Identity at the Threshold by Jake Didier

IDENTITY AT THE THRESHOLD

IDENTITY AT THE THRESHOLD An Exploration of Personal and Spatial Expression

Jake Didier

ACKNOWLEDGEMENTS: I would like to express great thanks to: Edson Cabalfin, for his constant encouragement and passion for educating. Meghan Minton, for all of her steady guidance, patience, and dedication to helping me grow as a designer since my first day of studio. Erin Deus and Rebecca Fultz, for helping review portions of this book. The Dayton, Ohio LGBT+ Community, for all of its advocacy, and affirmation. Bailey Faeth, for keeping me grounded, smiling, and sane. and most importantly Angie Didier and Vicki Ray, for the limitless love and support throughout my education, and journey to discovering my own identity.

TABLE OF CONTENTS

1.0 Introduction...........................................................................................................6

6.0 An LGBT+ Identity Exhibit ............................................................................136

Defining the Facility............................................................................138

2.0 Trends in Identity ............................................................................................16

Appealing Across the Spectrum......................................................142

Shifts in Pride.........................................................................................18

Exhibiting History and Culture...........................................................28

7.0 Additional Considerations............................................................................152

A Traveling Experience.........................................................................34

Ethical Integrity....................................................................................154

Evolving Education................................................................................40

Sustainability........................................................................................156

Trend Insights.........................................................................................46

How Might We (...)?..............................................................................48

8.0 Compiled Sources...........................................................................................158 Introduction..........................................................................................160

3.0 Theories of Identity..........................................................................................50

Trends in Identity................................................................................160

The Concept of Identity........................................................................52

Theories of Identity.............................................................................164

Identity and Design................................................................................72

Precedents and Potential...................................................................167

Insights on Site....................................................................................168

4.0 Precedents and Potential ..............................................................................84

An LGBT+ Identity Exhibit..................................................................169

Additional Considerations..................................................................170

Typological, Stylistic, Technical.........................................................86

5.0 Insights on Sites .............................................................................................100

Selecting a City ..................................................................................102

Site Considerations ...........................................................................106

Site 1: 1120 Main Street ...................................................................108

Site 2: The Globe Furniture Building .............................................116

Site 3: Rhinegeist Brewery ..............................................................124 Comparative Analysis.........................................................................132

Site Selection......................................................................................134

INTRODUCTION

IDENTITY(?/!/.) Identity. It is a defining element of the human experience. Everywhere we look, we observe identity. Every person we meet, we see identity. Every space we occupy is defined by an identity. Identity is inescapable. Yet, there are many questions pertaining to identity. What is identity? How do we exhibit identity personally, in society, and spatially? How is identity asserted? In ways, identity is a proclamation! In others, its as simple as a statement. No matter how identity manifests, it is an inescapable reality. But how might an individual experience identity? This is the central question addressed by this book. Identity, however, is an extensive topic/concept. The proceeding section shall lay the groundwork for this exploration, identifying context, rationale, scope, and significance of this project.

Source: Ryan Burke Photography1

Why Identity? Growing up gay in Ohio was never easy. My high school years were essentially lived as two different people. I was a hyper-masculine jock on the varsity soccer team, and a club team in the state league. I was also one of the leading male performers in my school’s theatre program. While I understood I was playing multiple roles in theatre, I never realized I was playing multiple roles in life. It wasn’t until I came out as gay closer to my graduation that I truly realized I had been neglected the opportunity to explore and embrace my true identity. Who was I? I had finally come to grasps with my sexuality, but the grip was loose at best. I only knew a few LGBT+ individuals at the time, but I didn’t feel similar to them. I didn’t know much about what it meant to be gay, besides that it meant you were different, and that society looked down upon you. Luckily, I had support from my mother and close friends, and embarked on a journey to discover who I was, and how I fit into the world. In my first years of college, I expressed myself in ways one might expect of a teenager in crisis. I started wearing elaborate, outlandish outfits, I dyed my hair bright colors, I started exploring with makeup, etc. If there was an opportunity, or way to explore my identity, I took it. I began exploring drag artistry and performance,

10 INTRODUCTION

and formed meaningful connections with other LGBT+ individuals in my studio. I began dating men, and finally allowed myself to explore my sexual identity. In my college experience, I discovered I was finally able to express my true identity. As I proceed through my final year of design education, I find myself reflecting on my personal journey and development. I’ve realized that I didn’t begin truly living my life until college, until I felt like I had the opportunity to discover my true self. While my personal growth provides me with a sense of pride, it also brings sadness. It’s unfortunate that I was denied the opportunity to be who I wanted. Equally so, I find myself observing people I know, and wondering about those I don’t, and whether these individuals have been provided the opportunity to live their truth. Although I feel great confidence with my personal identity, the social climate of today’s society has become a tumultuous landscape for personal expression. In a time where political correctness has been largely abandoned, people feel more emboldened to express their disapproval, disdain, our outright hatred towards others. I’ve encountered an increase in personal and verbal attacks this year because of my sexual identity. While I know I

IDENTITY(?/!/.) 11

can personally overcome such adversity, I worry about

shifts the responsibility of LGBT+ identity education

the ability of others. I often wonder how others grapple

onto the community, and the individuals within. We

with similar occurrences. Does it embolden their personal

must personally educate others to guarantee any learning

identity, or does it lead to its suppression?

occurs. I contend this is primarly to blame for the lack of awareness of LGBT+ issues, the lack of understanding

I believe that personal identity and identity expression

of the LGBT+ experience, and existing manifestations of

are crucial in achieving happiness on an individual and

rejection of LGBT+ identity.

societal level. I feel passionately that individuals should have the right to express themselves however they wish.

This project is largely motivated by a desire to foster

While some individuals may choose not approve or

pride in, and educate others about, LGBT+ identity.

understand the personal identity of others, I believe they

Additionally, it strives to highlight the importance of

can be persuaded. What I have personally observed in

preservation and education of LGBT+ identity. This

my own identity journey, is education and awareness

Exploration seeks to further the discussion of identity

is critical. By presenting individuals with opportunities

expression, on individual, personal, and societal levels,

to learn about themselves, and others, society has the

as well as through design. Personally, I hope to learn

potential to become more understanding and accepting

more about my own identity and community, and how

of identity.

identity may be captured in design. The primary goal of this project is to develop a proposal that captures and

I particularly feel education regarding LGBT+ identity is

educates the historical and cultural development of the

lacking. In my personal experience, Iâ&#x20AC;&#x2122;ve not received true

LGBT+ community. Ultimately, I hope this project may

education about my identity. The history of the LGBT+

not only help others learn about LGBT+ identity, but

community has never been formally taught to me in any

about their personal identity.

educational institution. The only real outlet of education Iâ&#x20AC;&#x2122;ve encountered has been through speaking with other members of the community. While I acknowledge and have utilized online and multimedia outlets to learn more about LGBT+ identity, that education has been personally driven. This lack of incidental or structured education

12 INTRODUCTION

Source: Nuvo Magazine2; Robert Mapplethorpe: Ken and Lydia and Tyler, 1985.

IDENTITY(?/!/.) 13

Exploring Identity through Design This book seeks to explore the concept of identity, its theories and trends, and examine how it may manifest in a spatial experience. A preliminary design question will be identified, and the groundwork for a formal design solution will be established. Each of the following sections will confront a critical consideration when designing for identity. While this project will discuss identity as a general concept, specific exploration will center around LGBT+ identity. Insights from these explorations will be used to design a space that reflects and embraces LGBT+ identity. Beyond this project, developing an effective design strategy for LGBT+ identity has the potential to inform future strategies and solutions for designing spaces focused on other minority identities.

14 INTRODUCTION

Source: Sagmeister & Walsh3

TRENDS IN IDENTITY

Identity is a constantly evolving construct. Itâ&#x20AC;&#x2122;s role and presence in society has steadily shifted over time. This section seeks to review the current trends relating to queer identity, how public institutions display identity, how we experience these displays, and evolving practices in identity education.

