Identity at the Threshold -- Volume 2: Identity as Conceptual Design by Jake Didier

IDENTITY AT THE THRESHOLD Volume 2: Identity as Conceptual Design

Jake Didier

INTRODUCTION Volume 1 of “Identity at the Threshold” explored personal and spatial expression. The first volume established the central design question. While a formal answer to this question was not identified, the framework for the solution was established, identifying an appropriate site and programatic considerations. This second installment of “Identity at the Threshold” will explore how we might answer the established design prompt. Within this book, theories of identity design will be revisited, and additional precedents will be examined to better inform a design solution. This volume will establish a preliminary conceptual design, exploring programming possibilities and the potential of threshold as a design device. .

1. IDENTITY AND DESIGN Human identity is an inescapable piece of the human experience. This section has already discussed the root of identity exhibition within the individual and society, as well as the methods and implications of identity control. Similarly to humans and society, the spaces in which we occupy are defined by identity. Spatial identity is dictated by the design of the built environment. How a space is designed (programmatically, stylistically, technically, etc.) can influence the identity of space. The human experience through space is controlled by the design of the environment. Thus, the human experience of the built environment is bound to how spatial identity manifests through design. The power design yields on spatial identity and the human experience present the clear necessity to understand how design and spatial identity are linked. Exploration of the relationship between design and spatial identity is the focus of the remainder of this section.

Personal study of the impression of the body on space in June 2018

The Foundation of Spatial Identity One must first understand the foundation of spatial

The second zone of environment design exists as the interior

identity before understanding its relationship to design. The

space itself. Interior is specified as the area within the

construct of spatial identity is determined by three zones

spatial wrapper. The existence of this zone (the interior) is

of environment design. The interaction between these three

connected to human presence. The interior is the continuous

zones of design, and the human experience, influence a

spatial area within the built environment, in which the body

space’s identity. In “Of the Hollow Spaces in the Skin of the

is set. Therefore, without human presence in interior, this

Architectural Body,” Wolfgang Meisenheimer identifies and

zone cannot be perceived, and does not exist.4 There is a

discusses these zones.

presence of absence in these spaces of human vacancy. These

The continuous spatial zone

spaces are therefore not truly interior, but are instead void. The first zone exists in the exterior. This zone is not purely defined as exterior meaning outdoors. Rather, this exterior

The first and second zones define the existence of space,

zone refers to the continuous spatial area within which

the third zone defines the space’s identity. With the exterior

a building or space is set.1 This zone can exist around a

understood, and human presence defining the existence of

building, but also within it. The walls that define a space

the interior, the third zone of environments manifests. This

posses both interiors and exteriors.2 Thus, this first zone

zone is presented in layers of mechanisms of control on the

is not confined to the outdoor exterior environment. Our

human experience.5 This zone is the body of the building,

experience within a particular room of a building presents

and is the core of spatial identity. These mechanisms of

an understanding there is a space on the exterior, on the

control may materialize through poché, lighting, exposure,

other sides, of the walls enclosing our immediate space.

tactility, threshold, etc. The controls enacted on the human

Without human presense, enclosed space is void

experience define how we interpret a space's identity, and the Our perception and understanding of this first zone’s

presentation of these controls will be explored further in this

existence is what dictates our understanding of an interior

section.

Human presence conﬁrms the existence of the interior

experience.3 Without understanding this zones existence, we cannot perceive interiority, and consequentially the presence of spatial identity.

Mechanisms of control influence the spatial experience/identity.

Spatial Identity and Threshold While there are many mechanisms of control that may be

While there are many mechanisms of control that may be

enacted on the human experience, one of the most impactful

is threshold. The implementation of threshold not only bares

Behavior and Presentation

influence on the human experience, but the way in which

it is implemented can manipulate our perception of spatial

identity. Henry Urbach explores the impact of threshold

and identity in “Closets, Clothes, and disClosure.” In this essay, he compares the analogous relationship of the closet

and identity in “Closets, Clothes, and disClosure.” In this

Public Perception of Personal Identity

Personal Identity

essay, he compares the analogous relationship of the closet

as an architectural container and the metaphoric location to

conceal sexual identity.6

conceal sexual identity.7

Our understanding of identity is determined largely

Human Identity at the threshold manifests as behavior and presentation

through some sort of threshold. Personal identity, for

Our understanding of identity is determined largely through some sort of threshold. Personal identity, for

