Collaborative Design Class for the
Grand Rapids Public Museum
Fall Semester 2011 Final Presentation December 5, 2011
54 JEFFERSON PROJECT
Kendall College of Art & Design
WELCOME Kendall College of Art & Design Collaborative Design Class Students: Stephanie Barnas Mary Butman Sara Fall Evan Fay Kate Folkert David Herrera Patrick Jackson Suzy Johnson Brett Laslett Justin Middelton Amanda Sherman Instructors: Paul Amenta Gayle DeBruyn
This presentation is the work of the Kendall College of Art & Design Collaborative Design class. Over the course of the past semester, we have delved into what might be “the highest and best use” of the Public Museum’s 54 Jefferson building.Through our learning and exploration, we have come to love this building and the heritage it represents. Our goal is to create a vision of a vibrant community space for the future. On the following pages you will see the culmination of our efforts. We hope you will be as excited as we are by what you see.
THE PROJECT
Create an environment where the assets of
unique architecture, wealth of artifact,
and purposeful spaces combine
to advance art and design thinking.
We started this project by focusing our efforts on trying to answer the challenge put to us by the above statement. Through museum tours, research into specific topics and presentations from a variety of community leaders, we identified nine key concepts that we wanted to incorporate into our final designs. These were presented at mid-term, and the remainder of the semester was spent really exploring and developing what those key concepts look like in physical form. Our presentation today focuses on the design of the physical spaces of the 54 Jefferson building, presents a new idea for the naming and branding of this space, and proposes possible business models and revenue streams.
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OUR PROCESS
The nine key concepts set the tone for potential programs at 54 Jefferson. Leveraging the expertise of the museum staff, providing expanded access to the collections, identifying community needs, and looking to expand the reach of the museum outside our community.
The nine key concepts
Neighborhood Anchor
Third Place Transformable Spaces Expanding Collaboration Online Curation Guest Curation Linking Past to Present Live/Work Proposal Component
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Through the application of Whole Systems Design Thinking we listened, explored, and engaged in discussion to arrive at a shared understanding of the design opportunity.
OUR PROCESS
Understanding the significance of the collections and the museum to the culture of this community. Exploring regional connections, linkages and gaps Listening to community voices to understand the demographics, core competencies, master planning, educational impacts and economic development
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THE SPACE
54 Jefferson is a special place. On the surface, it is important for its historical value as a Works Project Administration (WPA) building and as a museum space that was innovative for its time. But it goes much deeper than that. As the long-time home of the Grand Rapids Public Museum, this building holds special memories for many in the community. Over the course of the semester we heard countless people tell us their stories and about the important role this space played in their lives. We want to keep this place special. As you will see in our designs, we have placed a great amount of importance on playing up the key architectural and decorative elements that make this building what it is. While accomodating for flexibility, necessary technologies, and modern conveniences, we have envisioned this building as a unique and enriching space for generations to come.
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ENTRY
While envisioning the experience that the community will have within this space, we felt it was crucial that the main entrance of this building be at its original location on Jefferson Avenue. We believe that by utilizing this higher profile entrance we can create a new perception for this building.
Because we are respecting the historical Art Deco integrity within the interior space, we feel that it is only fitting to re-open this grand entrance. In the near future, The Rapid will be adding an exciting new express transit line, The Silver Line, that will pass directly by the museum. By re-opening this entrance, we will pique the interest of the increasing amount of pedestrians traveling the Silver Line and encourage them to join in on the experience. In addition to opening the exterior windows to the interior, we also wanted to incorporate modern vertical banners to highlight current and future events taking place within the museum. This again lends to our principle of linking the past and present. We will respect the original architecture while rebranding the space to give it a new life with simple modern touches. This entrance will make a remarkable first impression due to the natural daylight that enters the grand hall through the original glass block windows.