18 Shifts in Pride

28 Exhibiting History and Culture 34 A Traveling Experience 40 Evolving Education 46 Trends Insights

48 How Might We (...)?

SHIFTS IN PRIDE Society’s attitudes and perceptions of queer identity have transformed drastically over the past century. There is empirical truth that existing as a queer individual has become easier now than any time in recent history. Although there has been great progress in the fight for LGBT+ liberation and equality, this progress has seen reactionary militancy, on both personal and societal levels. While this militancy has manifested in physical violence, cultural militancy has manifested in the form of appropriation, and hetero-complacency towards the “straight-washing” of queer history.

Source: ELLE 60

Existing is Getting Easier Throughout most of modern history, possessing queer identity presented great challenges. Overtime, queer people have endured various restrictions to the expression of their identity. Homosexuality is an identity that has been criminalized and condemned throughout history, both domestically and internationally. However, in modern times, it has become easier to simply exist as a queer individual. Source info: UCLA2 From 1980 to 2018, 80 of 141 countries experienced increases in LGBT acceptance

Globally, levels of LGBT+ acceptance has consistently increased since 19801. According to a UCLA study called Polarized Progress: Social Acceptance of LGBT People in 141 Countries, acceptance â&#x20AC;&#x153;encompasses social beliefs

Opinions on Moral Acceptance of LGBT+ Relations in the United States from 2001-2018

about LGBT people as well as prevailing opinion about laws and policies relevant to protecting LGBT people

100% Approve

from violence and discrimination, and promoting their equality and well-being.â&#x20AC;?2 From 1980 to 2018, 80 of 141

Disapprove

80%

countries experienced increases in LGBT acceptance. 60%

Domestically, attitudes towards the LGBT+ have been consistently growing positively. From 1996 to 2018,

40%

opinions that same-sex couples should be recognized by law, with the same rights as traditional marriages,

20%

increased from 27% to 67%.3 From 2001 to 2018, moral acceptance of LGBT+ relations has increased from 40% to 67%.

20 TRENDS IN IDENTITY

2002

2004

2006

2008

Source info: Gallup

2010

2012

2014

2016

2018

Consistent with the improving attitudes towards LGBT+

their profile picture across social media. The campaign

people, the United States has experience significant

became an instant viral success, prompting a 120%

legislative and economical policy changes that have

increase in profile picture changes, a 600% increase in

improved the LGBT+ experience. In 2015, the Supreme

web traffic to the HRC website, and captured nationwide

Court overturned the Defense of Marriage Act (originally

attention, facilitating open discussions on marriage

passed in 1996, banning federal recognition of same-sex

equality.9 Today, the HRC continues to provide education

marriage), and marriage between same-sex individuals

resources on its website for all topics relating to the

became legal in all 50 states.5 With marriage equality

LGBT+ experience, including coverage of legislative

achieved, advocates have been pushing for bans on

initiatives and information about health and wellness.

conversion therapy (According to the National Center for Lesbian Rights, conversion therapy uses “a variety of behavioral, cognitive, psychoanalytic, and other practices that try to change or reduce same-sex attraction or alter a person’s gender identity”6). Since 2012, the practice of conversion therapy on minors has been banned by 11 states.7 Economically, businesses have been seeking to protect their LGBT+ employees. Since 1996, the amount of Fortune 500 companies with policies and protections for LGBT+ employees increased from 4% to 96%8. Of the organizations fighting for LGBT+ equality in the United States, the Human Rights Campaign has arguably been the most influential in changing public perceptions of the community. The organization’s most notable contribution to improving acceptance of LGBT+ people is exhibited through their viral, red marriage equality

Source: Business Insider Australia 61 The HRC viral, red marriage equality campaign encouraged social media users to adopt the signature equals sign to show support for marriage equality

campaign. In March 2013, HRC launched the campaign encouraging people to adopt a signature red equal sign as

SHIFTS IN PRIDE 21

Cultural Visibility As society has become more accepting of the LGBT+ community, there has been a societal shift to be more inclusive in representing queer individuals in mainstream culture. Until recent decades, LGBT+ culture has largely existed off the mainstream, hidden from the gaze of the wider public. One organization dedicated to promoting LGBT+ inclusivity in popular culture is GLAAD (Gay & Lesbian Alliance Against Defamation). GLAAD was founded by

Source: GLAAD 62 GLAAD marches in the LA Pride Parade in Summer 1989

LGBT+ individuals working in major media, with the mission to address and challenge the ways mass media portrayed homosexuality.10 The formation of GLAAD in 1985 was inspired by the defamatory and sensationalized coverage of the AIDS epidemic. Throughout the following decades, GLAAD fought to: transform terminology used to discuss homosexuality; expand the way sexualorientation-based education was conducted; advertise in mass media the basic rights denied to LGBT+ individuals; organize marches on Washington to advocate for gay rights and representation; and organizing countless other campaigns to combat homophobia in media.11 In its work fighting for equal LGBT+ portrayal in popular culture, GLAAD has developed several annual studies that examine the progress of queer representation across

22 TRENDS IN IDENTITY

Source: GLAAD 63 “As part of its ‘Let Ellen Out’ campaign, GLAAD coordinates over 1,500 Come Out with Ellen house parties that occur during the episode in addition to hosting signature parties in New York City, San Francisco, Los Angeles, and Washington D.C.”

various media platforms. These studies have been

Percentage of LGBT+ Characters in Media

instrumental in assessing the progress of cultural visibility. Their findings have identified a clear trend of increased LGBT+ cultural visibility.

Representation in Film

18.4% 15% 13.9%

According to GLAAD’s Studio Responsibility Index, major film studios are introducing more LGBT characters

from 13.9% to 18.4%, a 4.5% increase.12 GLAAD has

4.3%

4% 3%

10% 2% 5%

2.0%

into blockbuster films. Since 2012, representation of the LGBT+ community as characters in film has increased

Representation in TV 5%

20%

2012

2018

Source info:Year GLAAD12, 13

2005

2018 Year

also identified a slow, but steady, increase in LGBT+ representation in broadcast media. Since 2005, LGBT+ representation has increased from less than 2% to 4.3%.13 Queer culture is also gaining increased visibility in mainstream music.14 Several queer artists have garnered national/international success, including but not limited to Sia, Years + Years, Tegan and Sara, and Troye Sivan. Beyond queer artists, several heterosexual allies, including Jennifer Lopez, P!nk, and Sara Bareilles, have openly advocated for LGBT+ rights and cultural representation through their music and/or public activism.15 Source: YouTube 64 Years & Years front-man Olly Alexander in an intimate encounter in the music video for the group’s single “If You’re Over Me.” Years & Years exhibits gay romance and sexuality throughout many of it’s music and video references.

SHIFTS IN PRIDE 23

Militancy Towards Queer Identity Although there is significant, and transformative progress

rejection of identity from family. On average, LGBT+

regarding queer existence and cultural representation,

individuals who have faced rejection from families are

there is still a clear and present violence towards LGBT+

8.4 times as likely to have attempted suicide than LGBT+

individuals and identity. This violence manifests on

peers who reported low or no levels of familial rejection.19

multiple levels.

Societal Violence Individualistic Violence

On a person-to-society level, the frequency of violence

Violence towards queer identity is experienced most

is increasing. Within the United States, discrimination

intimately at the individual level. Individualistic violence

and frequency of hate crimes/extremist violence towards

occurs at the most micro-level of queer existence, and

LGBT+ has sharply increased since the 2016.20, 21 While

takes several forms. At the core of individualistic violence

the rhetoric and influence of the 2016 is likely to blame

is rejection of queer identity on a person-to-person basis.

for the spike in violence, the statistical increase should not be disregarded. From 2016 to 2017, domestic hate crimes

Statistically, LGBT+ individuals are more likely to face

against LGBT+ people have increased by 86%.22

rejection of identity when compared to heterosexual individuals. 16 This rejection identity can have extremely

On the international stage, there have been significant

detrimental impacts on queer individuals, especially queer

exhibitions of violence towards queer identity. One

youth. According to a study by IMPACT, each incident

example it the gay purge of Chechnya. Over the past year,

of victimization, including verbal abuse/harassment and

at least 100 men may have been detained, and estimates

physical threats, increases the likelihood of self-harming

predict at least 26 individuals have been killed, according

behavior by 2.5 times on average. Additionally, either in

to reports by the Russian newspaper Novaya Gazeta.23

conjunction with or without self harming, LGBT+ youth

What exacerbates this genocide of homosexuals on the

are 3 times more likely to seriously contemplate suicide

world stage, and thus contributes to the violence towards

than their heterosexual counterparts. The likelihood of

homosexuals, is the lack of main stream media coverage

personal violence is compounded if the individual faces

and the absence of criminal cases or arrests.