example sexuality, is something that is understood and

Expression of Threshold

interpreted by both self and others. Individuals internally

have comprehensive sense of self. We personally have a

construct of who we are, and our interpretations of personal

identity are most realized within our own conscious. Those around us also have an interpretation of our personal

identity are most realized within our own conscious. Those Spatial Identity

Spatial Identity

around us also have an interpretation of our personal

identity. However, the personal identity perceived by others

is something the individual controls. The communication

of personal identity is conveyed through behavior and

personal presentation. In many ways, behavior and personal

The expression of the threshold communicates spatial identity across the poché

personal presentation. In many ways, behavior and personal

presentation serve as a metaphorical threshold between the

personal identity we conceal, and the identity we reveal for

others to interpret.

6 IDENTITY AND DESIGN

Threshold is a mechanism of control that affects how we perceive and understand spatial identity. Beyond concealing and revealing, the threshold serves to stabilize space. Architecturally, we stabilize space through the separation of closet and room. The threshold between these spaces can provide stability between a clean room and a messy closet.8 The threshold provides control between distinct and unequal categories of identity. In a space without threshold, what is its identity? Its identity is lost. Without the threshold between personal and societal expression, what happens to the identity of the individual? Individual identity is similarly lost.

â&#x20AC;&#x153;Threshold Tunnelâ&#x20AC;? - A study I completed exploring how the expression of threshold may conceal/reveal, and alter perception The absence of threshold presents a scene of disorder

Threshold isolating interior

Threshold isolating individuals

Threshold framing a natural scene

The Condition of Expression The threshold dictates our understanding and experience

controls emulate the desired, or inevitable, human

through space. Thus, there is necessity to carefully consider

experience. Spatial design needs to be a reflection of the

the condition of how the threshold is presented in space.

subject. But how can the human experience be reflected in

The condition of this, and other, mechanisms of control

the spatial wrapper?

truly define the human spatial experience and spatial identity. How, then, should these mechanisms of control be

The human experience is fluid, not static. Equally so,

expressed?

multiple individuals may endure differing experiences through space. While there is a need for controls in space,

In “Body Troubles,” Robert McAnulty explores the

they must be adaptable, and in the image of the probable

relationship between human and spatial expression.

human experience. Ensuring flexibility in the mechanisms

McAnulty identifies that the expression of architecture was

of control provide opportunity to curate unique spatial

classically modeled after the Vitruvian man, an inaccurate

identities, as well as unique spatial experiences, that respond

portrayal of the perfect human.9 He observes architecture

to unique personal identities.

has long existed in a dichotomy between subject and object, in which the body (subject) has been used to define object (the building). In effect, the building has been designed to be a body.38 However, he feels that modern architecture has lost sight of notion the building is body. Instead, he criticizes that the “modern world is dominated by inauthentic architecture that stands as evidence of the architect’s growing interest in maintaining little more than efficient technological control.”10 It is McAnulty’s contention architecture no longer seeks to emulate the subject, but is instead used as methods of control. Control within space is critical to defining the human experience, but it is equally critical to ensure

8 IDENTITY AND DESIGN

â&#x20AC;&#x153;Personal Spaceâ&#x20AC;? - A study I completed to explore how individuals may form their own space in semi-restricted conditions

Light was added within the fabric, an images were captured at low shutter speed, in order to map the movement within

2. HOW MIGHT WE... ...design an educational exhibition on LGBT+ history and culture, communicated through an empathy-evoking spatial experience?

3. SITE: RHINEGEIST BREWERY Rhinegeist has been selected primarily for the size and volume of the site. The most important part of this proposal is ensuring the ability to design an effective LGBT+ historical and cultural exhibition. The size and volume of Rhinegeist guarantees enough spatial flexibility to curate a proper exhibition. The site is located close enough to a popular city destination to capitalize off its generated traffic. However, the site is separated enough to ensure the proper establishment of a space driven by its identity. Rhinegesit presents little risk of having the future proposalâ&#x20AC;&#x2122;s identity co-opted or lumped into the identity of its neighbors or neighborhood.