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GRAND HALL
The main entrance leads into the Grand Hall, which we intend to give an immediate feeling of granduer based on its scale and exhibits. This hall will also be available as event space.
figure 1 Remove carpet from walls and incorporate wood acoustic wall panels, but leave dark green carpet with text on east wall This space will support open storage for artifacts as well as art pieces from the Call for Proposals
figure 2 Skylights bring daylight and conserve energy
figure 3 Banquet set-up Important architectural features from the Art Deco period that we embraced with our design:
figure 1
Terrazzo floor and base trim The “stepped� ceiling design The railing patterns and the architectural details on the 2nd story landing above the entry
figure 2
figure 3
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MAMMAL HALL
With a high regard and respect for the history of the space, we will leave the majority of the original structure in the Mammal Hall. The wood trim, casings, and WPA paintings will add to the sentimental feeling that the community experiences when entering this space.
The slanted glass displays were modern and ahead of their time when originally designed, so we intend to maintain, highlight, and preserve this element for the future of this museum. Staging artifacts in front of the WPA paintings (figure 1) creates layers of history within the space and tells an intriguing story, while portraying a quirky, fresh atmosphere. The main function within the space will be to display rotating collections to highlight the museum’s main asset. A modern design element added to this space will be a display case that will transform into a casual sitting area (figure 2). This will become a lounge space that allows for guests to engage in an interactive environment while simultaneously becoming living art within the display.
figure 1
figure 2 12
Throughout the building, we intend that every space will be multifunctional. The mammal hall is able to be staged for a variety of events and usages.
MAMMAL HALL
The first scene (figure 1) displays the space transformed into an art gallery while discretely hiding the original cases with panels. Paintings will be hung on the walls without the distraction of display cases. Seating arrangements can be quickly changed to highlight furniture manufacturers in West Michigan. The second scene (figure 2) displays a banquet/catering extension that would interact directly with the Grand Hall. For events taking place in the grand hall, the Mammal Hall will act as a place to hold or serve food, which also helps circulate guests through the gallery spaces.
figure 1
figure 2 13
ARTIFACT GALLERIES
The first and second floor gallery spaces will be kept as display space. Large cases with no permanent background exhibit structure will allow for changing the diplays quickly. This space will be an ideal location to incorporate QR codes and digital technology that responds to the quick artifact turnover.
Utilize the original casework to respect historical integrity of the building and tell the story of the museum’s history Remove the wall between center cases to increase the visual connection between galleries Remove one end case between every other adjoining gallery to improve traffic circulation and create an experience of movement and curiosity for the visitor Incorporate clerestory windows on opposite gallery walls within each gallery space to allow for daylight harvesting within the museum interior spaces that do not have exterior windows Retain three artifact gallery spaces with no daylight access for light sensitive artifacts
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The café space started with our key concept of creating a third place easily accessible to the public. Needing its own access to the exterior and venting for food preparation led us to the added structure between the archives and the 54 Jefferson site. This addition is an excellent piece of architecture, bringing to mind the majesty and awe of the other civic buildings in the area.
CAFÉ–EXTERIOR
During a tour of the collections, we saw an exterior elevation of what was planned for the west entrance. This inspired us to continue with glass and allow the space to be opened during nice days. The open space of the outdoors will mix with the large, airy interior of the addition to create an inviting space. The open doors will create a sense of welcome, encouraging passersby to come in and enjoy a sandwich or grab a quick bite.
Exterior of café with doors closed
Exterior of café with doors open 15
The café will have space for displays to inspire and educate everyone who walks in. With artifacts on display, conversations can start among visitors, turning a cup of coffee into an impromptu educational opportunity.
CAFÉ–INTERIOR
The café will be open for the early morning crowd. Many people park in the neighborhood of 54 Jefferson, and there are not many places to grab a premade lunch or some coffee on their way to work or school. To maximize revenue potential, the café could be used as a rentable furniture prototyping space. Furniture manufacturers could test their furniture in the café where people will use them. They would get feedback from the customers, and customers would keep coming back to see what the new furniture.
Interior of café with doors closed
Interior of café with doors open 16
Along with the café, the space will have a demonstration kitchen. Demonstration kitchens are great places to learn, even if a customer is not intending to. The workers in this kitchen could be students from a culinary school or workers needing re-training. To help fund the kitchen, government grants for re-training programs are available.
DEMONSTRATION KITCHEN
The demonstration kitchen will be connected to a full kitchen, large enough to support catering for the various events that will occur either in the 54 Jefferson building or around it. The food served at the café will be quick breakfast items like pastries, lunch items, such as sandwiches and soups, as well as a dinner menu. The café will also serve alcohol.
