design development, pending finalization and completion.

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DISCOVERY & CONCLUSIONS

After presenting to the Volland board, the master plan of the Volland Institute program was reduced from three house proposals, down to the northernmost structure. The refocusing of the project scope was reduced to the realistic time constraint of the Design + Make studio. Focusing solely on House One allowed the Design + Make Studio to create and accomplish a high quality project. This focused direction encouraged the measurement of the North House in explicit detail and the conducting selective demolition of certain components to determine the properties and structural integrity of the house.

During the exploratory demolition, it was discovered that the house was most likely a 1930’s kit house. Markings found on the wood studs indicated that the house was purchased and brought to Volland via the railroad as per common practice of new homeowners of that time period.

With this new program, more research on precedents that combined living and studio spaces were required.

Research was also conducted into precedents of tiny homes and how we could modify the program to only include the essentials of living space and creative space to fit within the house.

The evolution of the program led to more group design which divided the studio into four groups.

Through this process the studio rested upon four potential solutions to satisfy the program requirements, as well as a detailed list of spaces and amenities needed to satisfy an artist residency. This process then produced two themed categories; All-In-One vs Duplicate. These two categories directed the current four proposals.

There are two proposals in each category.

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PROGRAMMING

Strengths - Isolation / silence - Middle of everywhere - Space to work with Landscape - Nearby towns - Existing structures - Train culture - No light pollution - Rich history - Wildlife / livestock - Natural ecosystem - Lack of cell service

Opportunities - Existing houses/ structures - Isolation - Renovation - Creation of new structures - Fill residency need - Farmers market - Nature/Landscape

Weaknesses - Off-site / dilapidated buildings - Difficult to reach - Lack of signage - No immediate amenities - Lack of cell service

Threats - Location - Pests - Funding - Natural disaster - Local community pushback - Dying rural communities - Residency competition - Chemical compounds from railroad

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SWOT ANALYSIS

As with any project, the characteristics of the site need to be assessed in order to reach a cohesive result. We conducted a SWOT analysis of Volland, identifying its strengths, weaknesses, opportunities and threats, to better understand how the elements could work with and against the project. This analysis formed an understanding of what Volland, as a site and community, has to offer.

In analyzing the lists, the development of a program that enhances Volland’s strengths of isolation and landscape, addresses the weaknesses of accessibility and amenities, capitalizes on the opportunities of culture and existing structures, and responds to natural and communal threats. This insight provided us the ability to shape a program that incorporates the results of the SWOT analysis, a program that fosters artist creativity and community engagement.

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PROGRAMMING

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RESIDENCY ELEMENTS

There are many elements that can be incorporated into an artist residency program. For the Volland Artist Residency Program, certain features took hierarchical precedent over others and the program is condensed to provide only the necessary elements to thrive and create.

The most important spatial feature is a sizable, flexible studio with wall space, storage compartments and a cleaning sink, with room for a table and chair. This singular studio space comprises the necessary spaces for working conditions while all other support spaces fall under necessary living conditions. These are the basic elements one needs for a short stay: a bed, small bathroom and kitchenette with minor support storage space.

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NORTH HOUSE CONDITIONS

House one sits on a slightly sloped plot of land, with the front facade facing Volland Rd. At only approximately 600 square feet, the single story house currently has two bedrooms, a living room, kitchen, one bathroom, an open front porch and an enclosed back porch.

The 1930s kit house is set on a shallow stone and concrete foundation, with structural exterior walls and a gable pitched roof with a small attic.

The exterior facade is painted wood siding with double hung windows on all four sides and thin asphalt shingles.

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PROGRAMMING

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6.

129

ENGAGEMENTS

OVERVIEW

131

LIGHTING STUDIES

133

BRICK STUDIES

141

COMMUNITY ENGAGEMENT

155

NORTH HOUSE FINDINGS

159

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ENGAGEMENTS

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ENGAGEMENTS

Engagement is a key aspect to the development and the learning of the site, community and overall project.

Without the engagement aspect of a project it would be difficult to begin to grasp the nature of the surroundings and the effects the project will have on a community.