Source: UrbanOhio.com17

SITE MAP: Rhinegeist Brewery (red) Yellow: Findlay Market Gray: Parking Blue: Cincinnati Streetcar Route Source: UrbanOhio.com11 Birdâ&#x20AC;&#x2122;s eye view of Rhinegeist Brewery

12 SITE: RHINEGEIST BREWERY

Site Images:

View of the front entrance to the facility. There is a Cincinnati Streetcar Station, and CityBike station directly outside the entrance

Rear view of building, where ther primary loading dock is situated

The large size and volume of the Rhinegeist facility provides flexibility to program a larger space to host the LGBT+ history and culture exhibition

Smaller seating areas span around the shell, taking advantage of the large double height windows

Annex event space within the facility

30,515 GROSS SQUARE FEET

Scale: 1/32”= 1’

14 SITE: RHINEGEIST BREWERY

Proposed Alterations to 1910 Elm Street Cincinnati, Ohio 45202

Plans and Sections

Scale: 1/32”= 1’ Proposed Alterations to 1910 Elm Street Cincinnati, Ohio 45202 name : date :

. . . . . .

1 2 3 4 5 6

REVISION

DATE

ED AR

plot data

A-4 A041910Elm 9-27-2012 plan review

C H

EC T

EXPIRES 12-31-13

810 PLUM STREET / CINCINNATI, OHIO 45202 / (513) 241-9933

WICHMAN GUNTHER A R C H I T E C T S , I N C.

ST A

Proposed Alterations to 1910 Elm Street Cincinnati, Ohio 45202

IS REG

51,556 GROSS SQUARE FEET MARK A. GUNTHER LICENSE # 6768

TE OF O H

name : date : issue :

16 SITE: RHINEGEIST BREWERY plot data A051910Elm 9-27-2012 plan review

. . .

5 6

. . 4

2 3

REVISION

DATE

ED AR

C H

EC T

EXPIRES 12-31-13

810 PLUM STREET / CINCINNATI, OHIO 45202 / (513) 241-9933

WICHMAN GUNTHER A R C H I T E C T S , I N C.

ST A

Scale: 1/32”= 1’

Proposed Alterations to Proposed Alterations to 1910 Elm Street 1910 Elm Street Cincinnati, Ohio 45202 Cincinnati, Ohio 45202

T IS REG

51,018 GROSS SQUARE FEET MARK A. GUNTHER LICENSE # 6768

TE OF O H

A-5

name : date : issue :

plot data A061910Elm 9-27-2012 plan review

. . .

5 6

. . 4

2 3

REVISION

DATE

ED AR

C H

EC T

EXPIRES 12-31-13

810 PLUM STREET / CINCINNATI, OHIO 45202 / (513) 241-9933

WICHMAN GUNTHER A R C H I T E C T S , I N C.

ST A

T IS

Scale: 1/32”= 1’

Proposed Alterations to 1910 Elm Street Cincinnati, Ohio 45202

REG

8,821 GROSS SQUARE FEET MARK A. GUNTHER LICENSE # 6768

OF O H

A-6

name : date : issue :

. . . . . .

1 2 3 4 5 6

REVISION

DATE

ED AR

Scale: 1/32”= 1’ plot data A071910Elm 9-27-2012 plan review

C H

EC T

EXPIRES 12-31-13

810 PLUM STREET / CINCINNATI, OHIO 45202 / (513) 241-9933

WICHMAN GUNTHER A R C H I T E C T S , I N C.

ST A

T IS

18 SITE: RHINEGEIST BREWERY Proposed Alterations to 1910 Elm Street Cincinnati, Ohio 45202

REG

4,980 GROSS SQUARE FEET MARK A. GUNTHER LICENSE # 6768

OF O H

TREE IN PLANTER

3'-0"

(2) 2 x 12 @ 16" O/C W 8 X 31

flash/counter flash @ exist. built-up roof

A-14

EXIST. CONC. STRUCTURE 8" CONC. BLK. WALL

EXIT STAIR ENCLOSURE

A-14

SCALE: 1/2" = 1'-0"

NEW ELEVATOR SHAFT/PIT/FOUNDATION BEYOND

TRANSVERSE SECTION 1: Scale: 1/16”= 1’ BUILDING SECTION

(4) 1 1/2" DIA. GUARDRAILS W/2 INT. S.S. CABLE RAILS BETWN, MAX. OPNG < 4" W/ T/RAIL @ 54" A.F.F.