24 TRENDS IN IDENTITY

Source: Daniel Donigan. 2017.65 Daniel Donigan, better known as the drag queen Milk, protesting outside the Consulate-General of Russia in New York City to raise awareness of the gay purge in Chechnya. Zelimkhan Bakaev is a Russian pop-star who has been missing since the purge began, believed to have been abducted and killed by the Chechnyan government.

Source: Dave Frenkel via Gay Times UK66 A bloodied LGBT+ protester is detained in Chechnya. Violence against LGBT+ individuals is reported to continue beyond their arrests. Reports indicate LGBT+ prisoners are jailed in “appalling conditions – [where they are] starved, humiliated, beaten and subjected to extreme torture.”66

Source: Hornet.com67 Russian police detaining a man protesting for gay rights.

SHIFTS IN PRIDE 25

Cultural Violence: The Unacknowledged Assault The violence against LGBT+ identity isn’t solely contained

The contradiction of exuberantly showcasing the

to the physical or psychological level. There is a present

privilege of innate ability to marry, a concept enshrined

violence towards queer identity as queer culture becomes

in American society since its founding, conjures feelings

increasingly adopted into mainstream discourse. While

of rejection in queer individuals. The open portrayal

it has been previously acknowledge GLAAD has made

of a right historically denied to queer people, in a

significant contributions to increasing and improving

space designated for queer people, conjures feelings of

queer representation in media and culture, there are

oppression/repression, especially when compounded by

several exemplary cases in which queer culture has been

the mistreatment of the spaces.25 This mistreatment can

co-opted by heterosexuals, resulting in the omission of the

occur, for example, in the form of poor etiquette when

identity or historical significance of LGBT+ individuals.

tipping queens (such as woman tipping a dollar to a drag

Compared to other overt, physical manifestations of

queen with a dollar between her breasts, or encroaching

violence against queer identity, this cultural/historical

onto the stage and dancing while a queen is performing.)

violence presents a clear threat to the maintenance and legacy of LGBT+ history and identity.

Beyond queer spaces, the presence of LGBT+ representation in mass media has recently come under

On a more intimate, spatial level, there has been a

attack in several high-profile examples. The most

growing trend of heterosexual people abusing queer

abhorrent cases have occurred in film. While LGBT+

spaces.

representation has improved in cinema, several major

24, 25

This abuse is best exemplified by the influx of

bachelorette parties hosted at gay bars and drag shows.

historically-based movies have straight-washed, or

While seemingly harmless, these parties are a transgression

additionally white-washed, the queer protagonist.

against queer people. Admittedly, the impact of this

These high profile examples include the protagonist of

transgression has been reduced by the legalization of gay

Roland Emmerich’s “Stonewall” being portrayed as a

marriage in 2015. However, the portrayal of heterosexual

cis-homo male instead of a trans-person of color.26

matrimony in queer spaces symbolically contradicts the

Additionally, the up-coming Freddy Mercury bio-flick

foundation of these queer-specific spaces. The core of the

omits his bisexuality and death from AIDS from the

programmatic identity of LGBT+ designated spaces is to

movie’s plot.27

establish a refuge from heterosexual oppression.

26 TRENDS IN IDENTITY

Source: Diana Davies via VICE68 Sylvia Rivera and Marsha P. Johnson, two transgender women-of-color, credited by the LGBT community of having been the leaders of the Stonewall Riots

Source: The Independent69 The historical flick “Stonewall” by Roland Emmerich features cis-gender, white protagonist Jeremy Irvine, who’s identity has actually been highly contested by historians and LGBT activists.

SHIFTS IN PRIDE 27

EXHIBITING HISTORY AND CULTURE As we examine shifts in pride, we can observe a clear paradox. While LGBT+ identity is attaining widespread acceptance and increased representation, there are common occurrences of violence against queer identity on several levels. One is then presented with the question: How may we preserve queer identity and culture in an evolving society? The preservation of history and culture has classically occurred through various medium. Individuals themselves, literature, photography, etc. have all been used to capture particular moments of history and culture, preserving them for observation in future societies. Institutionally, museums have played a pinnacle role in exhibiting these artifacts to the public. This section seeks to examine and analyze the current state of the museum institution, as well as its impact on society.

Source: Art Blart70; “Robert Mapplethorpe” exhibition in Grand Palais, Paris

The Evolution of the Museum The foundation of the museum is derived from the

located in Stockholm, Sweden. This museum was especially

functional goals of collecting, preserving and displaying

popular in hosting meetings organized by the labour and

material and intangible traces of the past. As museums

agrarian movements, as well as the bourgeoisie.31

grew in popularity at the turn of the twentieth century, they became a controlled and safe environment where artifacts of the historical/cultural past could be displayed and experienced by individuals from a variety of socioeconomic backgrounds.28 As the popularity of museums increased during this time, the role of museums began to shift. The museum began to provide a solution to the political, cultural, and economic turmoil of the early twentieth century; museums began to offer the public a sense of common identity. Within museums, individuals could experience and learn of a â&#x20AC;&#x153;shared background drawn from a common historical territory,â&#x20AC;? (Zipsane 132).29 These experiences have worked to culminate a more collective understanding of societies common roots, but has also been used as a force in the production of nationalism. Historically, nationalism was used to foster social cohesion while presenting a dialogue minimizing class differences and defusing class struggle.30 An international example of this culmination of peoples under museum-fostered nationalism can be observed through the Nordic Museum (Nordiska Museet),

30 TRENDS IN IDENTITY

Source: Wikimedia Commons71 Interior view of the main hall in Nordiska Museet, Stockholm

In more modern times, museums are increasingly being utilized as engines of learning and social development. Approximately 61% of museums facilitate both learning and social development in their exhibits.32 These exhibits are pedagogically driven to help present the learner with an experience that cultivates sympathy towards a particular subject.33 Most recently, these subjects are explorations of the history and culture of minority identities. One manifestation of this trend can be observed through El Museo del Barrio in New York City. Source: Rose Mary C. via Yelp72 Exterior view of El Museo del Barrio

El Museo del Barrio was founded to, “enhance the sense of identity, self-esteem, and self-knowledge of the Caribbean and Latin American peoples by educating them in their artistic heritage and bringing art and artists into their community”34 El Museo, still in operation today, strives to eliminate barriers between mainstream exhibits and the representation of the cultural history of Puerto Rican and Caribbean communities. The museum attempts to preserve cultural/historical memory, by curating spaces that serve as an archive for a perceived overlooked culture. In their primary collection “Pa’lante,” the art captures the conflicted history between Puerto Rico and the United States, capturing an embattled history of fighting for equality, and celebrates the leaders (both historical and contemporary) who have lead the struggle

Source: Museum Environments73 View of a permanent gallery in El Museo del Barrio that showcases local Latin American culture and history

for freedom and equality.35

EXHIBITING HISTORY AND CULTURE 31

While cultural and historical preservation have become consistent drivers in museum curation, these drivers have been applied to increasingly polarized topics. New discourse questions whether museums are, or should, be used as proverbial vaults to contested social issues, if they should conceal controversial objective material from the public, or if these exhibits should be utilized to produce productive dialogue and reconciliation between identities.36 Predictably, when exhibits seek to produce the latter effect, reactions are usually mixed, if not entirely

Source: Whitney Plantation74 Exterior view of the main building of the Whitney Plantation Museum

polarized. Examples of such occurrences can be seen through Whitney Plantation in Louisiana, a museum dedicated to telling the story of slavery. Controversy around the museum arose due to the fact the owner was Caucasian, causing the museum to be perceived as another example of a white individual profiting off the oppression and suffering of black individuals.37 A similar situation arose when the confederate flag at the Fort Sumter National Monument was moved from the exterior to the interior museum. Critics on both sides were aggravated, as the debate on whether the flag should be displayed in itâ&#x20AC;&#x2122;s original standing, or even displayed at all, is a polarizing issue in current societal discourse. 38

32 TRENDS IN IDENTITY

Source: Kerri Westenberg via the Star Tribune75 An installation on the grounds of the Whitney Plantation Museum

Benefits of Empathy Exhibitions With the varying polarized reactions towards museum

Increases in contextualized empathetic responses as a

exhibitions that are culturally or politically charged,

result from guided tours can be observed in both adult

the question at hand is whether these empathy driven

and youth age groups. Studies also reflect these tours

collections are truly beneficial. Research has produced

increase tolerance towards the exhibited subject matter by

strong evidence that the arts can enhance civil society.