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GIFT SHOP
The gift shop is located between the archives and the 54 Jefferson building. This location acts as a shop for visitors to both the archives and the museum.
Located in the same space as the cafĂŠ, the shop will encourage impulse buying when customers pay for their food or drink. The gift shop will sell merchandise from the artists renting the studio spaces, increasing both the revenue and the profile of the artist who created it. The purchased merchandise will enhance the experience of the customer, as every time they look at the object they will be reminded of 54 Jefferson and the things they saw or learned while they were here.
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As another way to increase the interest in the building, we chose to include three gallery and/or studio spaces at the west entrance to the 54 Jefferson building.
GALLERY STUDIOS
Gallery/studio spaces will allow artists to be inspired by the artifacts stored within 54 Jefferson. Artists can create items to sell at the gift shop, as well as in their own space on the 54 Jefferson site. The connection between the artist and museum will benefit both parties by providing a business opportunity from which both can grow. Additionally, this space will create a destination. With the new Silver Line station near St. Mary’s, foot traffic will be heavier, and these spaces will make it easier for people to check out the galleries and increase their desire to go inside the main museum. Short-term leases will be offered by the museum, generating revenue in the form of rent.
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LIVE/WORK/ RESEARCH
This space within the museum will be rented by guest curators, those wishing to research artifacts within the collections, and others, such as world-class artists coming to town for Artprize.
The communal living space with a kitchen and living room will allow for communication and collaboration between those individuals who are staying in the live/work space. This space will include places where collections can be displayed, surrounding the guest by the very artifacts they wish to study. Three separate bedrooms will be available to be rented by either an individual or a couple. These rooms will allow for personal space to relax or have uninterrupted work time. These rooms will also offer a perfect place for local designers to test new furniture, furthering the museum’s collaboration with the community.
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Recognizing that the museum is located directly on the corridor between the St. Mary’s campus and the Michigan Street medical cluster we propose providing research labs. We anticipate increased interest in research and the museum is well positioned to strengthen the connection to the life sciences – one of the core competencies of the region.
LIVE/WORK/ RESEARCH
A research lab connected to the living space will keep the live/ work guest connected to their research at all times. The lab will contain a display case for artifacts, a photo area for photography of the artifacts, ample work surface at varied heights, and storage for lab equipment. There will be access to the lab from the museum, which will allow visitors the opportunity to do artifact research even if they are not staying in the museum’s live/ work space.
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TRANSFORMABLE SPACES
This will be a place for educational institutions and businesses to collaborate and gather. It will be a transitional space where the collections create the atmosphere and support discussions. For example, if the museum is expecting a group that has an interest in music, they would be able to incorporate artifacts in the display cases that relate to music.
This area will be completely renovated because the current permanent exhibits are limiting to artifact display and turnover. Our design promotes access to the collections and frequently changing the artifact displays to encourage the community to visit the museum on a regular basis. This space supports that design, as well as enables the museum to build regional and global relationships with universities and business Access to natural daylight has a proven effect on learning and performance. We will utilize the original glass block windows to support that research and to harvest the daylight for energy conservation. Renting out these spaces will build revenue.
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This proposal originally formed as our team explored potential ways to collaborate with different artistic disciplines and the community at large. We drew inspiration from successful design competitions such as the High Line in New York City, and the Young Architects Program (YAP), which collaborates with MoMA PS1.
PROPOSAL CONCEPT
West Michigan has very few options like this for solo artists and designers, and this competition will bring a new edge to the art and design community. We focused on fast turnover to ensure that 54 Jefferson will always be evolving and forward thinking. This proposal concept will be a tool to form strong bonds and lasting collaborations, not only locally, but also with the broader regional, national and international community. The Grand Hall will be one of two proposal sites. This space will be transformed and changed seasonally as artists and designers submit proposals. This will encourage the first impression of the space to shift frequently,and keep drawing the community back. Anyone will be able to participate in this competition. This will also act as a tool to highlight and showcase individuals who are trying to be recognized for their work. Another way to draw interest to 54 Jefferson will be to hold events displaying entries at the end of each competition, opening the doors to see the exciting concepts that have been designed. Additionally, we will utilize 54 Jefferson’s only green space in an interesting way that allows for frequent transformation. The green space will be the second site for the proposal. This will create a strong link in helping the success of the cafÊ, which will be located within this zone of the museum floor plan. Examples of proposals may include community gardening, interactive projections, or live musical performances. These events that take place outside of the structure will also help to strengthen this neighborhood and unify the community.