Throughout the semester the studio was tasked with a multitude of problems concerning what Volland is as a place and what best represents Volland as a town. To begin the engagement process we started to create “tuning devices� that reflect the existence and characteristics of Volland. We then began to further our understanding of Volland as a town by interviewing multiple residencies from nearby communities as well as Patty Reece, who is the key stakeholder in the future development of Volland.

As we began to better understand Volland as a place we eventually pin-pointed an existing structure on site that eventually lead to our Design Make project. By deconstructing the house it allowed us to learn how the structure was built and how it functions in its original form.

It also helped us to realize the future potential of what not only the house can become, but Volland as well.

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ENGAGEMENTS

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SITE ENGAGEMENT Lighting Studies A way the studio began understanding Volland was by conducting a lighting study. As it sits today, Volland houses multiple intriguing elements that can be emphasized. This is due in part by the low light pollution that not only Volland posses but most of Wabaunsee County because of its seclusion from larger metropolitan areas. The town of Volland already holds successful stargazing events because of the extreme seclusion from surrounding towns. This sets the stage to create a lighting study to highlight key locations and characteristics of Volland as a town. The overall objective of this tuning device was to utilize light to help artists and locals to view Volland in a controlled environment.

The process of the lighting study was documented throughout the entire progression, this is to further inspire future artists to see what Volland has to offer.

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ENGAGEMENTS

135

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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SITE ENGAGEMENT Brick Studies If Volland is known for anything, it is known for the Volland Store. The primary material used in the Volland Store is red brick. Throughout the course of the semester the studio has been exploring the process of brick stacking. The intention of this investigation was to further our understanding of how a material works, in this instance, bricks. Each individual study of brick stacking allowed us to push the limits of how a common brick can be manipulated in the normative stacking method. This allowed us to grasp a fuller understanding of a very essential part of Volland and itself as a place.

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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COMMUNITY ENGAGEMENTS

To help the Design Make studio better understand the surrounding community, we had the opportunity to interview residencies from Alma Kansas. Along with the residence interviews we also interviewed Patty Reece, who is the sole reason why this project and Volland exists. We also had the pleasure of having dinner with the Volland board, gracefully hosted

by Patty and Jerry Reece at their home to allow us to get to better know the people who commit a piece of their lives to Volland and its future.

The closest town to Volland is a small commuter town named Alma, Kansas. The town is a short 10 minute drive on Hwy K10 and a recent census put the population of Alma at 851 residents with a total of 7051 residents in Wabaunsee County as a whole.

The county mainly consists of older individuals and couples. Recently however, there has been an influx of

recent graduates, young parents and recently married couples. After the interviews were conducted in Alma a large majority felt that the community would benefit from more community held events, recreational activities, a sit-down restaurant and a place to stay overnight.

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ENGAGEMENTS

157

CONVERSATIONS Volland Board Chili Dinner Members of the Design Make studio spent an beneficial evening with the Volland board enjoying conversation and a chili dinner hosted by Patty and Jerry Reece. The night began with members gathered around a Ramford fireplace sharing jokes, experiences, and stories.

It then proceeded into the comfort of Patty and Jerry’s beautiful home that is tucked away in the Flint Hills of Kansas. Inside and away from the strong Kansas winds, chili was awaiting to be served to the dinner goers. Overflowing with guests we gathered around tables set up throughout the dining and living room to enjoy more conversation over warm chili.

The night concluded with the Volland Board and the Design+Make Studio in Volland to partake in the light study set up by the Design+Make Studio. The purpose of the dinner was to create a dialogue with members of the Volland Board and allow to see Volland in a new way before a pivotal presentation the following morning.

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ENGAGEMENTS

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DEMOLITION

After pin-pointing the most northern structure on site as the catalyst for the Design Make project, the studio conducted a carefully methodized order of deconstruction. The purpose of the demolition was to allow the studio to better understand how the house was assembled.

After conducting three demolition experiments throughout key areas of the house, the studio effectively learned how the house functions. Tearing back plaster and lathes on a portion of a wall uncovered that the house was constructed using 2x4 milled studs laid out on 16 inch centers. After tearing back a portion of the ceiling and upper wall revealed that the trusses were constructed out of 2x6 wood member laid out 2 inches on center. Lastly, we unveiled a portion of the wood floor to reveal the floor joists which were constructed out of 2x10 wood members also laid out on 16 inch centers. After these methodical

demos were completed we came to realize that the house was a Roebuck house, a popular style of construction for a lot of homestead houses such as the ones that exist in Volland. These types of houses would arrive on site via train car in a kit-of-parts and were then assembled by hired contractors or the owners. By furthering our knowledge of how this house functions the studio was able to move forward in a realistic manner for creating a new purpose for the house.