7% of standard deviation. Individuals who are members

According to the study Impact of the Arts on Individual

of disadvantaged, marginalized, or minority groups see

Contributions to US Civil Society by Leroux, et. al.,

even greater levels of improvement in tolerance, by up to

“both audience-based participation in the arts, and

13%.41 Current research into the effectiveness of museum

personal participation in creating art, are linked to higher

exhibitions only serves to support the idea that museums

levels of civic engagement, social tolerance (on some

have an innate ability to help people understand those

dimensions of the measure), and improved “other”-

different than us, or situations/issues that are impersonal,

regarding behaviour.”39

through empathetic exhibitions.42

Guided tours through empathy driven museum exhibits compound the benefits of the experience. After completing tours of these exhibits, Visitors were twice as likely to exhibit or communicate empathetic responses rather than framing their responses centered around their own personal history. Empathetic responses are four times as likely, instead of responses driven by connecting the historical context to contemporary social issues.40 In other words, guided tours of empathy driven museum exhibits increases the probability visitors will exhibit empathetic responses rather than attempting to make connections or reframe the content of the exhibit to personal or contemporary contexts.

Source: The Museum of Modern Art76 High school students receiving a guided tour of MoMA

EXHIBITING HISTORY AND CULTURE 33

A TRAVELING EXPERIENCE The museum has classically been the primary institution of collection, maintenance, and display of artifacts of history and cultural evolution. The museum exhibit has great power in transforming individuals perceptions and behaviors pertaining to particular subject matter. While we see intangible shifts from these exhibits, thereâ&#x20AC;&#x2122;s no clear observation of exhibitions in motion. The standard expression of the exhibition exists within the confines of the museum institution. Is there opportunity to not only move peopleâ&#x20AC;&#x2122;s perceptions, but move the exhibit? One can argue the transference of collections between museums constitutes as movement. But must the exhibition be entirely reliant on the institution? The following section seeks to answer these questions by exploring an emerging form of exhibition design: experiential marketing.

Source: Gerald Mark Soto77 (Google CES 2018 Pop-Up in Las Vegas, Nevada)

Emergence of Experiential Experiential marketing design can be loosely described

Efficacy of Experiential

as temporary, often traveling, spatial experiences curated

As experiential design becomes a powerful force in

to create personal connections with consumers, sell a

marketing design, it’s important to assess the efficacy of

product, or educate individuals about a product, service,

these exhibitions. Understanding the efficacy of the events

or brand. The emergence of experiential marketing is,

can provide valuable insight to apply to the curation of a

in it of itself, an emerging trend in exhibition design.

mobile museum exhibit.

Evaluating experiential marketing can help with assessing the potential to successfully create a mobile, stand-alone

Studies show the marketing industry ranks event

museum exhibition.

marketing as the most effective marketing channel, in

The Rise of Experiential

comparison to content making, email marketing, and other traditional marketing strategies.45 Surveys within

There are several factors driving the emergence of

the marketing industry show that 95% of respondents,

experiential campaigns in marketing. One factor is the

who utilize events, agree that “live events provide

emergence of the millennial generation’s economic power.

attendees with a valuable opportunity to form in-person

Experiential marketing is a tactic partially motivated

connections in an increasingly digital world.”45 Additional

to harness and appeal to millennial driven economics.

data shows that 85% of consumers are “more likely

According to a study by Eventbrite, consumer spending on

to purchase a product or service after participating

live experiences has increased by 70% since 1987.43

in events and experiences,” and 91% of consumers

The study identifies millennials as the strongest

possess increased positive feelings towards brands or

contributors to this spending, identifying 55% of

organizations after attending events and experiences.46

millennials are spending more on events and live

In comparison to other marketing channels, events and

experiences than ever before. Additionally, over 78%

experiences continue to surpass traditional methods of

of millennials would rather spend money on preferred

marketing in terms of efficacy and value to consumers.

experiences or events rather than a desirable product. In response, businesses are planning to increase their spending on live events by 80% (from 2017 to 2018).44

36 TRENDS IN IDENTITY

These exhibition events also help foster a greater sense 85% more likely to

purchase a product of service after participating in events and experiences46

of community. Specifically, 69% of millennials believe “attending events makes them feel more connected to other people, the community, and the world.47 This statistic mirrors the fact “community building” is the second most popular reason for conducting exhibition events in marketing.47

91% more likely to

purchase a product or service after participating in events and experiences46

The Future Potential Within event marketing, the largest sector of potential exists in the realm of technology. According to event marketers, 86% agree technology can have a major impact on the success of the marketing event. Technology

78%

of millennials would rather spend money on preferred experiences than products43

in these exhibitions can present themselves in the form of VR/AR, live-streaming, AI, wayfinding and mapping, event apps, and event success platforms. A notable example that showcases the potential of tech integration in experiential marketing is Google’s “Deep City” by HUSH. This exhibition sought to educate consumers of the power of data collection and data driven experiences. HUSH created an interactive, 3-part

69%

of millennials believe “attending events makes them feel more connected to others and the world47

installation, that “records a guest’s data through gesture, movement and voice to generate an informational and artistic record of their personal journey.” This information is then used to generate a totally unique lighting display, built around the guest’s biometric data.48

A TRAVELING EXPERIENCE 37

“Deep City” by HUSH (All images from HUSH)

Stage 1: The Passage

Stage 2: The City Cave

See your body’s biometric data as physical

Voice and motion data input takes you on a 360 degree journey.

manifestations of layered light.

Stage 3: The Skywalk A visualization reveals your personal data.

EVOLVING EDUCATION Experiential marketing has evolved into a new method for companies and organizations to educate their consumers about their products, services, brand, mission, etc. To further our understanding on how to best facilitate this education, one may examine the trends of education as a whole. Better understanding of the ways in which societyâ&#x20AC;&#x2122;s education system is evolving can better inform how we may create educational environments. When examining the education system at all levels, from early to higher education, several drivers are motivating key shifts in approaches to teaching. Diversity, digital fluency, and a heightened sense of global connectedness are influencing new approaches to education that are often physically and pragmatically contrary to our collective understanding of the learning process.49

Source: GRUPA GDYBY 79

Person(s), Playful, and Potential As strategies in education shift, the execution of teaching

Collaborative Inquiry

sees new methodology, both philosophically and

In recognizing the failings of traditional hierarchial

physically. Society is now seeing new learning experiences

and bureaucratic education systems, modern day

centered around the student, collaboration, gamification,

learning focuses on the learner at the center, and

and facilitated by new technology.

fosters collaborative inquiry. Collaborative inquiry

Learner at the Center

centers around understanding that issues in society are often approached and resolved in a collective, while

Educational trends of 2017 show a transition from

simultaneously acknowledging the uniqueness of the

traditional learning, where a teacher or professor

individual. The collaborative inquiry is founded on the

is viewed as the â&#x20AC;&#x153;beacon-of-knowledge,â&#x20AC;? to a new

reality that solutions emerge through joint efforts of

contemporary style with the learner at the center. This

critical thinking and problem solving.52

style of learning doesnâ&#x20AC;&#x2122;t portray the student as someone to be served, but instead as someone with unique skills

The importance of collaborative learning moves beyond

and insights, to be empowered, and to have their own

motivating cooperation. Collaboration has the power

individualistic voice. Placing the learner at the center of

to utilize the individual talents, wisdom, and expertise,

educational design decisions allows educators to leverage

to work towards an agreed common goal. The impact

the unique skills, resources, and insights of their students

has the capability of fostering more professional capital,

to create more effective teaching approaches.

which is highly reflective of societies with more equality,

healthier societies, and higher attaining societies.53 Learner at the center is a teaching strategy reflective of modern day perceptions and realizations of the educational systems across the globe. There is a slow, collective realization that the hierarchies and bureaucracies in traditional educational models are nonconducive to empowering individuals and organizations to excel in modern society.51