A-14

SCALE: 1/8" = 1'-0"

3'-6"

8 ga. mtl. @ 16" o/c wood ng, tyvek reated strips o/c beneath dar shiplap fire-retardant ) w/ mitered ners (ext.) yer 1/2" or cement @ cer. tile

DETAIL

A-14

1'-0"

a. mtl. @ 16" o/c wood ng, 1 1/2" sul.& EPDM mbrane ay-in cal ceiling

A-14

W 8 X 31

FRONT BAR

GUARDRAIL

IZED 4 X 1/4 O/C

U @ 2 NG

GALVANIZED HSS 4 X 4 X 1/4 @ 4'-4 1/2" O/C

3/8" ANGLE TAB SHOP WELD TO HSS W/ 1/4" FILLET WELD

DETAIL

25 OLTS Z. 4 X 4

A-14 GALVANIZED HSS 4 X 4 W/BASE PL.

A-14

GLE HOP TO / 1/4" WELD

BAR CANOPY

SCALE: 1/2" = 1'-0"

RHINEGEIST BREWERY EXIST. COLD/DRY STORAGE

DETAIL SCALE: 1/2" = 1'-0"

BAR CANOPY

A-14

GALVANIZED

A-14 EXISTING CONCRETE SLAB TO BE REMOVED AT BAY CONTAINING NEW ELEVATOR AND STAIR SHAFTS BREWERY EXIST. OFFICES

EXISTING CONCRETE SLAB TO BE REMOVED AT BAY CONTAINING EXTENDED STAIR SHAFT

3/4" A325 THRU BOLTS @ HORZ. 4 X 4

10'-2" A.F.F.

A-14

GALVANIZED PERFORATED METAL AND ACRYLIC CORREGATED PLASTIC PANELS

A-14

NEW STAIR STRUCTURE AND ENCLOSURE FROM ROOFTOP TO EXISTING SECOND FLOOR STAIR WHICH CONTINUES TO STREET LEVEL

A-14

SCALE: 1/2" = 1'-0"

TOP OF NEW ROOF @ STAIR

BACK BAR

EXIST. CONC. AND MASONRY STRUCTURE

A-14

DETAIL

A-14

1 X 4 CEDAR SHIPLAP SIDING @ SCREEN WALL

X4 SE PL.

GALVANIZED TUBE STEEL COL/BM TRELLIS W/CORREGATED ROOFING PANELS

(2) THRU BOLTS @ (2) 2 x 12 BLOCKING

(2) 2 x 12 @ 16" O/C

HSS 4 X 4 W/BASE PL.

CONC. CTURE

DO NOT SCALE DRAWINGS

EC T IT

C H

ST A

RHINEGEIST BREWERY EXIST. COLD/DRY STORAGE

TRANSVERSE SECTION 2: Scale: 1/16”= 1’

revisions per plan review

DO NOT SCALE DRAWINGS

3 5/8" 18 ga. mtl. studs @ 16" o/c w/ 5/8" fire treated wood sheathing, tyvek & 3/4" treated furring strips @ 16" o/c (ext.) + (2) layers 5/8" firecode drywall (int.) 2 hour rating UL #U425

810 PLUM STREET / CINCINNATI, OHIO 45202 / (513) 241-9933

fill stair/restroom wall cavities w/ 3" batt insul.

REVISION

8" 18 ga. mtl. joists @ 16" o/c w/ 3/4" wood sheathing, 1 1/2" rigid insul.& EPDM roof membrane (ext.)+(2) layers 5/8" firecode drywall (int.) 2 hour rating UL #L505

1 x 4 cedar shiplap siding (fire-retardant treated) w/ mitered butt corners

6 pressure ted wood ster @ 60" o/c bolt to beam w deck & p w/ cedar

EEN CE

NEW STAIR STRUCTURE AND ENCLOSURE FROM ROOFTOP TO STREET LEVEL

4 pressure ted wood ds @ 16" o/c 1/2" pressure ted wood athing, tyvek 4" treated ng strips 6" o/c

ED A R

A-14

PROVIDE PADDED INSULATION WRAP AT PIPING BELOW SINK (IF REQUIRED)

4 cedar lap siding ered butt ners)

