Sony Centre for the Performing Arts Design Charrette Fall 2008
Sony Centre for the Performing Arts Design Charrette Fall 2008 Institute Director Luigi Ferrara Special Projects Director Silvio Ciarlandini Special Projects Officers Michelle Hotchin, Priscilla Li, Perin Ruttonsha Design Associates Connor Malloy, Michael McMartin, Teresa Miller, Mark Stevens Guest Experts Ron Guitar, Fernando Lopez, Andrea Mastrandrea, John Montesano, Alexi Parizeau For more information on the Institute without Boundaries or School of Design please contact: George Brown College 230 Richmond Street East Toronto, ON M5A 1P4 Tel: 416.415.5000 x2029 E-mail: info@worldhouse.ca Or, visit our website at: www.worldhouse.ca www.institutewithoutboundaries.com Warranties The information in this document is for informational purposes only. While efforts have been made to ensure the accuracy and veracity of the information in this document, and, although the Institute without Boundaries at George Brown College relies on reputable sources and believes the information posted in this document is correct, the Institute without Boundaries at George Brown College does not warrant the quality, accuracy or completeness of any information in this document. Such information is provided “as is” without warranty or condition of any kind, either express or implied (including, but not limited to implied warranties of merchantability or fitness for a particular purpose), and the Institute without Boundaries is not responsible in any way for damages (including but not limited to direct, indirect, incidental, consequential, special, or exemplary damages) arising out of the use of this document nor are liable for any inaccurate, delayed or incomplete information, nor for any actions taken in reliance thereon.
Sony Centre for the Performing Arts Design Charrette Fall 2008
Table of Contents
Forward p.6
Introduction p.9
Opportunity Analysis: 8 Strategies p.10 Overview p.14 Analysis p.18 Recommendations p.36
Design Results p.38 Design Strategy p.42 Design Concepts p.46 Program Planning p.74
Moving Forward p.82 Next Steps p.86 Risk Management p.88 Conclusion p.90
Appendices p.92
Forward
The Institute without Boundaries uses a holistic, comprehensive approach to solving complex problems such as the one presented by the Sony Centre for the Performing Arts. During an intensive design process called a ‘charrette’, professionals from different disciplines cooperate to consider all aspects of a problem and address the needs of both client and community in a single weeklong event. The result is an innovative set of solutions that have been explored and evaluated through various lenses for creativity, feasibility and practicality. The premise of this project for the Sony Centre for the Performing Arts was to explore new applications for the Centre’s interior spaces that would complement the traditional performance-based entertainment offered on its main stage. Recent changes at the Centre, such as the departure of major tenants the National Ballet and Canadian Opera Company, have created an opportunity for a complete re-imagination of the Sony Centre as a platform for the integration of new technology into the fine and performing arts in Canada and internationally. This project challenge encompassed branding, programming, long-term business planning, cultural development, and needed to consider the impact on the City of Toronto’s arts community, residents and visitors. While exploring this opportunity, it was essential to also consider the architectural history of the building itself, the juxtaposition of modern and contemporary aesthetics, the preservation and promotion of Canadian culture and the intersection of arts and technology.
Brainstorming sessions produced a wide variety of ideas that were then refined through a process of concept evaluation, client review and feasibility study. The outcomes were refined to present eight preliminary options, each of which was then separately evaluated for risks and rewards, financial feasibility, and compatibility with the existing Sony Centre for the Performing Arts brand. Based on this process of idea generation and refinement, a final strategy was chosen and expanded to a set of recommended next steps. This strategy, a proposed Digital Innovation Centre, would incorporate elements from several of the preliminary options to provide a comprehensive solution for the Sony Centre. The outcomes presented here illustrate several possible design approaches; ideally these will spark discussion and help to attract potential project partners. As Director of the Institute, I would like to thank the Sony Centre for the Performing Arts for inviting us to participate in this project, and look forward to future collaboration. By way of next steps, we recommend speaking with and visiting existing digital centres in Canada, further development of business plan and design prototypes, and the creation of a plan for a pilot project. Luigi Ferrara Director Institute without Boundaries
FORWARD
7
Introduction
The Sony Centre for the Performing Arts has a history as a leader in the arts culture of Toronto. With a reputation for high quality performances and a history of loyal audiences, the Centre is positioned to build upon these strengths as it evolves into a facility that supports the changing entertainment interests of contemporary society. Managing the dynamic between preservation and progress is essential for the Centre to successfully bridge the gap between its cultural and architectural heritage and the ever-changing landscape of digital technology. Popular entertainment is shifting from traditional performance-based arts to new media arts such as video, ďŹ lm and interactive digital content. As contemporary artists seek to explore these new media, there is an opportunity for the Sony Centre for the Performing Arts to build upon its history of excellence by expanding the formats it supports while nurturing emerging forms of digital art. As an arts landlord with a 21st century are, the Centre will be able to facilitate arts production and audience experiences that are interactive and digitally enhanced. In addition to strengthening the reputation and brand of the Centre, this would support growth in the ďŹ ne and performing arts industries and would ultimately achieve the objectives of increasing audience draw, developing long-term relationships with sponsors, and generating new revenue streams in addition to ticket sales.
While exploring the project’s opportunities, charrette participants examined and evaluated many factors, including: •
Client groups in the digital arts field, including corporations, events and festivals; precedents for digital centres locally and internationally
•
Program concepts and utilization options for the Centre’s lobby and basement spaces
•
Risks and returns of various program opportunities
•
Design schematics for the spatial layout and furnishings required to support the proposed programming
Ultimately, the Institute grounded its design strategy in the goal to merge the Centre’s reputation as a performance arts hub with Sony’s reputation as a digital entertainment leader. The designs proposed have the potential to be implemented as a phased multi-year pilot project and should be further refined to target Toronto’s growing digital arts culture.
INTRODUCTION
9
Opportunity Analysis: 8 Strategies
Overview
Analysis
Recommendations
“ There is a large network of artists and directors that could use a digital centre in Toronto. Most digital galleries are currently outside of the GTA.� Andrea Mastrandrea Founder, Paper Space Studios
Overview
To guide the initial creative process, the charrette team organized its brainstorming around six key questions: •
How could the Centre’s peripheral spaces be used to increase audience draw to main stage events?
•
How could the Centre use its existing assets to generate additional income?
•
How could the Centre develop long-term relationships with sponsors that are intimately tied to its program mandates?
•
How could the Centre become a 21st century theatre?
•
How could the Centre remain an indispensable asset to the City of Toronto?
•
How could the Centre facilitate cultural exchange between the communities of Toronto?
The result of this was an assortment of ideas that ranged from practical to fun to ambitious. From these ideas, eight distinct directions were selected, detailed and evaluated based on how well they satisfy the Centre’s main objectives of increasing audience draw, developing long-term relationships with sponsors, and generating new revenue streams.