42 TRENDS IN IDENTITY

Engaging Activities, and Technological Strategies While the philosophical approaches to education are evolving, methodology in conveying material to learners is also evolving. One tactic of communicating educational content is via gamified activities. Gamification, or

game-based learning, organizes and disseminates core

this technology can “benefit students’ long-term memory,

content through interactive and responsive activities,

problem-solving skills, enthusiasm, motivation, and

with promotion to achieve a top (desired) result. A study

collaborative abilities, as well as increase learning

on digital game-based learning in high school computer

performance, interaction, and learning satisfaction,”

science education revealed the gamified approach was

(Pellas, N., Fotaris, P., Kazanidis, I. et al. 2018).57

more effective in achieving learning of conceptual subjects, and cultivated more motivation in students to

One company pioneering the development of AR

learn, in comparison to the non-gaming approach.54

technology is DAQRI. DAQRI has developed numerous apps for childhood education that react to both images

The effects of gamification can be compounded by

and objects, a comprehensive AR experience that helps

the utilization of technological advances. A promising

teach key anatomical functions to medical students, and

technological advancement, which was previously

wearable tech that aides in training mechanical engineers/

discussed in relation to the traveling exhibition, is

operators in the workplace.58 Examples of their work can

the use of augmented reality in learning. Augmented

be found on the following pages.

reality technology, or AR, has a powerful potential to revolutionize tangible methods of distributing

When considering the overall impact on AR in

knowledge. The increased utilization of AR in educational

learning environments, one may make connections to

environments has lead to increased scientific research into

the potential enhancement of learning in non-traditional

its efficacy as a learning tool. Over the past four years,

educational environments. Beyond AR, the strategies

AR has been utilized the most in science, humanities,

and innovations in evolving methods of education may

and arts learning.55 AR in these fields can become even

be abstracted, and contextually applied to informational

more engaging when the technology is combined with

exhibits, be it in museums or traveling exhibitions.

geolocation to provide location-activated contextual informational. Studies also reflect that this strategy of AR learning yields a 14.3% articulated improvement in students’ positive perceptions and attitudes towards subject material, and in interaction, socialization, and collaboration.56 The overall impact of AR learning shows

EVOLVING EDUCATION 43

Source: Medium.com 80

^DAQRI has developed cubes, on which each side has a particular element inscribed. Interactions between the two cubes symbolize interaction between two elements. When these interactions are viewed through AR, the cubes come to life, showing the chemical reactions and results of each elemental combination. >Anatomy 4D is an interface designed by DAQRI to bring the human body to life by viewing a specialty page through AR. Pictured is a snapshot of one view setting. Other settings allow the user to explore organ systems, the skeletal system, and key bodily functions.

DAQRI AR solutions have developed wearable AR systems capable of reacting to mechanical environments. Detailed mechanical systems data can be brought to view through the AR interface, allowing real time exploration, tuning, and problem solving.

Source: Ticeman 81

Source: DAQRI 82

TREND INSIGHTS

Source: The Robert Mapplethorpe Foundation 83

Source: Rediff.com 84

Preserving Minority Identity:

The Power of the Empathy Exhibit:

Increased acceptance of minority identities directly

Museums have historically existed as an institution to

correlates to the assimilation of the minorityâ&#x20AC;&#x2122;s culture

collect, preserve and display material and intangible traces

into the mainstream. This assimilation can lead to

of the past. Current societal trends view museums as

unacknowledged violence throughout all layers of society,

vehicles of exhibiting complex and controversial topics,

including cultural violence via appropriation.

both politically and culturally based. Research shows

Therefore, as a minority identity/culture assimilates into the societal identity, there is a clear necessity to produce and maintain spaces that secure and preserve the minority and identity culture, and ensure it serves as a medium of education to the greater society.

museums having power to teach empathy, tolerance,

(Shifts in Pride)

46 TRENDS IN IDENTITY

(Exhibiting History and Culture)

and expanded understanding of complex issues.

The museum exhibit is poised to become instrumental in the further development of society, through empathy driven exhibitions.59

Source: HUSH 85

Source: TechPrior 86

Expanding the Effects of Exhibitions:

Curating Engaging Education:

Experiential marketing has emerged as an effective

The traditional hierarchial, bureaucratic system of

method of engaging with customers to educate them

education is no longer as effective as contemporary

about a companies products, services, brands, or

education strategies. Learning must work from the

organizations. The ability of event marketing to curate

individual-up, not institution-down.

immersive sets that can travel across markets present

Vehicles and methods of education that adapt to unique individuality, foster collective collaboration, and create interactive and/or immersive learning, have the greatest potential of transforming society.

(A Traveling Experience)

opportunities to overcome geographical challenges.

The traveling exhibit has the power to engage with individuals from widespread locations, form personal/community bonds, influence perceptions towards particular subjects, and communicate abstract, intangible ideas.

(Evolving Education)

TREND INSIGHTS 47

HOW MIGHT WE... ...design an educational exhibition on LGBT+ history and culture?

KEY CONSIDERATIONS: 1. What periods of LGBT+ history/culture should be represented? 2. How might we curate the exhibition to ensure the narrative applies to all identities in the LGBT+ community? 3. How can the exhibit appeal to individuals across the homo-hetero spectrum? 4. What parts of LGBT+ history and culture have been overlooked, forgotten, or neglected by modern day society? 5. How may the exhibition serve as an educational engine? 6. What is the importance of having an LGBT+ specific exhibition, and how can the importance be communicated through design? 7. Can the exhibition travel to meet a larger, national audience? 8. In what spatial context shall the exhibition exist? 9. How may interior design theory be utilized in the overall narrative? 10. Does the exhibition represent an accurate and appropriate representation of the LGBT+ community?

THEORIES OF IDENTITY

52 The Concept of Identity

72 Identity and Design

THE CONCEPT OF IDENTITY Identity is not an easily defined concept. The popularity

These identities begin to provide general distinctions

of the concept of identity has resulted in it becoming

between people within society. The concept of identity,

ubiquitous in societal conversations. The growing

however, becomes complicated when one examines the

emphasis of identity in modern society has caused it’s

proportions of particular identity populations within the

definition to be increasingly broadened. From a practical

broader society.

standpoint, the identity of a subject is used as a descriptor of a distinguished difference. A mundane example of

Higher populations within a particular individualistic

identity can be observed in how we describe water. It

identity causes that identity to bear a greater influence

is common knowledge water comes in many forms. To

in defining the identity of the society. For example,

establish a distinction between the forms of water, we

the United States population predominantly identifies

associate an identity, a descriptor of a distinguished

as Christian, and therefore the country has been

difference, to each type, such as tap, sparkling, tonic,

traditionally classified as a Christian nation. However,

distilled, etc. This helps ensure our vodka tonic cocktails

there is no official religion of the country.2 This assumed

don’t end up being Grey Goose and distilled water.

identity of the nation represents the complication of

Identity, a descriptor of a distinguished difference, is how

population density within individualistic identities, as the

we structure our world, classifying objects, experiences,

belief the United States is a “Christian nation” is cited

and most importantly, self and society.

consistently to justify proposed policies and laws that are marginalizing against non-Christians (such as establishing

At base level, identity of self and society takes form

rights to refuse service to gay people, outlawing

similarly to the presented water analogy. Identity

abortion, forcing Bible education in schools, etc.).3 This

manifests in the distinction of gender, religious affiliation,

phenomenon highlights an emphasized need to further

political party, etc.

examine what minority identity means on an individual

Source: John Clang 40

Forming Identities Societal culture, values, beliefs, and behavior are all rooted in the society’s identity; culture and identity are practically synonymous. But in a society defined and controlled by majority identities, where does that leave minority identities? The answer to this question begins with an examination of the root of identity formation. In his book Political Culture, Political Science, and Identity Politics: An Uneasy Alliance, Howard Wiarda determines differences in the origins of identity. He distinguishes cultural and societal identity “may grow naturally, organically, out of a shared history and experience; in other cases, culture and identity, including in some cases nationalism itself, are invented, artificially created, or manufactured with some clear goal in mind.”5 To continue the example of religion in the United States, Christians believing that the country is a “Christian nation” is rooted in both their shared history, and experience. The establishment of the alt-right in modern US politics is an example of an invented, artificially created identity with specific goals of ethno-nationalism and religious intolerance.6 The establishment of cultural and societal identity motivate the establishment of minority identity. By pure definition, minority identities do not define the overall