EXISTING CONCRETE STRUCTURE AND SLAB TO BE REMOVED AT BAY CONTAINING NEW ELEVATOR AND STAIR SHAFTS

WOOD DECKING OVER STL./WD. STRUCTURE

SCALE: 1/4" = 1'-0"

12 cedar cap

ROOF DECK

(4) 1 1/2" DIA. GUARDRAILS W/2 INT. S.S. CABLE RAILS BTWN, MAX. OPNG < 4" W/ T/RAIL @ 24" ABV. EXIST. PARAPET

EXPIRES 12-31-15

CEDAR BOARDED FENCE/ GUARDRAIL

5'-0"

ELEVATION

TOP OF NEW ROOF @ STAIR

MARK A. GUNTHER LICENSE # 6768

WICHMAN GUNTHER A R C H I T E C T S , I N C.

3'-4" 2'-7" 2'-10"

2'-10"

2'-11"

FABRIC AWNING @ ELEVATOR DOOR

DATE

4'-0"

BRG. PT.

4'-0"

S R EG I

0'-7" 0'-6" 0'-6"

NEW INTEGRALLY COLORED 4" CONC. BLK. MASONRY (READY BRICK) ELEVATOR SHAFT

1 X 4 CEDAR SHIPLAP SIDING (FIRE-RETARDANT TREATED) OVER 3/4" FURRING STRIPS @ 16" O/C & VAPOR BARRIER

WALL MOUNTED MIRRORSTAND OFF @ WALL TILE

1 1/2" DIA. S.S. GRAB BARS MTD. 1 1/2" OFF WALL; PROVIDE BLK'G IN WALLS

7-17-15

PYRAMIDAL SKYLIGHT TO MATCH EXISTING

3 SF ROOF VENTILATOR; DAYTON MOD. # 2RB73 OR EQUAL @ T/SHAFT

LONGITUDINAL SECTION: Scale: 1/16”= 1’

WEST ELEVATION: Scale: 1/16”= 1’

SITE MODEL

Chipboard construction indicates the primary activity space on the second level, where the gallery hosting the LGBT+ exhibition will be hosted

4. APPEALING ACROSS THE SPECTRUM Target Users

Young and Proud

Source: Instagram12

Source: The Legendary Misty Knight13

User BeneďŹ ts:

-Introduction or additional exposure to key events in the history of their community

-Outlet of reflection and remembrance of the history the user has experienced

-A deeper understanding of the cultural prominence and significance of their community, beyond mass-media portrayals

-A venue to experience queer culture that is not strictly driven by a party-lifestyle

-Formation of a deeper connection to the community, and affirmation of identity, by learning about the evolution of queer identity

-An opportunity to indulge in cultural nostalgia

The proposal focuses on designing an LGBT+ history and cultural exhibition. While it is important this gallery appeals to LGBT+ individuals, it is important the space is appealing to a diverse set of people in order to maximize educational potential.

22 APPEALING ACROSS THE SPECTRUM

The Dutiful Tolerant

The Afﬁrmative Ally

Source: “Prayers for Bobby” via GLAAD14

Source: Instagram15

User Beneﬁts:

-The exhibit can serve as a powerful educational engine, to create impactful learning of a subject they may be resistent or hesitant to understand.

-Exposure to the underlying significance of a culture they enjoy, but are not personally connected

-Potential to generate understanding and acceptance through an empathy driven exhibition

-Heightened understanding of LGBT+ history and culture will help prevent future appropriation of queer identity

-Opportunity to overcome misconceptions about queer identity -Increased knowledge about a community they advocate for will help them be better allies.1

an LGBT+ history and culture exhibition, the larger

in this facility include: permanent and rotating galleries; exhibition production, support, and storage ares; event spaces; educational spaces; LGBT+ health

Comprehensive Design

Cultural Center and Museum. Programmatic spaces

Programs to Receive

opportunities to define a greater facility. The proposed overall facility shall be defined as a LGBT+

-Establish a health clinic with counseling services to provide specialized care to the LGBT+ community -Provide additional spaces for LGBT+ educational events and lectures for visitors

24 PROGRAMMING CONSIDERATIONS

be Planned Programmatically Zoned

-Provide safe spaces to host LGBT+ related events

Spaces to be

-Develop galleries to showcase exhibitions that portray the history and culture of the LGBT+ community