1 2 3
Digital Innovation Centre A gathering space for Toronto’s digital arts community that would attract partnerships and participation from artists, industry and educational institutions As a cultural hub, a digital innovation centre would utilize both the cultural heritage and expertise of the Sony Centre and the digital entertainment experience of Sony. Features might include performance gallery spaces, a bookshop and a café. The Society for Arts & Technology [SAT] in Montréal is an example of an existing centre for digital arts as well as a potential partner.
Creative Lab A learning facility that cultivates creative thought, imagination and innovation Attracting family visitors and playing host to field trips for students of all levels, the lab would offer software and digital equipment that cultivates awareness and appreciation for the fine and performing arts. This would help draw in younger audiences and strengthen ties to local community members. As well, partnership with Toronto school boards would complement existing arts-based education.
Community Theatre A performance-based space connecting the Centre to Toronto’s diverse niche communities by offering a place where local groups could perform for a walk-in audience, free of charge The performance line-up would appeal to a range of tastes and could include, for example, comedians, choirs, buskers, magicians, amateur theatre troupes and ethnic dance clubs. By offering free venue space and an open-door performance, the Centre could reach new audience groups and generate word of mouth publicity.
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
15
4 5 6
Market Theatre An independent retail environment that matches high-end vendors with main stage performances Vendors could be selected to match the Centre’s international programming (for example, merchants of hand-crafted goods from Pakistan and India during a show featuring south-east Asian culture). This market would extend the activity of the nearby St. Lawrence Market and would draw a similar client group.
Agora A permanent retail lobby environment with partners selected to complement the Centre’s brand identity These retail spaces would be operated by partners and would transform the lobby into an active shopping space during the day.
Media Play A vital and current media portal that would attract downtown audiences to check out the latest in cultural and lifestyle news Partnership with a media group such as Omni or CTV Bravo would enable the Centre to animate the intersection with daytime programming and promote main stage shows and events.
7 8
Trailer Café A welcoming, café environment that also showcases teasers or “trailers” for the Centre’s performances, film releases and other cultural events in Toronto Trailers could be provided digitally or performed by live actors, and the brokering of this promotion would generate an additional revenue stream.
Digitally Equipped Gala & Events Centre An event venue that could play host to festivals, galas and product launches with special emphasis on the digital sphere As part of its venue rental services, the Centre could provide furnishings, catering services and audio-visual equipment that would support events with high new media content and requirements.
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
17
Analysis As part of the reďŹ nement process, the team analyzed each of the eight options based on their strengths, weaknesses, opportunities, threats, return on investment, market impact and brand cohesion. The results illustrate the strongest projected performers and identify concepts that balance revenue generation potential and cultural development, a key factor in the Centre’s long-term viability as an important asset to the City of Toronto.
Opportunity Matrix Positioning Brand Cohesion
High ROI
Gala & Events Centre
Digital Innovation Centre
Mall Play Media Play Creative Lab
Trailer Cafe Market Theatre
Community Theatre
Low ROI
Diversity of Attendance
Opportunity Matrix Annual Potential Revenue
1. Digital Innovation Centre $4.5-5 million per annum (10% governent, 35% rentals, 25% R&D grants, 10% kids programming, 10% concessions, 10% services based on SAT model)
2. Creative Lab $550,000 per annum (Fee for visits, workshops, and sponsorship)
3. Community Theatre $50-100,000 per annum (Sponsorship, rentals)
4. Market Theatre $200,000 per annum (Stall rentals)
5. Agora $700,000 per annum (Sponsorship, rentals) OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
19
1. Digital Innovation Centre
Strengths • Expands brand identity in new directions • Brings ‘cool’ factor • Builds in a growing niche • International Connectivity
Weaknesses • Digital content changes rapidly • Complex to manage • Digital hardware changes rapidly
Design Experience • Product launch space • Digital media gallery and annual installations (partnership with schools) • Research Showcase • Object theatre installations • Digicamp • Coffee shop • Bookstore • Special Events - Lectures & Classes
Opportunities • Addresses a need within the City of Toronto and the digital arts community • Attracts a community of young earners (32 and under) • Creates viral opportunity for Centre
Audiences • Digital Media Creation Community (gaming, robotics, graphic arts, film, animation, 3D modeling, audio, virtual reality, light, web, photography) Cyber Arts schools • Partner Universities • Corporations and Organizations: Digital Arts (as above), Software, Telecommunications, Media • “Digital Native” Generation (under 32 yrs)
Threats • Must be a leader to remain in the game
Operations • Requires a digital community administrator • Part time curators • Partnerships with post-secondary institutions • Existing staff can easily support core functions
1. Revenue to Investment
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
Revenue •
Incidentals: tickets, merchandise, concessions
•
Event: program fees, space rental fees, tech rental fees
•
Partnerships: government, institutional, vendor
•
Media: ad placement, sponsorship, in-kind
Investment •
Capital: renovations, technological infrastructure
•
Part-time labour: maintenance, security, sales, event coordination
•
Management: core staff, advisory (exhibit curation, educational program, digital integration, partnerships)
•
Real Estate opportunity costs
2. Market Impact Exposure •
Media (ticket sales)
•
Audience Traffic (sponsorship & advertising)
•
Word-of-Mouth (ancillary revenue)
•
Reputation (multi-year government grant income)
3. Brand Expansion Positioning •
Government support (grant commitments)
•
Audience expansion (increased ticket sales & memberships)
•
Sponsor support (long-term partnership renewal)
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
21
2. Creative Lab
Strengths • Engages youth • Brand alignment with Toronto, a creative city • Engages corporate clientele who could become tenants
Weaknesses
Opportunities
• Requires educational program development • New skill sets for core business staff needed • Takes up key spaces with single uses
• Addresses need for creative education in the City of Toronto • Creativity education is a growing market for corporations and schools