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

7.

167

PROPOSALS

OVERVIEW

169

COMPACT CREATIVITY

171

THE HOUSE OF BRICK

179

REFLECTING HISTORY

189

THE PLATFORM

201

CONCLUSIONS

211

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168

PROPOSALS

169

DESIGN PROPOSALS 4 SCHEMES The following design proposals

It was discovered during

presented are potential solutions based

preliminary demolition studies that the

on the evidence and research gathered

existing interior walls of the kit house

throughout the initial schematic phases

are deteriorated beyond reclamation.

of project development for House

All the proposals indicate a removal

One. The conclusive identities of each

and reclamation of materials from the

proposal are split into two general

spatial partition walls and from the

sections; All-in-One and Duplicate

70’s addition on the west side of the

(additive additional structure). The main

house. These proposals emphasize

process for all the proposals have been

the reintegration of newly designed

drawn out, evaluated, and consistently

spaces to accommodate the structured

re-evaluated to reach the current

program detailed in the previous

solutions.

section.

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PROPOSALS

Plan 0

2

4

171

COMPACT CREATIVITY

Type

The main goal of this proposal is to

and finally to the further secluded

integrate a compact living environment

environment of the western facing

within the original structure of the

outdoor living space. The formal

house while providing ample space for

organization and separation of spaces

a working studio. This provides all the

allows the living space to remain

necessities for living without any of

secluded as a private environment for

the distractions for working, allowing

the artist to inhabit while the studio

the artist to fully integrate themselves

space has the potential to engage the

in their work and the surrounding

public with the artist’s work.There is,

environment.

however, provided outdoor relaxation

The orientation indicates a formal

space where individuals can step away

procession of space from public to

from their work environment and settle

All in One Structure

private. From the entrance, in the

themselves within the landscape.

Team

eastern side of the house, guests

Nicole Bauknight Angel Llanes Kaydee Seamatter

proceed through the public studio space into the more private living space,

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PROPOSALS

Sections 0

2

4

173

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174

PROPOSALS

Process

Process

Process

Process

Existing Exterior Exterior Living interior Space space living walls

Existing CompactExisting Interior interior Walls service core walls

1

3

Process

2 Design + Make Studio 2017

5

Design + Make Studio 2017

Compact Existing Service Exterior Exterior Compact interior Core service core living space living walls space

Compact Exterior Compact service core service core living space

Exterior living space

4 Design + Make Studio 2017

Design + Make Studio 2017

Existing interior walls

6 Design + Make Studio 2017

Process diagrams

175

Spatial Layout

Diagramming the process

Spatial Layout

patial Layout Exterior Living

Interior Service Living Core

Private Spatial organization Private

The placement of the compact service bar provides a natural and functional separation of the working and living spaces with it’s offset position creating a larger studio space and slightly smaller living space. The studio is prioritized in spatial volume to accommodate a variety of mediums and working space configurations for the artist during their residency.

With all possible functions for Private met between the creation of art being the services provided within the bar: sink, wall space and storage, and the rest of the studio being left open for artistic creativity. The highly efficient approach of the compact service bar provides the Design + Make Studio 2017 necessary spatial elements for living but does not necessarily encourage a large amount of casual lounging space for

Studio

Public

residents to focus on their work.

The major service living functions settle themselves within the service bar offset of center in the house. The design incorporates what are considered minimum necessities for living such as: bed, bathroom, shower, and kitchenette containing a small stovetop, refrigerator and sink. These elements make up the entirety of the living accommodations for individuals Public staying for up to 10-14 days.