Spaces to

and counseling offices; and administrative offices. This new Cincinnati LGBT+ Cultural Center and Museum seeks to accomplish the following objectives:

s ng es od

ht ig

ay l

/V iew

s es A ic bl

e ac Sp

nt ua

ity

. )2 (ft

◊

500

3, 4, 5, 10, 11

◊

3. Permanent Gallery Space:

4,000

24,000

2, 4, 5, 8, 9

◊◊

4. Large Rotating Gallery Space:

4,000

2, 3, 5, 8, 9

◊◊

5. Small Rotating Gallery Space:

1,000

7,000

2, 3, 4, 8, 9

◊◊

6. Exhibition Production Areas:

8,400

7, 8, 9, 13

◊

7. Receiving and Handling Areas:

7,200

6, 8, 9, 13

◊

8. Exhibition Staging Areas:

400

3,200

4, 5, 9

◊

9. Collections Freight Elevator:

250

6, 7, 8, 13, 14

◊

10. Public Elevators:

Central

◊

11. Stairwells:

365

1,095

Central

◊

12. Bathrooms:

640

2,560

1, 2, 16, 19, 23

◊

13. Collections Storage:

7,000

7, 8, 9

◊◊

14. Exhibition Elements Storage:

1,000

4, 5, 9

◊◊

150

450

3, 4, 5

◊

6,000

◊

17. Administrative Offices:

900

Remote

◊

18. Art Studios:

625

2,500

◊

19. Educational Spaces:

1,500

4,500

18, 22

◊

20. HIV Health Clinic:

1,300

1, 19, 21

◊

21. Counseling Offices:

250

500

◊

22. Meeting/Multipurpose Rooms:

1,000

3,000

19, 23

◊

23. Grand Event Hall:

4,000

1, 16, 22, 23

◊

24. Catering Kitchen:

300

◊

15. AV/Tech Rooms: 16. Auditorium/Theater:

Net Floor Area: 90,715 ft2

Net Floor Area + 30% Circulation (Proposed Gross Floor Area): 117,227 ft2

Central

1,000

1. Main Facility Lobby:

To t

Program:

2. Gallery Lobby:

spatial envelope of the Rhinegeist site permits

Scope:

While this project will primarily focus on developing

Programing Outline:*

Deﬁning the Facility

(ft 2 )

5. PROGRAMMING CONSIDERATIONS

Building GFA (excluding rooftop): 141,910

*Sources used to identify key programs and approximate spatial requirements: The Manual of Museum Exhibitions16; “Museum Architecture”17; Museum Handbook. Vol. 1.18; Smithsonian Institution Facilities Design Standards19; Architectural and Design Standards for Presidential Libraries20; Design Handbook for Cultural Centres. 1st ed.21 ◊: ADA, Ohio IBC-A3, ASTM E119 ◊◊: ADA, Ohio IBC-A3, ASTM E119, 2015 ASHRAE

Programming Matrix:

Program:

Notes on Programs to Receive Comprehensive Design

1. Main Facility Lobby:

Program:

2. Gallery Lobby:

Main Facility Lobby:

3. Permanent Gallery Space:

Gallery Lobby:

4. Large Rotating Gallery Space:

Permanent Gallery Space:

5. Small Rotating Gallery Space: 6. Exhibition Production Areas: 7. Receiving and Handling Areas:

Large Rotating Gallery Space:

Qualities:

Special Considerations:

Open-Area; Neutral, Inviting Tone; Naturally Lit

Areas to serve as welcoming point. Spaces should contain materials and wayfinding explaining site (or specific spaceâ&#x20AC;&#x2122;s) program. Comprehensive exhibit content must be planned properly

Subject-Content Specific

Spaces should include extensive, flexible lighting support systems, projection compatibility, and areas of complete spatial control (i.e. ability to block daylighting).

Industrial, Commercial, and Creative Spaces

Studios for designing galleries, workshops for producing exhibitions, loading dock, crating and uncrating areas

Lighting/Install Equipment

Must be able to mimic gallery conditions

Cushioned Interior Walls

Must have high-capacity weight limit

Small Rotating Gallery Space: Exhibition Production Areas: Receiving and Handling Areas:

8. Exhibition Staging Areas:

Exhibition Staging Areas:

9. Collections Freight Elevator:

Collections Freight Elevator:

10. Public Elevators: 11. Stairwells: 12. Bathrooms: 13. Collections Storage: 14. Exhibition Elements Storage:

KEY: Immediate Adjacency Important Adjacency Reasonable Accessibility Unimportant Remote

Key Building Codes: The proposed museum/cultural center is classified as building type A-3 in the Ohio IBC. The Ohio IBC should be referred to when considering key requirements of

15. AV/Tech Rooms:

egress, occupancy limits, fire ratings, structural requirements, etc. ADA Codes

16. Auditorium/Theater:

must be followed in order to ensure equal accessibility amongst all visitors.