Design Experience • Educational programming for schools & corporations • Childcare during show times in Digicamp • A monthly revolving showcase of world’s greatest creative treasures
Audiences • Corporate Group Team Building • School Group Visits
Threats • Credibility of content (ie, do you need a spokesperson like Richard Florida) • Constant migration to next creativity fad • Many competitors with lower overheads
Operations • Requires a training partner with creativity methodology • Dedicated space with high maintenance • Educational programmer needed
1. Revenue to Investment
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
Revenue •
Incidentals: tickets, merchandise, concessions
•
Event: program fees, space rental fees, tech rental fees
•
Partnerships: government, institutional, vendor
•
Media: ad placement, sponsorship, in-kind
Investment •
Capital: renovations, technological infrastructure
•
Part-time labour: maintenance, security, sales, event coordination
•
Management: core staff, advisory (exhibit curation, educational program, digital integration, partnerships)
•
Real Estate opportunity costs
2. Market Impact Exposure •
Media (ticket sales)
•
Audience Traffic (sponsorship & advertising)
•
Word-of-Mouth (ancillary revenue)
•
Reputation (multi-year government grant income)
3. Brand Expansion Positioning •
Government support (grant commitments)
•
Audience expansion (increased ticket sales & memberships)
•
Sponsor support (long-term partnership renewal)
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
23
3. Community Theatre
Strengths • Engages community • Supports local arts groups • Draws audience from Toronto’s niche communities • Free content • Good for public relations
Weaknesses • Energy intensive • Complex to manage • Low economic viability
Design Experience • Local productions - Choir, comedy acts, artist competitions on an informal stage • Reviews of other local productions • Convertible furnishings
Opportunities
Threats
• Draw attention to venue by holding competitions • Cross pollination of different cultures • Links to other art centres and arts organizations
• Unfiltered content • Potential for brand damage by lower quality programming
Participants • • • • •
Neighbourhoods groups Theatre and dance companies Performing arts groups Multicultural groups Musicians
Operations • Addition of community animator • Use existing staff • Ease of integration
1. Revenue to Investment
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
Revenue •
Incidentals: tickets, merchandise, concessions
•
Event: program fees, space rental fees, tech rental fees
•
Partnerships: government, institutional, vendor
•
Media: ad placement, sponsorship, in-kind
Investment •
Capital: renovations, technological infrastructure
•
Part-time labour: maintenance, security, sales, event coordination
•
Management: core staff, advisory (exhibit curation, educational program, digital integration, partnerships)
•
Real Estate opportunity costs
2. Market Impact Exposure •
Media (ticket sales)
•
Audience Traffic (sponsorship & advertising)
•
Word-of-Mouth (ancillary revenue)
•
Reputation (multi-year government grant income)
3. Brand Expansion Positioning •
Government support (grant commitments)
•
Audience expansion (increased ticket sales & memberships)
•
Sponsor support (long-term partnership renewal)
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
25
4. Market Theatre
Strengths • Extends the St.Lawrence Market with arts and crafts vendors • Free Programming • Creates an open house feeling to the building
Weaknesses • Space Intensive • Competes with core business • High maintenance and high management requirements from vendors
Design Experience • Stalls • Midweek events • Promotional banners on exterior and interior
Opportunities • Sell tickets to incoming people • Connect to themes of main stage shows
Audiences • Vendors • Walkby traffic: families, business professionals, travellers
Threats • Unfiltered content • Diminishment of core business and brand image
Operations • Requires a stall marketing and sales person • Enhanced security and maintenance
1. Revenue to Investment
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
Revenue •
Incidentals: tickets, merchandise, concessions
•
Event: program fees, space rental fees, tech rental fees
•
Partnerships: government, institutional, vendor
•
Media: ad placement, sponsorship, in-kind
Investment •
Capital: renovations, technological infrastructure
•
Part-time labour: maintenance, security, sales, event coordination
•
Management: core staff, advisory (exhibit curation, educational program, digital integration, partnerships)
•
Real Estate opportunity costs
2. Market Impact Exposure •
Media (ticket sales)
•
Audience Traffic (sponsorship & advertising)
•
Word-of-Mouth (ancillary revenue)
•
Reputation (multi-year government grant income)
3. Brand Expansion Positioning •
Government support (grant commitments)
•
Audience expansion (increased ticket sales & memberships)
•
Sponsor support (long-term partnership renewal)
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
27
5. Agora
Strengths • Positioning with high value brands • Steady foreseeable income • Low maintenance
Weaknesses • Chews up space • Too corporate in appearance • Potential for brand confusion
Design Experience • Permanent, in-facility retail outlets • Designed point of purchase and/ or mini stores • Product premiere/showcases with each outlet
Opportunities • Tangible sponsorship benefit • Add-on to existing program as a pre-show
Audiences
Threats • Sponsor withdrawal • Must provide sponsors with ongoing value
Operations
• Brand vendors (Dunhill, Omega, • Minimum impact on operations • Some capital expenditures and BMW, Swarovski) renovations • Walkby traffic (families, • Staffing of mini stores by vendors business professionals, travellers, Centre attendees)
1. Revenue to Investment
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
Revenue •
Incidentals: tickets, merchandise, concessions
•
Event: program fees, space rental fees, tech rental fees
•
Partnerships: government, institutional, vendor
•
Media: ad placement, sponsorship, in-kind
Investment •
Capital: renovations, technological infrastructure
•
Part-time labour: maintenance, security, sales, event coordination
•
Management: core staff, advisory (exhibit curation, educational program, digital integration, partnerships)
•
Real Estate opportunity costs
2. Market Impact Exposure •
Media (ticket sales)
•
Audience Traffic (sponsorship & advertising)
•
Word-of-Mouth (ancillary revenue)
•
Reputation (multi-year government grant income)
3. Brand Expansion Positioning •
Government support (grant commitments)
•
Audience expansion (increased ticket sales & memberships)
•
Sponsor support (long-term partnership renewal)
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
29
6. Media Play
Strengths • Guaranteed coverage of events • Profile of new brand in media
Weaknesses • Overtly commercial content • Competing media backlash
Design Experience • • • •
Contests In-house show tapings Consistent advertising In house presence of broadcaster using media infrastructure
Opportunities • Capitalize on prime corner position at Yonge and Front st.