Spatial Layout

Public VOLLAND, KS | A PLACE FOR ART

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PROPOSALS

1’ 1” 1’ 1”

2’ 0”

9’ 0”

5’ 6”

1’ 6”

4’ 0” 3’ 1/2”

5’0” 3’ 0” 0’4”

Core

2’11”

11’ 8 1/2”

2’11” 0’4” 3’ 8 ”

5’5” 1’11”

0’2” 3’ 1/2”

3’1/2”

Led lighting Led lighting Translucent paneling

Design + Make Studio 2017

Translucent paneling

Storage space

Flush sliding door

Queen bed

Studio wall space

Toilet Shower

Compact kitchenette

Studio support storage

Flush sliding door

Core Sections

Details

177 5/8” gyp. board 4x12 wood beam roof tiles 5/8” roof sheathing vapor barrier 2x8 wood rafters 2x4 wood blocking cement board siding air barrier 1” rigid insulation cavity insulation 5/8” gyp. board 2x4 wood blocking stainless steel flashing polished floor slab

Details

concrete foundation wall

5/8” gyp. board 4x12 wood beam roof tiles 5/8” roof sheathing vapor barrier 2x8 wood rafters 2x4 wood blocking

Sections 0

2

4

6

12

cement board siding

Wall Section

air barrier 1” rigid insulation

concrete footing

cavity insulation 5/8” gyp. board 2x4 wood blocking stainless steel flashing polished floor slab

Design + Make Studio 2017

concrete foundation wall

concrete footing

Sections 0

2

4

6

12

Design + Make Studio 2017

0

2

4

6

12

Cross Section VOLLAND, KS | A PLACE FOR ART Design + Make Studio 2017

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PROPOSALS

179

THE HOUSE OF BRICK

The first inclination for the re-envisioning

with two things in mind: prioritizing the

of the north house was to remove the

spatial quality and functional needs of

addition on the west side and return the

the artist and preservation of the original

house to its original historical integrity.

house.

With this first step towards preserving

the original aesthetic of the house, this

extension of the Volland Store program;

proposal seeks to continue refining the

therefore, the material choice of brick

house in ways that celebrate and highlight

for the new partition wall strengthens

its existing character and features, as well

the connection. Brick is an existing

as that of Volland’s.

anchoring symbol of Volland. Used in

The re-purposing of the existing

the design, it functions as a division

Type

house to accommodate an artist in

between the studio and living space and

All in One Structure

resident will require a shift in the provided

encases private spaces between the two

amenities

more public sides of the house.

Team Austin Ungerbuehler Evelyne Chokkattu Karl Ndieli Jonathan Eden

within

the

structure.

All

The residency will become an

changes to the house, that are made to accommodate artists’ needs, are designed

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PROPOSALS

1. SEPARATE LIVING & STUDIO The feedback from multiple artist determined that there needs to be a clear division of space in the house, in order to provide a separation between clean and dirty.

2. MAXIMIZING THE STUDIO Due to the nature of the program, the studio space is hierarchically more important and the space distribution reflects this. A living space designed as efficiently and compact as possible will allow for this.

3. PRESERVING CHARACTER In order to maximize on the efficiency of the footprint, the porch becomes an enclosed part of the living area.

Floor Plan Process diagrams

181

The Bricks

The studio began stacking bricks in order to become familiar with the material. This practice revealed further understanding of how bricks function, their limitations, and their possibilities.

Valuable lessons were gained through this exercise that informed the continued design of the signal. The information gained through many iterations of brick stacking methods could be implemented in the brick wall, the major move of the proposal. Perforated brick stacking, for example could create a much more interesting back drop for the studio and even be used to bring in more ambient light from the living side of the house.

The brick wall is a nod to the heart of Volland which is, of course, the Volland Store.

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PROPOSALS

Section A

Sections B & C

Sections D & E

183

Sections The brick wall not only separates the living and studio spaces, but it also separates the public and the private creating a “privacy bar;� this bar extends across the house which includes the bed room and the bathroom. The old facade will be untouched and the windows will be bricked-in. Again, the bricked-in windows will implement various brick stacking methods, possibly even glass brick blocks. In order to provide more space for the living portions and, as a result, the studio portion of the house, the porch was enclosed and the kitchen and dining/living program was placed within this space. In addition, the back wall of the studio space was opened up to allow for the transportation of larger materials with a large sliding door created by the existing west facade.