17. Administrative Offices:

ASTM E119 should also be referenced for relevant fire codes. Spaces containing

18. Art Studios:

or storing artifacts or archives need to adhere to the guidelines in the 2015

19. Educational Spaces:

ASHRAE Applications Handbook to ensure proper storage and conservation.

20. HIV Health Clinic:

All renovations to the Rhinegeist site must adhere to the Over-the-Rhine Historic

21. Counseling Offices:

Conservation District Guidelines.

22. Meeting/Multipurpose Rooms: 23. Grand Event Hall: 24. Catering Kitchen:

6. CONCEPT:

THIS EXHIBITION...

...will explore the evolution of LGBT+ history and culture through a sequential experience of threshold.

IMPLEMENTAION PRECEDENTS The Cruising Pavilion At the 2018 Venice Architecture Biennale, Pierre-Alexandre Mateos, Rasmus Myrup, Octave Perrault and Charles Teyssou curated an exhibition that explores the relation of cruising and architecture. Cruising is “the practice of moving through a space to find a casual, sometimes anonymous, sexual partner.”11 This exhibition breaks away from the traditional “white box” gallery to create an immersive exhibit the transports the viewer into a multi-sensory environment that emulates cruising. The particular usage of lighting, scents, and engagement of the built environment is more similar to a theatre set rather than an art gallery. The

Source of all images of The Cruising Pavilion: Dezeen.com22 The entrance of the pavilion

“Printed silk scarves by Lili Reynaud Dewar litter the floor, along with used condoms”22

“Andreas Angelidakis flatpack glory-hole maze allows you to chose your own sexual adventure”22

“The space is dark and lit only by atmospheric red lamps”22

exhibition utilizes both the architecture of the installation and artifacts of cruising to establish an environment that is both spatially and emotively embodies cruising.

28 CONCEPTUAL DESIGN

Es Devlin Es Devlin is a lighting/set designer that has worked on major broadway productions, fashion runways, developed concert scenes for major-label artists, and curated specialty exhibitions. Devlin’s entire breadth of work speaks to the abstracted approach to environmental/lighting design this project strives to capture. Her use of simplified geometries, figure-ground, reflectance etc. explore ways to alter perception and embody absract themes/concepts. In “Mask,” Devlin utilizes projection mapping on a built installation to connect a deeper emotional connection to the

Source of all images: Es Devlin via EsDevlin.com23 “Mask” by Es Devlin

“Egg” by Es Devlin

“Mirror Maze” by Es Devlin

Set of Don Giovanni by Es Devlin

presented model. Similarly in “Egg,” she utilizes reflection to expand the perceived environment. “Mirror Maze” explores the ephemeral and allusive qualities of the sense of smell by creating an expansive exhibition of mirrors that allows the visitor to get lost in the installation. Devlin’s set design for Don Giovanni utilizes scrim and projection within an architecturally period set to transcend the boundaries of the context of the show itself.

CONCEPTUAL PROGRAMING 10

1. Collections Storage 2. Collections Freight Elevator 3. Shipping + Receiving 4. Exhibition Production 5. Educational and Health Spaces

6. Auditorium/Theater 7. Event Spaces 8. LGBT+ Exhibition Space 9. Rotating Galleries

10. Exhibition Staging

4 First Level

2 1 Basement Level

30 CONCEPTUAL DESIGN

Second Level

7 5

VISUAL POSITIONING

Source: Christian Boltanksi24

Source: Jamie Lidell27

Source: Anya Sirota25

Source: Numen + Ivana Jonke26

Source: Claire Harvey28

Source: TEdâ&#x20AC;&#x2122;A arquitectes28

STUDY MODELS: Exploring the formation and perception of various threshold conditions.

COMPOUND MODEL: The study models are integrated with each other to form an array of spaces.