Audiences • Partnership with television stations or web outlets • Television audiences • Centre attendees • Web audiences
Threats • Excludes event coverage from other media • Possible limitations to advertising on public corner
Operations • Presence of media partner • Staff in centre as programming required
1. Revenue to Investment
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
Revenue •
Incidentals: tickets, merchandise, concessions
•
Event: program fees, space rental fees, tech rental fees
•
Partnerships: government, institutional, vendor
•
Media: ad placement, sponsorship, in-kind
Investment •
Capital: renovations, technological infrastructure
•
Part-time labour: maintenance, security, sales, event coordination
•
Management: core staff, advisory (exhibit curation, educational program, digital integration, partnerships)
•
Real Estate opportunity costs
2. Market Impact Exposure •
Media (ticket sales)
•
Audience Traffic (sponsorship & advertising)
•
Word-of-Mouth (ancillary revenue)
•
Reputation (multi-year government grant income)
3. Brand Expansion Positioning •
Government support (grant commitments)
•
Audience expansion (increased ticket sales & memberships)
•
Sponsor support (long-term partnership renewal)
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
31
7. Trailer Cafe
Strengths • Targeted to the café’s captive audience • Highlight city events through local advertising • Viral opportunities for marketing
Weaknesses • Overtly commercial • Already available online • Requires content development and production
Design Experience • “The making of the arts” reels • Café and Lounge
Opportunities
Threats
• Capitalizes on real estate position to sell advertising • Could play content in Sony stores in malls, extending presence • Sell time on exterior and interior television screens to provide content that animates the space
• Conflict of interest between sponsorship agreement
Audiences
Operations
• Walkby traffic (families, business professionals, travellers, Centre attendees)
• Contracted company to create trailers • Café franchise
1. Revenue to Investment
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
Revenue •
Incidentals: tickets, merchandise, concessions
•
Event: program fees, space rental fees, tech rental fees
•
Partnerships: government, institutional, vendor
•
Media: ad placement, sponsorship, in-kind
Investment •
Capital: renovations, technological infrastructure
•
Part-time labour: maintenance, security, sales, event coordination
•
Management: core staff, advisory (exhibit curation, educational program, digital integration, partnerships)
•
Real Estate opportunity costs
2. Market Impact Exposure •
Media (ticket sales)
•
Audience Traffic (sponsorship & advertising)
•
Word-of-Mouth (ancillary revenue)
•
Reputation (multi-year government grant income)
3. Brand Expansion Positioning •
Government support (grant commitments)
•
Audience expansion (increased ticket sales & memberships)
•
Sponsor support (long-term partnership renewal)
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
33
8. Gala & Events Centre
Strengths • Reaches out to new audience • Strong tie to the Centre’s existing business model • Staff know business
Weaknesses • Creates scheduling conflicts which need to be managed • Requires extra maintenance and capital upgrades • Causes wear and tear on facility
Design Experience • Convertible lolly space for gala & events • Reconfigured space on lower level with folding walls to create expandable meeting rooms • Convertible furnishings for events, kiosks, and storage
Opportunities • Capitalize on beauty and elegance of the lobby space. • Capitalize on the reputation of a heritage space. • Market main stage events to conference and event crowd • Partner with meeting and event planners
Audiences • Corporate events clientele • Festival planners • Meeting and event planners for conferences • Niche (Digital arts, entertainment, technology)
Threats • Demand for festival bookings on evenings and weekends, during Centre’s main stage time • Highly competitive market
Operations • Requires additional staffing for events • Events booking agent
1. Revenue to Investment
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
LOW
MEDIUM
HIGH
Revenue •
Incidentals: tickets, merchandise, concessions
•
Event: program fees, space rental fees, tech rental fees
•
Partnerships: government, institutional, vendor
•
Media: ad placement, sponsorship, in-kind
Investment •
Capital: renovations, technological infrastructure
•
Part-time labour: maintenance, security, sales, event coordination
•
Management: core staff, advisory (exhibit curation, educational program, digital integration, partnerships)
•
Real Estate opportunity costs
2. Market Impact Exposure •
Media (ticket sales)
•
Audience Traffic (sponsorship & advertising)
•
Word-of-Mouth (ancillary revenue)
•
Reputation (multi-year government grant income)
3. Brand Expansion Positioning •
Government support (grant commitments)
•
Audience expansion (increased ticket sales & memberships)
•
Sponsor support (long-term partnership renewal)
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
35
Recommendations
The results of these evaluations clearly demonstrate which strategic directions best address the Centre’s long-term business goals, while also identifying strategies that might be used to support these directions. Based on this, the charrette team recommends that the Sony Centre for the Performing Arts develop a comprehensive Digital Innovation Centre that would include features from the Gala & Event centre and Creative Lab concepts. Aspects of the Community Theatre, Trailer Café and Media Play concepts can also be incorporated to support the concept. The reasons for this recommendation are:
Positioning Analysis Return on Investment Brand Expansion Market Impact
1. Digital Innovation Centre 2. Creative Lab 3. Community Theatre 4. Market Theatre 5. Agora
Key
1. Digital Innovation Centre 8. Gala & Events Centre
6. Media Play 7. Trailer Café 8. Gala & Events Centre Secondary
Inconsequential
Community Theatre, Creative Lab, Media Partner
Agora, Trailer Cafe Market Community
City Info Centre Pre-Shows DigiCamp
•
The Digital Innovation Centre is an ideal extension of the Sony Centre for the Performing Arts’ existing brand identity, and would integrate the Centre’s reputation as a cultural hub with Sony’s experience in digital technology. In addition, it would position the Centre as a pioneer and leader in an emerging field that is currently under-represented in Toronto, creating favourable recognition from new audience groups, partners and government.
•
Galas & Events could be staged using the infrastructure of the Centre with minimal additional investment and offer high revenue returns.
•
A digital version the Creative Lab would be a natural complement to the Digital Innovation Centre, facilitating outreach to younger audiences through schools and family activities.
•
Community Theatre activities related to main stage events could serve to attract walk-in traffic prior to each show.
•
A modified Trailer Café concept could incorporate a café and bookstore focused on recent works in digital arts and entertainment.
•
The Media Play concept could be modified into a City Info Centre that broadcasts current news in arts and entertainment, and offers a link to the City’s cultural events.
•
While the Market Theatre and Agora concepts would serve to activate the space during the day with walk-in traffic, the audience draw and resulting revenues are not high enough to justify the extra resources required to administer it, or the wear-and-tear on the lobby space.
OPPORTUNITY ANALYSIS: EIGHT STRATEGIES
37
Design Results
Design Strategy
Design Concepts A. Digit B. Centre Spot C. CafĂŠ D D. City Info Centre Technology Upgrades
Program Planning
“ The Centre can use technology to extend Sony’s existing gaming and interactive media community, and connect people offline as well as online.” Alexi Parizeau Motion Graphics Designer, Capital C
Society for Arts & Technolog [SAT]
Design Strategy
Montreal, QC Founded in 1996, a transdisciplinary centre devoted to research & presentation in the field of digital culture.
Toronto, ON Founded in 2002, a non-profit network for digital artists to share ideas, opinions, and experiences.
This map of the world illustrates the growing trend to establish digital centres in major urban hubs. As of yet, Toronto is without a major digital centre.
V2_ Institute for Unstable Media Rotterdam, NL An interdisciplinary center for art and media technology, founded in 1981.
Digital Arts Museum [DAM] Berlin, Germany [DAM] is an on-line museum with a comprehensive exhibition of Digital Art Taiwan Digital Art & Information Centre Taipei, Taiwan Web-based organization associated with the National Taiwan Museum of Fine Arts.
Hong Kong Arts Centre ARS Electronica Linz, Austria Event-based digitally enabled spaces built in 1996.
Hong Kong Primarily art-centric, also presents conference, art festivals and public art.