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BRANDING
Beyond the physical design of the spaces, we focused attention on how 54 Jefferson will be marketed to the community. Through a cohesive brand identity, we will unite this space and its progams, and clearly communicate the many uses of this building. Our proposed identity and branding speaks to the heritage of this building and to its connection with the Grand Rapids Public Museum and the Van Andel Museum Center. While presenting the 54 Jefferson building and programs as their own entity, we will also position them within the Grand Rapids Public Museum as an institution.
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BRANDING
The name The name “Artifact” is an obvious nod to the building’s history as a museum and to its connection to the permanent collection. Additionally, the word can be broken down into two other words: 1) “art” which speaks to the desire for this space to be a vibrant and creative place that promotes art and design, and 2) “fact” which is a reference to the educational and research goals for this venue. The name “Artifact” also clearly positions the building and its programs as a part of the larger Grand Rapids Public Museum as it will be viewed literally as an “Artifact” of the institution.
The logo Taking inspiration from the materials used for Michigan: Land of Riches, the logo references the tagging and cataloging of the museum
collections. The shape is clearly representative of the manilla tags that are used, and the typewritten letters reference the historical aspects of these collection practices. In trying to link past and present in our designs, the letters were actually typewritten on an manual typewriter, then brought into the computer and converted to a digital file. The clean, graphic shape will interact well with the simple, graphic nature of the existing Grand Rapids Public Museum logo.
The colors
Red is a bright, warm color that evokes strong emotions. We used the color red to grab attention and to get people to take action. Using red will keep us from sinking into the background. Cool blues provide contrast and tone down the heat of red. It can be strong and steadfast or light and friendly. It is a symbol of youth; it creates a soothing effect and is the color of communication. It evokes confidence and strength.
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BRANDING
figure 1 In our connected world, a web presence will be a must for 54 Jefferson. In addition to promoting the exhibits and events in the space, the website will offer online access to the collections. This will be a way to connect visitors, both onand off-line, to online curation opportunites.
figure 2 With interior signage we will use color to separate areas of the space, as well as oversized art, such as separators or panels, to make a unique and attractive experience. Using color we will attract people to the signage or directories and allow them to move easily through the space. Additionally, we propose the spaces be named after the rivers in the area, further illustrating the connection of the museum to the community.
THORNAPPLE OFFICES RESTROOMS
MUSKEGON RESTROOMS GIFT SHOP CAFE
GRAND
MUSKEGON
THORNAPPLE
GRAND
figure 2 figure 1
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BUSINESS DEVELOPMENT
Tasked with developing programs that are directly connected to revenue streams we reached out to the Michigan Small Business and Technology Development Center at GVSU. This resource provides consultation services to institutions and businesses in our region and is excited to become more engaged with the museum on this project. The Development Center can also serve as a resource for the Studio / Gallery space business incubators as they work to establish their own business models.
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REVENUE OPPORTUNITIES
This graphic represents the proposed relationship of the 54 Jefferson programs to the overall institutional structure.
Meeting/Education Spaces
Proposal
Archives Gallery Studio Spaces
CafĂŠ
Live/Work
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REVENUE OPPORTUNITIES
The following is an outline of the proposed programs, their strategic links to the mission of the institution, their value add proposition and examples of potential local competition.