54 THEORIES OF IDENTITY

Source: Sagmeister & Walsh41 Cover image for the June 26, 2016 Sunday New York Times Magazine, conceptualizing the theory of Donald Trump swallowing the GOP.

societal identity. While they may be an element, or subject of the greater societyâ&#x20AC;&#x2122;s identity, minority identities are not absolute definitive elements of the greater society. To clarify, I am not claiming minority identities donâ&#x20AC;&#x2122;t contribute to societal identities. However, it is undeniable that a minority identity alone cannot be an absolute factor in determining societal identity. This dynamic between minority-majority identity and societal identity is the driving factor for the formulation of minority identity. Minority identity is driven by the perception of difference, whereas majority identity is driven by the perception of sameness. Minority identity is therefore derived from a sense of otherness. A prime example of the manifestation of identity from a perception of difference is LGBT+ identity in the United States. While homosexuality has been exhibited throughout all of human history, LGBT+ identity, as a classification or descriptor of distinguished differenced, manifested in the United States out of perceived otherness and societal marginalization.7 There is a great importance to the establishment of these

Source: Gay Art History42 Zephyrus and Hyacinth, Athenian Kylix (wine cup) by Douris 490-485 BCE, Boston Museum of Fine Arts; Homosexuality was commonly depicted in ancient art. However, representations were typically more erotic than the selection above.

minority identities. The proceeding sections seek to explore the importance of minority identities, how these identities are restricted, and the implications of restriction.

THE CONCEPT OF IDENTITY 55

Effects of Establishing Minority Identities For many reasons, cultivation of minority identities

individualistic level. The rise of LGBT+ identity helped

are crucial for the population within the identity. For

ease personal acceptance of homosexuality, allowing

the purpose of identifying the benefits of establishing

individuals to truly embrace their identity and affirm

minority identities, this section will focus primarily on

themselves in society (coming-out).10, 11

LGBT+ identity. In his book Homosexual: Oppression and Liberation, Dennis Altman identifies some of the

Collectively, the assertion of minority identity can help

benefits of establishing minority identity in reference to

create a heightened sense of belonging and community.

the LGBT+ community.

Established from perceived otherness, and exposed to potential or palpable oppression, minority identity can

A collective minority identity can help individuals identify

combat isolation. As evident in the successes of the Gay

threats to the group. The LGBT+ community utilizes

Liberation Movement and subsequent organizations,

organizations such as GLAAD and the Human Rights

the LGBT+ community is much more widely accepted in

Campaign to distinguish such threats. Together, they work

modern society.

to advocate politically for the community, raise awareness of anti-LGBT+ initiatives present in society, and promote fair and accurate LGBT+ cultural representation. The work and profound impact of these organizations have previously been discussed (See Section 2.0: Trends in Identity). Beyond organizations, establishment of minority identity can contribute to societal scale movements.9 The Gay Liberation Movement was directly formed from the rise of the LGBT+ identity in the United States. Not only did this movement have a profound effect on greater society and its acceptance of the LGBT+ community, but also on an

56 THEORIES OF IDENTITY

Source: Pagan Press Books43 ComeOut!, 14 November 1969, was the first publication of the Gay Liberation Movement

Source: Diana Davies via MSNBC44 The Gay Liberation Front marches on Times Square in the wake of the Stonewall Riots in New York, N.Y., 1969.

THE CONCEPT OF IDENTITY 57

Controlling Identity at an Individual Level Dennis Altman continues his discussion about minority

disapproval, disagreement, hatred, or, in this scenario, as

identity, specifically LGBT+ identity, by identifying

pity. While on the surface, tolerance may appear as an

several methods of control that incur on an individual to

appropriate middle ground, the impact of tolerance can be

individual level. Altman identifies the denial of identity

severely devastating to the individual.

at an individual level can take place in three forms: persecution, discrimination, or tolerance.12 While the

The proclamation of tolerance, as Altman describes, with

manifestations of persecution and discrimination are

an affirmation of love, only serves to sink the disapproval

more apparent forms of identity control (easily observable

deeper into the minority’s psyche. The individual is

manifestations of oppression), tolerance as identity

presented with the notion that who they are is deserving

control requires a more thorough examination. Tolerance

of love, but also of pity, and manifests in the form of

is exhibited by acknowledging difference, but not fully

shame. In the LGBT+ community, this term is described as

validating it. Tolerance can be presented in saying “what a

internalized homophobia, referring to an inner self-hatred

pity you are homosexual, but we still love you.”13

embedded in the individual’s subconscious. Tolerance drives these feelings of shame and wrongness into the

While a less overt form of oppression, it can be considered

individual’s psyche. This tolerance then serves as an act

more damaging to self-pride as more apparent exhibitions

of identity control through internalized homophobia.

of hatred of homosexuality.14 This form of oppressing

Because the individual has been subjected to affirmations

identity occurs at a deeper psychological level. The

of shame in regards to their identity, they work to

assertion of feeling love towards a homosexual individual

suppress personal exhibitions of the identity. An individual

is rendered irrelevant when its given with pity. The pity

with internalized homophobia will seek to exhibit their

implies an inherent sense of wrongness. Pity is the idea of

identity in ways that distance themselves from being

showing compassion towards the misfortune of others,

perceived as a homosexual, to avoid pity and shame from

which in this scenario is an individual with a homosexual

others. This personal suppression, derived from tolerance,

identity. Tolerance is not true acceptance. Tolerance is a

thus acts as a means of controlling minority identity.

form of acknowledgement while asserting a sense of

58 THEORIES OF IDENTITY

Source: Southern Poverty Law Center45 Westboro Baptist Church protesters are common at major LGBT+ events. The group is known for picketing pride parades, and even protested in Orlando after the Pulse massacre.

Source: Daniel Zennon via Twitter46 The individual who sent the blue message displays signs of internalized homophobia

THE CONCEPT OF IDENTITY 59

Controlling Identity at a Societal Level As minority identities are formed, there are several methods of control exercised by the majority. Motivations for this control can range from general disapproval of the identity’s values, practices, or beliefs, to fear of losing majority status. In “Modernism, Postmodernism, and the Problem of the Visual in Afro-American Culture,” Michelle Wallace identifies methods of control against African-American identity. The methods of control outlined in her commentary parallel to those enacted against LGBT+ identity. One method of control of minority identity is sustained in traditions and education defined by the majority. Wallace observes, “even the smallest child seems to instinctively understand, institutionalized education has always been, first and foremost a means of transmitting social values.”14 This assertion is reflective of the LGBT+ educational experience. Sexual education in schools has been a long contested subject in modern day discourse, but also encapsulates social values towards sexuality. Additionally, Wallace asserts the hegemony of the education system is rooted much deeper than the institution itself. The true derivative of the hegemony is structured by the concept of tradition. Similar to how culture structures our beliefs, attitudes, and values, tradition serves as a structured methodology of socially implementing culture.

60 THEORIES OF IDENTITY

Source: NIGRA47

Traditions are inevitably radically selective.15 While, tradition helps structure and provide order to macrosociety, tradition, by definition, is selective. Constructs of tradition guide society in how things are to be done. The tradition of Thanksgiving is a prime example in modern society. The tradition of Thanksgiving is largely taught as a being a time when the pilgrims and Native Americans shared a feast to celebrate the harvest, and throughout the procession of time American society would annually partake in a similar shared meal with loved ones. This tradition becomes a vehicle for identity control through how the tradition is taught and portrayed. While the

Source: Columbian College of Arts and Sciences48 Depiction of colonial Thanksgiving

pilgrims and native people may have shared a feast, the cultural destruction, thievery, and genocide committed against the natives pre- and post-feast is largely left out of common discourse. This merging of culture and tradition effectively presents an inaccurate portrayal of the relationships and history. between the native people and the colonists. This tradition presents colonization as a symbiotic dynamic, rather than one which contributed to the destruction of native civilization and culture. This education of tradition has largely served as a method of controlling the narrative of how the majority interacted with identity.