DESIGN RESULTS
43
Design Strategy
The Sony Centre for the Performing Arts has an incredible opportunity to take advantage of their partner Sony’s expertise and leadership in technology and entertainment. Together they can create a space equipped with some unique and compelling features, and position the Centre as a venue that offers state-of-the-art technological support to a growing niche market of digital festivals and events. By taking on this pioneering role within the digital arts community, the Centre would access new media content and digitally enhanced performances, and would have the opportunity to bring the world to Toronto through shared exhibit content with digital centres in locations such as Montreal, Hong Kong and Berlin. As a leader in this emerging industry, the Centre would increase its value as a cultural asset for the City of Toronto, the digital arts community, local schools and city residents. It would reach out to new audience groups, attract new partners, become active with discussion groups, host product launches and award ceremonies and engage local residents and business people. To detail this strategy, the charrette team expanded the Digital Innovation Centre concept as four integrated but distinct programs:
A. Digit: Toronto’s Centre for Digital Arts and Technology B. Centre Spot: A gala and event lobby that highlights Sony technology C. CafÊ D: A stop for the latest discourse in performing arts, entertainment & digital media D. The City Centre: An information centre and juice bar with digital ticket wickets and timely news broadcasts
DESIGN RESULTS
45
Design Concepts
A. Digit A facility for Toronto’s Digital Arts Community. The Digit concept is based on the Digital Innovation Centre strategy, and the program for this initiative could draw inspiration from other digital centres such as the Digital Arts Museum [DAM] in Berlin,the Society for Arts and Technology [SAT] in Montreal, the Hong Kong Arts Centre and the V2_Institute for Unstable Media in Rotterdam. The Centre could also seek to collaborate with these groups to share resources and exhibition content, and jointly commission new work. The primary objective of Digit would be to attract new audience groups while extending and strengthening the Centre’s brand identity. The secondary objective would be to explore the intersection between arts and technology, which could be realized through strategic partnerships, hosting industry lectures on current topics, and offering artists workshop space for software testing or the production of new work. Through this initiative, the Centre would reach out to artist communities through the curation of special exhibitions; to industry by hosting special events such as web launch parties; to educational institutions by offering research space and learning opportunities; and, to local communities by offering unique interactive experiences for schools and families. The Digit program would include gallery, learning and event spaces with breakout rooms and state-of-the-art technological infrastructure. The gallery space would be curated by an advisory committee, which might include representatives from educational institutions and technology companies, as well as artists and digitally savvy young people. The learning space could be operated by one of the educational partners in collaboration with the Director of Technology, and school groups could be hosted for full- or half-day field trips. Finally, the event space could be managed by a marketing specialist who would recruit corporate events and festivals within the digital arts and entertainment industry.
Artist rendering of interactive grafďŹ ti wall
DESIGN RESULTS
47
A. Digit
TOP LEFT: Tomorrowland in Hong Kong Disneyland. Photo by Atlantide Phototravel. TOP RIGHT: Interior of pavilion at EXPO 2005 Aichi. Photo by Priscilla Li BOTTOM LEFT: VW dataterrain exhibit by Hani Rashid BOTTOM RIGHT: Photo by Ausloeser
TOP: Interactive tabletop featured at EXPO 2005 Aichi. Photo by Priscilla Li. BOTTOM: Reactrix Media Network Interactive Advertising. Photo by Najlah Feanny.
TOP: Girl Using Virtual Reality Simulator. Photo by George Logan. BOTTOM: Electronic Arts branded environment with gaming consoles in Hong Kong. Photo by Priscilla Li.
DESIGN RESULTS
49
A. Digit
Examples of modular furniture OPPOSITE PAGE: Three-in-one by Roel Verhagen-Kaptein. THIS PAGE, Top: Fence Chair by Alain Berteau. Left: extending dining set by Marta Antoszkeiwicz.
DESIGN RESULTS
51
A. Digit
14
20 45
Proposed oorplan for Digit
40
48
52
40
DESIGN RESULTS
53
A. Digit
Artist rendering of interactive multimedia kiosk
DESIGN RESULTS
55
B. Centre Spot A digitized stage that uses Sony technology to extend and enhance the entertainment experience Based on the Community Theatre strategy discussed in previous sections, the primary objective of this program would be to inuence ticket sales by providing local communities with a taste of the Centre’s main stage shows. Centre Spot would be open to a walk-in audience prior to main stage events, and would host special pre-show programming linked to the feature production. This program could be presented by the show producer, or by a local community group, and could incorporate live and digital content. The pre-show could also include an audio-visual light display which demonstrates how Sony technology has enhanced the theatre experience.
Artist rendering of the Treasure Chest
Artist rendering of lobby featuring live pre-show performance
DESIGN RESULTS
57
B. Centre Spot
TOP: Photo by Fabbio via ickr BOTTOM: Photo by Martyn Goddard
TOP: Video display inside the Australian pavilion at the World Expo Aichi. Photo by Priscilla Li
TOP: Photo by Morgan David de Lossy BOTTOM: Chords Bridge inauguration. Photo by Jim Hollander
DESIGN RESULTS
59
B. Centre Spot
Artist rendering of interactive modular lobby furniture
DESIGN RESULTS
61
C. Café D A stop for the latest discourse on performing arts, entertainment & digital media, where anyone can meet and relax over a light refreshment Café D builds on the Trailer Café concept discussed in previous sections. This café/ bookstore would be operated by one or more retail tenants, and would bring life and traffic to the Centre during the day, animating the streetscape. As a resource for literature on the fine, performing and digital arts, Café D would reinforce the Centre’s brand and become a meeting spot for local residents and business people, and might host events such as interviews with show directors, book readings and signings, and roundtable discussions. The café would also bring some transparency to the theatre on the main streetscape. For example, the walls could include glass windows that expose parts of the main lobby; and, in addition to food, beverages and books, Café D would sell show tickets and merchandise.
Artist rendering of outdoor cafe
DESIGN RESULTS
63
C. CafĂŠ D
Tangei convertible furniture by Akemi Tanaka
FROM TOP, LEFT TO RIGHT: Barista photo by Fancy. Cafe & Bookstore by Klein Dytham Architecture. Woman using a laptop photo by Fancy. Friends having drinks photo by George Shelley. Lobby cafe photo by Anonymous. VIP Backstage pass photo by Priscilla Li.
D. City Info Centre A portal for the latest news in performing arts and entertainment, where anyone can come to book tickets for municipal and provincial cultural events The City Info Centre is a modification of the Media Play strategy discussed in previous sections. Partnering with a broadcaster such as CTV, the Info Centre would televise current arts and entertainment news, as well as content specific to the Centre’s shows and other cultural topics. The Centre may also wish to partner with the City of Toronto and the Province of Ontario to provide digital access to tickets and information on cultural events hosted by the City or Province.