Gallery Studio Spaces
Live/Work
Examples: 1111 Godfrey Art: Downtown Calvin 106 Gallery Different uses month to month or longer Partner with Small Business center at GVSU to assist studio gallery tenants Brings new Local Businesses All rent goes toward museum’s budget
Examples: Oxbow UICA (coming in Phase 2)
Meeting/Education Spaces
Collections
Examples: 654 Crosswell The Factory
Example: Geek Group
Unique to the location at 54 Jefferson Accessible to all, they bring new awareness to the past and possibilities for the future Attract a global audience
Large or small rooms can be partitioned off in a short period of time Can be rented out based on duration and space needed All money will be directed to the Museum fund
Furnished apartment gives independence and permanent place to stay for short stay Allows the resident to fully dedicate themselves to work
Research lab provides space, equipment, and access to archives for long or short term projects; space will be available to live/work tenants and museum visitors
Propsal Café
Partner with the Culinary Instutute as an additional educational/business institution Serve as intermediate “3rd Place”to bring in revenue from surrounding neighborhood Offer new business and entertainment in a somewhat deserted part of town The café will also serve alcohol, which is a large creator of revenue when added to other services. Event Catering
Generates new visitors Creates global connections Offers solo exhibition space
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BUSINESS MODELS
54 Jefferson will bring neighborhood revitalization and inspire geographic collaboration. Additionally, it will bring educational value through the collection, eliciting collaboration with other institutions. Access to public transit (the Silver Line) will create more accessibility.
Management 2 Interchangeable staff: coordinator and front of house 1 Full-time, 1 Part-time in a job share role Duties involved: Coordinate events between other institutions Handle questions and ticket sales Strengthen collaboration Handle Gallery proposals Facility and event management
Expenses The feasibility study determines the projected costs for the construction and revitalization of the building. Includes: Bringing the building to up to code and removing hazardous materials and renovation. Build to LEED protocols Incorporate advanced building sciences whenever possible
Finances A membership that could be used by businesses as well as offering a percentage discount at other institutions Proposed Master Curator Program for educational and revenue sources Revenue from leased spaces based on monthly building costs Hosting larger events with catering and sales of alcohol
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$
Revitalization
$
Monthly Rent
$
Events & Memberships
The Grand Hall and Green Space Exhibitions and Events Program establishes a rapidly changing experience for visitors to 54 Jefferson. Engaging the broader Arts and Design communities, and linking them to the sciences, business, and education, connects the community to broader cultural experiences.
GRAND HALL/ GREEN SPACE
A Call for Proposals was tested with interesting results:
Win, Win, Wind This art installation engages students from Grand Rapids Public Schools, City High with the charge of artistically expressing the connections of alternative energy, advanced manufacturing, economic development, history, science and culture on the blade of a wind turbine. Mackinaw Power engaged a collaboration between artist Glenn Wolff, faculty and students and many businesses engaged in wind energy who worked with the school to develop a curriculum around this project.
Alois Kronschlaeger, Brooklyn N.Y. International sculptor who’s work exists at the intersection of art, architecture, fashion and design. He creates sitespecific installations and sculptures, which demonstrate a preoccupation with environment and light, as well as an interest in exploring time and space via geometry.
Patrick Ethen, Architecture, University of Michigan His installations tend to be phenomenal in nature and focus on the production of affect using minimal means.
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ACKNOWLEDGEMENTS
We would like to thank the museum for allowing us to participate in this fascinating project. For us it was both challenging and inspiring. It is indeed rare to be invited into such an interesting design problem and then to be able to work in this space surrounded by history and emotion makes the experience even more memorable. We also wish to thank the museum staff and the client team for their continued support throughout the class. Additional thanks to the many community leaders who volunteered to share their insights and expertise:
Zoe Carmichael, Zoe Carmichael Grant Carmichael, ThinkXD Mark Dyke, Rockford Construction Jeanne Ferro, Business Consultant, MI-SBTDC, Grand Valley State University Dan Gendler, Program Director, Secchia Culinary Institute, Grand Rapids Community College Birgit Klohs, Executive Director, The Right Place Alois Kronschlaeger, Fine Artist, Brooklyn, New York Klass Kwant, Video Content Production Manager, Grand Rapids Community College Mark Lewis, Executive Director, Neighborhood Ventures Grady McCrackin, Web Developer, Neucadia Gwen O’Brien, Principle, Plenty Creative Suzanne Schulz, City of Grand Rapids Planning Director Ellen Sprouls, Grand Valley State University Marcel Thibert, Vizidef Rich VanderVeen, President, Mackinaw Power Tom Wagner [and crew], Storming the Castle Pictures
Many Thanks ~
Paul Amenta, Gayle DeBruyn and the Kendall Collaborative Class of Fall 2011
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