Source: United to End Genocide49 Depiction of colonists massacring Native Americans

THE CONCEPT OF IDENTITY 61

The preservation and accurate representation of minority

The use of derogatory language, and labeling the event as

identity in education is crucial. Both the absence of

“Homo Nest Raided, Queen Bees are Stinging Mad,” was

minority identity in education, and inaccurate portrayal

an exercise of control on LGBT+ identity, attempting to

of the identity, are equally methods of control. Edmund

minimize the severity of the riots, as well as to continue

White discusses how the absence of minority education

reinforcing negative perceptions of LGBT+ behavior.19

is a method of control in his novel The Beautiful Room

The coverage of the Stonewall Riots exemplifies the

is Empty. White cites the events of the Stonewall Riots

relationship between a minority identity’s increased

and the profound effects of the riots on LGBT+ identity.

exposure and inclusion in societal discourse, and how the

He recalls after the riots occurred, “we couldn’t find a

ways in which these identities are conveyed often dictate

single mention in the press.” The event that many in

majority perceptions of the minority.

the LGBT+ community recalled as “their Bastille Day” received minimal immediate coverage.17 The lack of coverage was utilized as a means of trying to suppress the significance of the events. This, in turn, inspired the riots to continue for a total of six days in order to add pressure to main-stream media to cover the events. As the riots continued, they began receiving increased, and eventually, mass coverage by major media outlets. While this coverage helped inform wider populations of the riot’s existence, the ways in which the Stonewall Riots were portrayed epitomizes how hegemony over minority identities manifests in education controlled by majority identities. “How US News Media Represent Sexual Minorities” by Marguerite J. Moritz characterized the coverage as “displaying a journalistic contempt for the gay community that was both typical and unabashed in the serious press as well as in the tabloids.”18

62 THEORIES OF IDENTITY

Source: The Randy Report50 The coverage of the Stonewall Riots in the Sunday News epitomizes the derogatory and marginalizing press the LGBT+ community encountered

THE CONCEPT OF IDENTITY 63

The Scale of Minority Identity Oppression Oppression of minority identity can occur on

identity, especially minority sexual identity, are merely

individualistic or societal levels. The oppression of

fabricated as a means of controlling society’s collective

minority identity can have severe implications, not only

identity. Altman supports this conclusion in referencing

on the oppressed, but on the greater society. Explorations

Sigmund Freud: “The basic bisexual and polymorphously

of the greater impacts of this oppression are further

perverse nature of the human animal is constrained and

discussed in Dennis Altman’s Homosexual: Oppression

limited by cultural imperatives and norms, but the desires

and Liberation.

that nature gives rise to are never obliterated; they lurk dangerously in each individual unconscious.”23

Altman claims the oppression of homosexuality stems deeper than rejection of a specific sexuality, but from a “general repression of sexuality” within society.20 He argues that the homosexual oppression is the result of societal attitudes towards sexuality in general. Therefore, the oppression of homosexuality is not only a form of minority identity control, but of societal, even majority, identity control. Society has embraced this predisposed idea of normalcy regarding sexuality. To maintain control of wider societal sexuality, the “others” are demonized and marginalized, in essence to make an example of what happens when one deviates from the “normal.” This societal control, the imperative of sexual (and even gender) rigidity, is a modern convention. Dating back to ancient Greece and Rome, exploration of sexuality and gender identity were common and widespread.21, 22 Modern day cultural attitudes are therefore non-defining of the true human experience, and oppression of sexual

64 THEORIES OF IDENTITY

Source: Medium.com51

Source: Salvador Dalí via “Historias de Amor e Morte” 52 “In Voluptas Mors.” 1951.

THE CONCEPT OF IDENTITY 65

Assimilation: Acceptance or Suppression? The effects of minority identity suppression/oppression

presentation, or the accepted version, of majority-defined

are not solely experienced by the minority, but also by

minority identity is a form of cultural colonization.

the majority. One perceived method of acceptance being

The core of Wallace’s argument rests in the notion that

exhibited in the present is assimilation. With attitudes

assimilated cultural expression of minority identity is a

towards homosexuality shifting in modern times, society

method of identity control and suppression, by promoting

has strived to assimilate LGBT+ identity into mainstream

a representation fabricated for acceptance by the majority.

culture as a means of communicating acceptance.

These manufactured representations effectively suppress

However, assimilation is not the same as acceptance.

true minority expression, because the minority feels

Rather, assimilation is assassination of minority identity.

pressure to adhere to majority standards in order to obtain true acceptance.25

Assassination is a term associated to the targeted elimination of a prominent individual. Similarly to idea of assassination, assimilation is a means of eliminating true minority identity expression. Returning to Michelle Wallace’s “Modernism, Postmodernism, and the Problem of the Visual in Afro-American Culture,” she claims assimilation is not truly derived from acceptance of the minority identity. She illustrates this point through examination of Josephine Baker in Mumbo Jumbo. Baker, an African-American, became a cultural phenomenon in the majority white culture of her time. Wallace reflects on previous writings about Baker and observes how she became a muse to the white man.24 The embodiment of Baker as a “muse” fostered a main-stream perception of how female African-Americans were to present themselves in white majority society. Wallace argues that the

66 THEORIES OF IDENTITY

Source: CMG Worldwide53 Josephine Baker

In essence, assimilation permits the majority identity to

be exhibited, formulating subconscious parameters

construct an “acceptable” representation of minority

of expression per what is deemed acceptable by the

identity. Assimilation is therefore substantially vulnerable

majority. This internalization is similar to the effects of

to misrepresentations. These misrepresentations ultimately

tolerance, which is previously deemed as a contributor to

influence how minority identities perceive true-self should

internalized homophobia.

Source: Season 10 cast of RuPaul’s Drag Race via Vulture54 While RuPaul’s Drag Race has received praise for LGBT+ visibility, the show has faced criticism for perpetuating standards of what styles of drag are acceptable

THE CONCEPT OF IDENTITY 67

The Argument for True Acceptance The previous discussion illustrates assimilation is not

various methods of expression. Homosexual individuals

a true manifestation of acceptance. While the goals

are not bound to the constructs of heterosexual

of assimilation may not always be rooted in desire to

definitions of normalcy, and are therefore presented with

control minority expression, their effects are all the same.

the opportunity to explore the boundaries of identity

Assimilation, however, is veiled in a guise of acceptance,

expression.27 Milo is essentially presenting the argument

and is not always as easily observed as identity control.

that LGBT+ individuals should capitalize on this freedom

One high-profile, yet equally controversial, individual,

expression, and remain resistant to assimilation, because

who has acknowledged assimilation as oppression, is Milo

indulgence in heterosexual normalcy is assimilation, and

Yiannopolis. While his wider political and social beliefs

impedes on opportunities of expression.

are intentionally presented through shock-value, and are arguably riddled with paradoxical justifications, his

The core of Milo’s argument is that homosexual

positions on homosexual identity expression are, to some

individuals, a minority identity, should have equal access

degree, demonstrative of ideal minority exhibition.

to opportunities of expression. Although he personally argues the minority identity should refrain from indulging

In an interview on The Rubin Report, Milo presents

in the institutions created by the majority, in fear of

an argument against assimilation of queer identity into

losing minority identity and “privilege”, the basis of his

mainstream society. Milo claims that while he believes

position (opposing assimilation) is what bares true weight.

homosexual individuals should have equal opportunity

Regardless of personal belief of how one feels individuals

under the law (for example to be married) he doesn’t

should exhibit their identity, people should have the

believe that they should participate in the institution.26

freedom and acceptance to exhibit their identity however

If one looks beyond the provocative rhetoric, in which

they feel is appropriate. Milo appears to be promoting a

Milo presents this position on identity, one discovers he

widespread acceptance and integration of homosexuality

is against assimilation, acknowledging it as a method

into mainstream identity expression.

of control. Milo argues that homosexuality’s intrinsic difference to majority societal identity permits gay people a degree of “privilege” to experiment and indulge in

68 THEORIES OF IDENTITY

appropriate (equal opportunity of expression).28 However, the core of the argument rests in the distinction between assimilation and integration. Assimilation is deemed detrimental to minority identity (similarly to as previously discussed). But integration is the means of providing the opportunity to exist within mainstream majority identity constructs, without the absolute pressure to adhere the majorityâ&#x20AC;&#x2122;s standards. Thus, minority identities should be accepted into greater society. This acceptance, however, should be implemented through integration, not assimilation. Integration presents the ability to preserve minority identity, while also permitting differing lifestyles and beliefs to coexist. Previous discourse within this section has already identified the need to preserve minority identity, but also presented the argument for the acceptance of minority identity in a majority society. True acceptance Source: OUT55 A drag queen shares a train ride with a woman in a niqab

(understanding of difference, but fostering a willingness to allow the minority identity to exist void of influence of majority definitions of normalcy) is how we truly achieve a society in which multiple identities may exist.