Artist rendering of the Info Centre broadcasting real-time content
DESIGN RESULTS
67
D. City Info Centre
Personal computing kiosks at the Toronto Stock Exchange
TOP: Man at cafe photo by Rick Gomez. BOTTOM: Girls having a drink photo by Rainer Holz.
Artforum public lounge by Vivavi
DESIGN RESULTS
69
D. City Info Centre
Large scale video project with 500 monitors photo by Louie Psihoyos
TOP: NYSE advanced trading oor by Hani Rashid BOTTOM: VW dataterrain exhibit by Hani Rashid
DESIGN RESULTS
71
D. City Info Centre
Artist rendering of City Info Centre with live video feeds
Technology Upgrades Transforming the Sony Centre for the Performing Arts into a state-of-the-art digital centre may require some technology upgrades, as well as a plan for technology operations management. Depending on the project, digital arts installations will have differing hardware requirements, and may entail custom integration of rented devices or elements with the Centre’s supporting infrastructure. To operate as an attractive high-tech rental venue, the Centre should aim to design a flexible environment that can accommodate a range of digital devices which can be easily upgraded or replaced. The basic infrastructure of this flexible environment could include, for example, plain white or black rooms, accessible cable-runs and control panels, wifi repeaters, and networked lighting and surround sound. An environment that can be adapted to suit the needs of each artist or client will have greater value in the long term. A combination of projector and OLED screen technology will result in stunning images and flexibility for large or small-scale installations. High quality internet access will be critical for many projects, and would allow remote involvement for events with international audiences and/or multiple stages in various locations. This could be accomplished using a fibre optic connection with scalable bandwidth to suit the needs of the installation. Additional equipment could be added to the Centre’s hardware capabilities on an as-needed basis, and may include: • Wireless microphone system with multiple receivers • 3D Projection Systems • Video Conferencing Systems • SketchPads • Programmable Palms: Electronic hand devices that could support events by facilitating audience interaction and sales of merchandise and concessions • Interactive Computer Kiosks
DESIGN RESULTS
73
Program Planning
Morning
Monday MORNING
DIGITORONTO
Digit
Tuesday EVENING
Robotics Today: Product Launch & Discussion Panel Digital Discovery Trip: Rose Avenue Grade 5 Class
PRE-SHOW
MIND MAP
Retail
Analogue Cafe
Centre Spot
DIGITHEATRE
The diagrams that follow detail how the four program concepts would operate within the Centre’s lobby and basement spaces over the course of one day and one week.
PRE-SHOW
DIGISCAPE
MORNING
Digital Urban Hub Special Programming
Sony Toronto
Corporate
Merchandise Sales
Merchandise Sales
Ticket Sales
Ticket Sales
EVENING
Pre-Show
Wednesday MORNING
PRE-SHOW
Lunch & Learn: Integrated Webcasting into your Business
EVENING
Evening
Thursday MORNING
PRE-SHOW
Friday EVENING
MORNING
PRE-SHOW
Saturday EVENING
MORNING
PRE-SHOW
Feb 11: IT Cloud Camp
Playdium 3: Night Rider Release Party
Software Trials: GBC 2nd Year Game Designers
MIND MAP
EVENING
Playdium 3: Night Rider Release Party
LIGHT UNVEILED
LIGHT UNVEILED Launch Party
THG Web Launch Party
Family Digital Discovery Hour
Feb 11: IT Cloud Computing Festival
Playdium 3: Night Rider Release Party
Interview with Charles Eaves
Merchandise Sales
Merchandise Sales
Merchandise Sales
Book Signing with Playwrite Charles Eaves
Merchandise Sales
Exclusive Event Opening
Ticket Sales
Ticket Sales
Ticket Sales
Robotics Today: Product Exclusive Launch & Discussion Event Panel Opening
DESIGN RESULTS
75
January SUNDAY
The following charts detail events and festivals that fall within the digital/ technology/ entertainment niche, and take place annually in Toronto. This is only a sample of potential clients who could benefit from the Centre’s facilities.
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
29
30
31
U of T New Music Festival / Jan 20-23
25
26
27
28
International Chamber Music Fest / Jan 20-23
Wintercity Festival
February SUNDAY
MONDAY
1
TUESDAY
2
WEDNESDAY
3
4
THURSDAY
FRIDAY
SATURDAY
5
6
7
13
14
20
21
IDS / Feb 6-8 Wintercity Festival / Jan 30 - Feb 12
8
9
10
IDS / Feb 6-8
11
12
Cloud Computing
Wintercity Festival / Jan 30 - Feb 12
15
Film Festivals
16
Car Show
17 18 19 Kiwanis Music Festival of Greater Toronto / Feb 17-27
Podcamp
Misc. Festivals
International Car Show / Feb 13-22
Trade Shows
22 23 24 Kiwanis Music Festival of Greater Toronto / Feb 17-27
Conferences
25
26
Podcamp Car Show
World of Comedy Film Festival / Feb 25 - Mar 1
27
28
March SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
1
2
3
4
5
6
7
8
9
10
11 New Ideas Festival / Mar 11-28
12
13
14
Comedy
CUTC / Mar 12-14 Cut & Paste
15 New Ideas Festival / Mar 11-28
16
17
18
19
20
21
Paprika Theatre Festival / Mar 19-29
22 23 Paprika Theatre Festival / Mar 19-29
24
25
26
27
28
Canadian Film Festival / Mar 24-28 Female Eye Film Festival / Mar 26-29 Cinefranco / Mar 27-Apr 5
29
30
Paprika Theatre
31
Female Eye Film Cinefranco / Mar 27-Apr 5
April SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
1 Kiwanis Dance Festival / Apr 1-5
FRIDAY
2
SATURDAY
3
4
11
Images Festival / Apr 2-11 Cinefranco / Mar 27-Apr 5
5 Kiwanis Dance
6
7 Mesh / Apr 7&8
13
14
8
9
10
15
16
17
Images Festival / Apr 2-11
Cinefranco / Mar 12
IT360
18 Sprockets Jewish
19
20
21
22
23
29
30
24 Green Living Show / 24-26
25
Sprockets International Film Festival for Children / Apr 18-24 Toronto Jewish Film Festival / Apr 18-26 FITC / 25-28
26
27
28
Green Living Jewish Flash in the Can / Apr 25-28
Hot Docs
DESIGN RESULTS
77
May SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
1 CONTACT / May 1-31
2
Hot Docs / Apr 30-May 10 3 4 CONTACT Photography Festival / May 1-31
5
6
7
8
9
Comic Arts
Massive Tech Show
Caucasian International Dance Festival / May 6-9 Hot Docs / Apr 30-May 10 10
11
12
13
14
15
16
Comic Arts CONTACT Photography Festival / May 1-31
Circus
Hot Docs
Inside Out Film Fest / May 14-24
17 Circus Festival / May 16-18
18
19