Reference Floor Plan VOLLAND, KS | A PLACE FOR ART

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PROPOSALS

Living Space

Bed Platform

185

Front Facade Glazing

The Sliding Wall VOLLAND, KS | A PLACE FOR ART

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PROPOSALS

187

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188

PROPOSALS

Site Plan

189

REFLECTING HISTORY

This proposal attempts to satisfy

interesting dynamic between the two

programmatic needs through an

buildings, clearly separating the historic

additional, separate structure to the

from the new. The spacing between the

west. This additional space allows the

structures creates a datum, all matching

existing structure to contain all of the

the footprint of the existing house.

living program, while giving ample space for studio structure in the new addition.

The studio space is designed to cater to any artist needs, providing wall space, work space, and storage. This separation results in a more generous living

Type 2 separate structures

Team Amber Summers Keegan Amos Lucas Downes

space, allowing more comfort for any guest occupying it. The aesthetic of the addition is meant to complement the existing house in form, and contrast it in color. This delineation allows for a more

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PROPOSALS

DIAGRAMMING THE PROCESS

1. REFINING THE FORM With the removal of the western addition, the house is brought back to its original proportion and geometry.

The existing interior walls cause the house to feel confined. By removing both walls and the ceiling, it creates an expansive experience.

2. MIRRORING In order to achieve the desired living and working conditions, the usable space must be expanded. By mirroring the house, the new structure will utilize the same proportioning and space as the existing house.

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3. CREATING A DATUM

5. ESSENTIAL CORES

The new structure will be placed 24 feet away from

In both forms there are essential elements

the existing house on the site. This spacing between

to the success of the building as a whole.

structures creates three spaces of the original building

These necessary elements will be placed in

proportion in a row.

a concentrated space that will open up the remaining areas within the structures, as well as define the used spaces that surround them

6. CORE ADJUSTMENTS 4. FACADE REFINEMENT

These essential cores will be adjusted to meet

The original house will maintain its historical

the unique requirements of their spaces. The

integrity. While the new structure will receive

living core will be shifted north to allow for

a new facade in respect to it’s interior space.

a more open space. While the core in the studio will be divided in two and spaced out to provide the most usable area for creation.

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PROPOSALS

7. REFORMING THE ROOF

9. CONTRAST THROUGH MATERIALITY

The roofline of the new structure will follow the same height

The materiality of the new structure will be directly

and form of the existing structure. However, the studio will

contrasted to the existing structure. The house utilizes the

become more simplified by removing the eaves and creating

white, horizontal linear elements as enclosure, while the

a seamless connection between the roof and the walls.

new studio will use similar horizontal elements, but it a darker material, in order to show a distinction between new and old.

8. DAYLIGHTING THE STUDIO

10. GATHERING SPACE

The studio requires even daylight within the space. There

With the space between the two structures there is an

will be clerestories on the north and south facades to bring

opportunity to incorporate a new programmatic element.

in natural lighting. These openings wrap the edge of the

There will be an exterior hearth that will serve as a

roof and transition into partial skylights for optimal lighting

gathering space and will encourage interaction with

for the artists.

nature and other artists and visitors.

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PROPOSALS

South Elevation

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Longitudinal Section VOLLAND, KS | A PLACE FOR ART

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PROPOSALS

WALL ASSEMBLY

Interior core wall assembly - existing structure

Exterior wall assembly - new structure Double-pane glazing 2x4 rotated, 16” o.c wood stud framing

Steel mullions Wood blocking

Gypsum board Plumbing Wood finish

Flashing Wood slats Vapor barrier OSB Plywood

Vanity surface Sink storage

2X6, 16” o.C. wood stud framing Gypsum board Concrete slab

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Having a large workspace is a key requirement of multiple artists.

Whether their specialty’s be in sculptural art or in more literary arts, a large flat work area is beneficial. This surface can be utilized by multiple medium specialties.

A large amount of pin-up wall space is a requirement for visual artists. The work desk will fold up into the wall to maximize on linear wall space. Being able to put up work and step back to view its entirety is a vital aspect of their process.

Performance artists have their own set of requirements in a studio space.

Certain cabinet doors will rotate 180 degrees to provide a mirror to artists who cannot view their own work without a reflective surface.