The interactions between the various threshold conditions create unique scenes within the overall model.

SPATIAL VISUALIZATION:

7. COMPILED SOURCES 1. Meisenheimer, Wolfgang. “Of the Hollow Spaces in the Skin of the Architectural Body.” In Toward a New Interior - An Anthology of Interior Design Theory, edited by Lois Weinthal, 625-31. First ed. New York City, NY: Princeton Architectural Press, 2011.

15. Instagram. Accessed via https://www.instagram.com/p/ Bk7nlU9Fng8/?tagged=faghag

28. Claire Harvey. Accessed via https://claireharvey.net/slideshow.html 16. Barry, Lord. The Manual of Museum Exhibitions. Edited by Gail Dexter Lord. 1st ed. Walnut Creek, CA: AltaMira Press, 2002.

2. Wyatt, Monica. “Space-Enfolding-Breath.” Edited by Lois Weinthal. In Toward a New Interior - An Anthology of Interior Design Theory, 341-347. First ed. New York City, NY: Princeton Architectural Press, 2011.

17. Wise, Conrad, and Anne Erdös, eds. “Museum Architecture.” Museum XXVI, no. 3 (1974). http://unesdoc.unesco.org/images/0012/001273/127357eo.pdf.

3. Meisenheimer, Wolfgang. “Of the Hollow Spaces in the Skin of the Architectural Body.”

18. Museum Handbook. Vol. 1. National Parks Service. https://museumplanner. org/wp-content/uploads/2017/04/8a.MHI_.pdf.

4. Ibid. 5. Ibid.

19. Smithsonian Institution Facilities Design Standards. Smithsonian Insitute. January 2012. https://museumplanner.org/wp-content/uploads/2017/04/SIStandards_Jan2012.pdf.

6. Urbach, Henry. “Closets, Clothes, and DisClosure.” Edited by Lois Weinthal. In Toward a New Interior - An Anthology of Interior Design Theory, 425-37. First ed. New York City, NY: Princeton Architectural Press, 2011.

20. United States. National Archives and Records Administration. Office of Presidential Libraries. Architectural and Design Standards for Presidential Libraries. July 2014. https://www.archives.gov/files/foia/pdf/nara1571.pdf.

7. Ibid.

21. Lényi, Peter, ed. Design Handbook for Cultural Centres. 1st ed. Truc Sphérique, Cultural Centre Stanica Žilina-Zárie, 2014. http://teh.net/wp-content/ uploads/2015/01/design-handbook.pdf.

8. McAnulty, Robert. “Body Troubles.” In Toward a New Interior - An Anthology of Interior Design Theory, edited by Lois Weinthal, 50-71. First ed. New York City, NY: Princeton Architectural Press. 9. Ibid.

22. Block, India. “Cruising Pavilion Aims to Show How Sex “is Always Latent or Silenced” in Architecture.” Dezeen. May 31, 2018. Accessed August 01, 2018. https://www.dezeen.com/2018/05/30/cruising-pavilion-venice-architecturebiennale-2018-casual/.

10. Ibid. 23. “Es Devlin.” Es Devlin. Accessed August 01, 2018. https://esdevlin.com/. 11. UrbanOhio.com. Accessed via https://www.urbanohio.com/forum/index. php?topic=31016.0 12. Instagram. Accessed via https://www.instagram.com/p/ BghQ76QH2o2/?taken-by=thesueesyde 13. The Legendary Misty Knight. Facebook. https://www.facebook.com/photo. php?fbid=10156317003259732&set=t.100002069011258&type=3&theater 14. Prayers for Bobby. GLAAD. Accessed via https://www.glaad.org/2009/01/16/ must-see-prayers-for-bobby-on-lifetime

38 COMPILED SOURCES

27. Jamie Lidell. Accessed via http://www.flat-e.com/client/warp-records/

24. Christian Boltanski. Accessed via http://www.leoniesworld.co.uk/blog/alanrandomresearch/ 25. Anya Sirota. Accessed via http://www.penccil.com/embedpresentation. php?show=5996#/section-2/page-1 26. Numen + Ivan Jonke. Accessed via http://www.numen.eu/scenography/blackmasks/

29. TEd’A arquitectes. Accessed via https://www.archdaily.com/137390/can-joanjaume-ted%25e2%2580%2599a-arquitectes