20
21
26
27
28
22 Anime North / May 22-24
23
Inside Out Gay & Lesbian Film Fest / May 14-24 CONTACT Photography Festival / May 1-31 24 Anime North / May 22-24
25
29
30
Inside Out CONTACT Photography Festival / May 1-31 31
CONTACT /
June SUNDAY
MONDAY
TUESDAY
1
WEDNESDAY
2
THURSDAY
3
4
FRIDAY
SATURDAY
5 Buskerville / June 5-7
6
Luminato
7
8
9
10
11
12
13
18
19
20
Buskerville / Luminato / June 6-15
14
15
16 17 Worldwide Short Film Festival / Jun 16-21
Luminato / June 6-15
North by Northeast / Jun 17-20 Gay Pride / June 19-28
21
Film Festivals
Worldwide
Misc. Festivals
Gay Pride / June 19-28 28
Trade Shows Conferences
Gay Pride /
22
23
29
30
24
25
26
27
July SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
1
2
3
4
9
10
11
17
18
25
Fringe Theatre Festival / Jul 1-12
5
6
7
13
14
8
Fringe Theatre Festival / Jul 1-12 Carribean Tales Film Festival / Jul 8-12 12 Fringe Theatre
15
Carribean
16
Just for Laughs / Jul 16-19 19
Laughs
20
21
22
23
24
29
30
31
WEDNESDAY
THURSDAY
Toronto Summer Music Festival / Jul 20-Aug 16 26
27
28
Toronto Summer Music Festival / Jul 20-Aug 16
August SUNDAY
MONDAY
TUESDAY
FRIDAY
SATURDAY
1 Irie Summer 2
3
4
5
6
Irie Music Festival / Aug 1-4 (08)
7
8
Summer Works / Aug 7-17
Toronto Summer Music Festival / Jul 20-Aug 16 9
10
11
12
13
14
15
17
18
19
20
21
22
24
25
26
27
28
Summer Works Toronto Indie Theatre / Aug 7-17
Toronto Summer Music Festival / Jul 20-Aug 16 16 Summer Works / Aug 7-17
Summer
Fan Expo 23
29
Ashkenaz Festival / Aug 26-Sept 1
Fan Expo / Aug 22-24 30
Urban Music 31
Ashkenaz / Aug 26-Sept 1
Urban Music / Aug 29-Sep 6
DESIGN RESULTS
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September SUNDAY
MONDAY
TUESDAY
WEDNESDAY
1
2
THURSDAY
FRIDAY
SATURDAY
3
4
5
10
11
12
Ashkenaz T.O. Urban Music Week / Aug 29-Sep 6 6
7
8
9
14
15
16
17
18
19
24
25
26
Virgin Music Fest / Sep 6&7 Urban Music
Toronto International Film Festival / Sep 10-19 13
Toronto International Film Festival / Sep 10-19 20
21
22
23
27
28
29
30
IIDEX NEOCON / Sep 24-26
Word on the Street
October SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
1
FRIDAY
SATURDAY
2
3 Nuit Blanche
4
5
6
7
8
9 Indie Week / Oct 9-11 (08)
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
Indie Week /
Film Festivals Misc. Festivals Trade Shows Conferences
Planet in Focus Environmental Film Festival / Oct 21-25 25
Planet in Focus
26
27
28
29
30
31
November SUNDAY
MONDAY
1
TUESDAY
2
WEDNESDAY
3
THURSDAY
4
FRIDAY
SATURDAY
5
6
7
Future in Game Play Conference / Nov 3-5
8
9
10
11
12
13
14
15
16
17
18
19
20
21
27
28
Allucine
22
23
24
25
26
Allucine Latin Media Festival / Nov 20-29
29
30
Allucine
December SUNDAY
MONDAY
TUESDAY
WEDNESDAY
1
2
THURSDAY
FRIDAY
3
SATURDAY
4
5
Construct Canada / Dec 3-5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
DESIGN RESULTS
81
Moving Forward
Next Steps
Risk Management
Conclusion
“ The Centre could be a signature space if it became a digital extension of the festivals - a virtual ‘plug & play’ outlet and a portal to international communities.” John Montesano Vice President, TLN
Next Steps
The concepts proposed in this report would require further development that might include the cultivation of new partnerships, market research, technological needs evaluations, design idea reďŹ nement and testing of possible products. This process could be phased over several years and seek support from various levels of government and other project partners. Planning phases for a pilot project might unfold as follows:
1. Investigate the Business Model
Visit the Society of Arts and Technology [SAT] in Montreal, and meet with other international digital arts centres to determine viability for the Sony Centre. Discuss possible collaborations.
2. Investigate Toronto’s Digital Community
Perform a scan of Toronto’s digital arts community, including artists, corporations, festivals and events to determine which aspects of digital culture are most lively in the GTA (and which could benefit from further support.)
3. Develop a Business Model
Based on the results of investigations, develop a business plan for the program which includes an outline of objectives, services and fees, as well as management and staff requirements.
4. Complete a Feasibility Report
Investigate potential revenue streams, such as government grants and strategic partnerships, and detail capital and operations costs.
5. Garner Support
Present the multi-year pilot project concept to the Centre’s board of directors, and seek approval from the City.
6. Develop Partnerships
Develop a network of partners, supports and resources, and begin creating Memorandums Of Understanding (MOUs) to work with prospective associates.
7. Develop Design
Refine spatial plans, furniture designs and technical schedules. Create furniture prototypes for on-site tests and user feedback.
8. Execute Pilot Project The design work presented in this report is a conceptual illustration. During the design development phase the Centre may choose to allocate the programs and rooms differently, in addition to exploring other opportunities such as opening up the box office, transforming the front driveway into a pedestrian-friendly promenade, and creating exterior furnishings for the plaza.
MOVING FORWARD
87
Risk Management
The influence of participating stakeholder groups, as well as the Centre’s surrounding context, could have a significant impact on the ultimate success of the pilot project. When executing this program, there are some important dynamics to monitor:
Board of Directors
The project can only have as much depth and strength as the Centre’s Board of Directors will allow. It is critical that key Board members understand and support the project vision, and are capable of championing its implementation.
Internal Staff
The internal staff will bring the project to life. It is critical that they share enthusiasm for the project and are given clear roles in leading its execution; and are also aware of the responsibilities of new staff members.
City
To ensure support from the City, the project vision should align with Toronto’s cultural strategy, and be distinct from other cultural venues such as the Toronto Centre for the Arts and the St. Lawrence Centre.