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PROPOSALS

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PROPOSALS

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THE PLATFORM

In the early 20th century, Volland was

one of the important train stop in Kansas,

team decided to keep the exterior of the

which provides necessities to passing

historical house and turn the interior

trains. The existing was built back then

into a generous studio space. Inmates

for a family who lived upon train.

and utilities are placed inside the new

structure which connected with the old

Nowadays, with the development

Therefore, for this proposal, our

house by a concrete platform.

of technology, Volland no longer serve as a train stop, and the family sold their house to the Volland Store. When we first went to visit the site, we were inspired

Type

by the beauty of the historical house and

2 Separate Structures

the unique experience of seeing a train

Team

passes by.

Aoran Zhang Dipen Patal Tanner Lopezr

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PROPOSALS

1. Original footprint

5. Remove all the interior walls to create a open studio

2. Lift up the house

6. Mirror the footprint of the house

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3. Add new concrete-steel platform, then put the house back

4. Highlighted are the existing interior walls

7. Gable roof provides a more uniform space in the living structure

8. Open up the living structure to bring in the natural light and view VOLLAND, KS | A PLACE FOR ART

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PROPOSALS

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THE INTENT

Kitchen

Mechanical Bathroom

Studio Bedroom Dining

Entry Living

Located in the Flint Hill of Kansas, the

houses. By renovating the old house into

sloped site offers views of the capacious

a studio, artists can enjoy their private

prairie. The footprint of the existing

working time there. Living, dining,

house is a 24x24 feet square with a 6 feet

bedroom and utilities are located in the

wide porch on its east side. As an artist

new house with a open view on the west

residency / Airbnb. The design intention

side to enjoy the prairie sunset.

of our team is to create a comfortable and

spacious living and working space that

studio allows the stakeholder to rent

serves multiple functions. It is spacious

the apartment out individually, or can

enough for an Airbnb and provides all the

provide artists a different environment

amenities that are needed for an artist

to live in.

The separation of living and

residency.

The Houses on the Platform is

essentially two separate free standing parts linked together by a common steelconcrete foundation. This platform offers a outdoor living space between the two VOLLAND, KS | A PLACE FOR ART

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PROPOSALS

0 1

5

10

20

N

Floor Plan 1/4" = 1'-0" 0 1

5

10

First Floor Plan20

N

1/4" = 1'-0"

First Floor Plan

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PROPOSALS

View West from the kitchen

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View West from the bedroom

View West from the Studio VOLLAND, KS | A PLACE FOR ART

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PROPOSALS

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RECAP

The 2017-2018 Design Make studio

The value of teamwork is yet

project has transformed the way each

another valuable lesson this studio has

studio member thinks about design,

afforded us. Contrary to the format of

community, and the impact of art. We

past studios, this project can only be

have learned the importance of research

accomplished through an integration

into the history, site, and community;

of collective thought and effort. Only

and how greatly it can affect a design’s

through this harmony can this project

outcome. Even the characteristics we

be accomplished.

study have expanded beyond our usual

research including the study of materials

appreciate Volland, and the incredible

by brick stacking.

things it has to offer. Truthfully, many

The way in which we communicate

of us were hesitant when we first arrived

has evolved as well, adjusting to the needs

on site, but over the months Volland has

of a certain goal or audience. Whether it is

been a teacher itself. It has educated

a formal presentation or a small meeting

us on its rich history, its surprisingly

with the Volland board, we have learned

flourishing

to tailor to any occasion. This project

and its potential to impact countless

has taught us how to communicate as a

lives.

Most of all, we have learned to

surrounding

community,

single professional entity, utilizing logos, letterheads, and social media.

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PROPOSALS

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LOOKING AHEAD

In the coming semester, and quite

more to come. We hope that Volland will

possibly the summer following, our studio

continue to grow, and become known

plans to assimilate all the work we have

for what it truly is - a place for art and

done over the entire scholastic year. All

community.

of the research, engagement, and design will lead to one final product. Having presented our proposals for the house and what it could be, one design will be chosen, and the assembly of construction documents will begin.

The Spring semester will be a

busy and exciting few months as we realize the architectural idea into which we have put so much of our heart. While our role in Volland will be finished upon the completion of the house, we hope that this residency will be only one of many

VOLLAND, KS | A PLACE FOR ART