Province
By cultivating a partnership with CONCERT (The Consortium on New Media, Creative and Entertainment R&D in the City of Toronto) at York University, the Centre could gain participation from the Ministry of Research & Innovation and Ministry of Culture.
Country
Access to federal grant money will be greater if the Centre aligns its policies with other Canadian digital media centres as part of a national digital arts strategy.
Economy
As the economy cycles, support from partners may waver or disappear. The Centre must be prepared to secure alternate sources of funding, or to re-task the spaces and infrastructure if the pilot project is unsuccessful.
Technology
Technology can change rapidly, and the Centre must keep itself informed and conversant on technological development.
Digital Community
As rapidly as technology changes, so too will the tastes and preferences of the digital community. Engaging members of this community, including young digital participants, through an advisory committee is one means of staying up-to-date.
MOVING FORWARD
89
Conclusion
“ After successful completion of a fiveyear pilot project, the Sony Centre for the Performing Arts will become known as a place for unique entertainment experiences that reflect the diversity, innovation and creativity of the City of Toronto.” Luigi Ferrara Director, School of Design
Appendices
A. World House
B. About the Team
A. World House Matrix The Institute without Boundaries has categorized the basic elements of housing design into a Matrix system, which is used as a framework for generating holistic and innovative results during the design process. The Institute uses the Matrix primarily for housing design challenges, although it can be adapted to suit other scenarios. As part of this charrette, the Institute applied the Matrix to consider the following aspects of the project’s context: Climate
Energy, Air, Construction
Terrain
Food, Water, Waste
Economy
Finance, Communication, Mobility
Culture
Social, Identity, Spatial
B. About the Team The Institute Silvio Ciarlandini is a Principle with P2 – a social innovation company with a mandate to create partnerships that develop sustainable, intelligent, affordable and universal urban communities. He is also Director of Special Projects at the Institute without Boundaries. Luigi Ferrara is the Director of the Centre for Arts and Design at George Brown College and the Institute without Boundaries. He is a registered architect, a Senator with the the International Council of Societies of Industrial Design (ICSID) and a member of the Association of Chartered Industrial Designers. His consulting firm Co. Ferrara Inc. provides strategy for branding and design, real property, consumer products and media properties. Michelle Hotchin is a Project Manager at the Institute without Boundaries. Prior to joining the IwB, she was the Manager of Research & Operations at the Beal Institute for Strategic Creativity, and brings extensive experience in project management, design research, intellectual property development, communications and resource management. Priscilla Li is the Project Coordinator at the School of Design. She is passionate about research and design, and has worked with the Beal Institute for Strategic Creativity, the International Council of Societies of Industrial Design (ICSID), the Virtual Museum of Canada (VMC) and has assisted in the development of courses at George Brown College and the Ontario College of Art & Design. Perin Ruttonsha is the Special Projects Officer at the Institute without Boundaries, and an artist who also specializes in strategic planning. Recent projects include developing a marketing and business growth strategy for environmental magazine, Alternatives Journal, and children’s arts programming for non-profit group, Art City.
Satellite Team Connor Malloy is a driven leader, passionate about working with inter-disciplinary teams to develop architectural and design projects centred on social and environmental sustainability. He holds an undergraduate degree in Interior Design from Ryerson University, and is a recent graduate of the Institute without Boundaries in Toronto, Canada. Michael McMartin holds an undergraduate degree in Landscape Architecture from the University of Guelph, and completed a Masters of Interior Design while living in Italy. Working for top interior firms in the Toronto, McMartin brings a critical and detailed eye to all of his projects. Teresa Miller’s background in the sciences strengthens her perspective on environmental considerations while her understanding of the design process allows her to fully engage in design discussions. Her interests in sustainable design range from housing-based initiatives to larger institutional projects. Mark Stevens has a BA in Philosophy from the University of North London, and is a graduate of Business Management from the University of Wales, Lampeter. He has worked as a Creative Director at Nycomed, a Global Health Project Manager for Novo Nordisk, an Associate at Burson-Marstellor London and a Senior Associate for its Copenhagen branch. He continues to work in communications and has developed projects with IDEO, Interbrand and McCann Advertising.
APPENDICES
95
Guest Experts Ron Guitar, CMP, has over 25 years experience in the meetings and events industry, and has held various positions of responsibility including Vice President of Meeting & Event Services – Design Exchange, Director of Sales and Director of Operations – The Southam Audio Visual Group, and as Managing Director of Project Management. Guitar holds a Certified Meeting Professional accreditation, conferred by The Convention Liaison Council – the International Hospitality Industry organization that sets and recognizes high standards in proficiency in meeting and events management, as demonstrated by substantial professional experience and superior examination performance. An active member of various industry associations, Guitar is a former President of Meeting Professionals International – Toronto Chapter, past member of ISES, CHMSE, NACE and Tourism Toronto, and is a recipient of industry awards for industry contributions. Currently, Guitar is involved with Corporate Social Responsibility programs and Green Meetings Initiatives being implemented in North America, and serves on the Board of ideaNation, a Toronto based community volunteer organization. Fernando Lopez is an architect and urban planner by education, and a master craftsman by trade. At present, he owns and operates Design 2100, a custom millwork studio that offers design and fabrication services for residential, business and institutional applications. Andrea Mastrandrea graduated with a bachelor of Architecture from the al&d School of Architecture at the University of Toronto in 1998. He has worked for and collaborated with several Toronto and internationally based design firms, with projects ranging in furniture, industrial, interior and architectural design applications. Most recently, Mastrandrea founded PAPERspacestudio. His passion for baking and architecture has led him to create several site-specific, large-scale bread installations and photography exhibits throughout Toronto and the United States. He has also opened various food establishments in collaboration with chefs. John Montesano is a Toronto-based media and live event specialist. He is currently the Vice President and General Manager at TLN Television, Canada’s Latin Superstation. At TLN, he has launched a series of innovative multimedia and event projects including the Salsa on St. Clair Festival. Prior to joining TLN, he was a columnist for The Toronto Star and had worked for ten years as a media content creator for print, radio and television. During this period he was also the co-owner and editor of Eyetalian, an English language magazine about Italian culture in Canada. Alexi Parizeau has extensive expertise in creating interactive online experiences, applications and designs. His work has recently won the Gold PROMO Award for Best Use of Interactive Media, and his projects have been featured at the Canadian Pavilion in the World Expo 2005, IdeaCity & TEDCity Conferences, the Interior Design Show, and the 2000 Olympics in Sydney, Australia. He is currently a Senior Interactive Designer & Developer at Capital C Communications, which was named Canada’s agency of the year by Marketing Magazine in 2006. Prior to that, he taught in the School of Design at George Brown College, and was the Creative Director at DXNet.
APPENDICES
97