THE CONCEPT OF IDENTITY 69

But if true acceptance of minority identity manifests

As discussed, there are many benefits to preserving

in permitting equal representation and opportunities

minority identity on an individualistic and societal

of expression as the majority, why should there be a

level. Denying minority identity only serves to harm the

distinction between two? This is an inquiry that is also

individual and society at large.

confronted by Altman in Homosexual: Oppression and Liberation. It is within his contention that true equality between the majority and the minority results in the inessentiality of minority identity. He believes that the true success of the Gay Liberation Movement, in achieving true equality with heterosexuals, results in the destruction of LGBT+ identity. Altman believes that the success of achieving LGBT+ equality renders the necessity of LGBT+ identity obsolete.29 However, it is within my contention that LGBT+ identity can, and must be, preserved in an integrated and truly accepting society. The primary goal of this section of this book has been to present the argument for maintaining minority identity, and to show the benefits of doing such. The argument I have presented for preserving minority identity has identified key benefits to preserving the identity, such as: a greater acceptance of personal identity, freedom of personal expression, and potential to expand true freedom of expression to greater society. Integration of minority identity within majority defined societal identity could result in the dissolution of minority identity, but it doesnâ&#x20AC;&#x2122;t have to and shouldnâ&#x20AC;&#x2122;t.

70 THEORIES OF IDENTITY

Source: “Erasure” by THE CONCEPT OF IDENTITY 71John Clang

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 identity before understanding its relationship to design. The construct of spatial identity is determined by three zones of environment design. The interaction between these three zones of design, and the human experience, influence a space’s identity. In “Of the Hollow Spaces in the Skin of the Architectural Body,” Wolfgang Meisenheimer identifies and discusses these zones. The first zone exists in the exterior. This zone is not purely

The continuous spatial zone

defined as exterior meaning outdoors. Rather, this exterior zone refers to the continuous spatial area within which a building or space is set.30 This zone can exist around a building, but also within it. The walls that define a space posses both interiors and exteriors.31 Thus, this first zone is not confined to the outdoor exterior environment. Our experience within a particular room of a building presents an understanding there is a space on the exterior, on the other sides, of the walls enclosing our immediate space. Our perception and understanding of this first zone’s existence is what dictates our understanding of an interior experience.32 Without understanding this zones existence, we cannot perceive interiority, and consequentially the presence of spatial identity.

74 THEORIES OF IDENTITY

Without human presense, enclosed space is void

The second zone of environment design exists as the interior space itself. Interior is specified as the area within the spatial wrapper. The existence of this zone (the interior) is connected to human presence. The interior is the continuous spatial area within the built environment, in which the body is set. Therefore, without human presence in interior, this zone cannot be perceived, and does not exist.33 There is a presence of absence in these spaces of human vacancy. These spaces are therefore not Human presence confirms the existence of the interior

truly interior, but are instead void. The first and second zones define the existence of space, the third zone defines the spaceâ&#x20AC;&#x2122;s identity. With the exterior understood, and human presence defining the existence of the interior, the third zone of environments manifests. This zone is presented in layers of mechanisms of control on the human experience.34 This zone is the body of the building, and is the core of spatial identity. These mechanisms of control may materialize through pochĂŠ, lighting, exposure, tactility, threshold, etc. The controls enacted on the human experience define how we interpret a space's identity, and the presentation of these

Mechanisms of control influence the spatial experience/identity.

controls will be explored further in this section.

IDENTITY AND DESIGN 75

A model study I produced of the three zones of the built environment, and the impact on the human experience.

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

Behavior and Presentation

be enacted on the human experience, one of the most impactful is threshold. The implementation of threshold not only bares 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 â&#x20AC;&#x153;Closets, Clothes,

Public Perception of Personal Identity

Personal Identity

and disClosure.â&#x20AC;? In this essay, he compares the analogous relationship of the closet as an architectural container and the metaphoric location to conceal sexual identity.35 Human Identity at the threshold manifests as behavior and presentation

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. However, the personal identity

Spatial 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 presentation serve as a metaphorical threshold between the personal identity we conceal, and the identity we reveal for others to interpret.

78 THEORIES OF IDENTITY

The expression of the threshold communicates spatial identity across the pochĂŠ

The threshold in space operates similarly, yet somewhat conversely. In the built environment, we understand the program (behavior) and presentation (aesthetic) of the space we inhabit. When observing unknown, adjacent spaces, weâ&#x20AC;&#x2122;re unaware of its program and presentation. The separation of space may be defined by a threshold. The physical expression of this threshold serves to conceal, or reveal, the program and presentation of the space. To better understand this relationship, one may recall an experience visiting an unfamiliar home of a friend. You are presented with the need to use the restroom, and are informed it is located down the hall, on the left. As you

Source: We Are Found Home Design57

proceed down the hall, you notice several doors, each of the same physical expression. You have no way of knowing whether the space beyond each door is a closet, a bedroom, or the bathroom. The threshold of the door is used to conceal the program and presentation of the adjacent space. In contrast, major shopping centers may be lined with retail outlets, each with clear, unobstructed glass facades. In this instance, the use of threshold seeks to fully reveal the identity and operations

Source: Nigel Young via Foster + Partners58

of the interior space.

IDENTITY AND DESIGN 79

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.36 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. Threshold isolating interior

Threshold framing a natural scene

80 THEORIES OF IDENTITY

Threshold isolating individuals

“Threshold Tunnel” - 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

IDENTITY AND DESIGN 81

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

experience. Spatial design needs to be a reflection of the

consider the condition of how the threshold is presented

subject. But how can the human experience be reflected in

in space. The condition of this, and other, mechanisms

the spatial wrapper?

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

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

control be 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

of control provide opportunity to curate unique spatial

was classically modeled after the Vitruvian man, an

identities, as well as unique spatial experiences, that

inaccurate portrayal of the perfect human.37 He observes

respond to unique personal identities.

architecture 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.”39 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

82 THEORIES OF IDENTITY

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

IDENTITY AND DESIGN 83

PRECEDENTS AND POTENTIAL

86 Typological, Stylistic, Technical

TYPOLOGICAL, STYLISTIC, AND TECHNICAL In identifying the need to preserve minority identity, and acknowledging ways in which spatial identity manifests, questions arise on how to create a space emblematic of minority identity. A space determined by identity requires great care. For guidance and insights of the best approaches to identity design, one may analyze precedents. This section explores typological, stylistic, and technical precedents of identity in design.

Source: Apple via AdWeek19

Typological Precedent: “Why We Fight: Remembering AIDS Activism The prospect of designing an exhibit that explores

activism for proper healthcare initiatives, and HIV in

the history of the LGBT+ community evokes a crucial

today’s society. Visitors were able to explore archival

question: What are some of the most important events in

artifacts and depictions of the AIDS crisis in an intimate

LGBT+ history, and how have these events been captured

gallery setting.

in exhibition? One of the most significant periods in recent LGBT+ history is the AIDS crisis of the 80s/90s

A notable aspect of the design is the intense graphic

that has lead to approximately 636,000 deaths in the US

and pictorial depictions of the AIDS crisis and ensuing

alone since 1981.1 Currently, there is no precedent for a

activism. The strategy of including contextualized photos

large-scale permanent exhibition dedicated to exploring

and period graphics helped establish the historical

the history and impact of AIDS, though the impact of

relevance of the exhibit. The smaller, intimate gallery

the epidemic is still felt in many communities, and HIV

helped compress the visitors focus to the dialogue

remains a major global issue.2

of the installation. While a compressed space may symbolically provide spatial weight to the exhibition, an

The most notable exhibition in the United States to have

exhibition in much more massive scale may be equally

captured the story of the AIDS crisis in America was

or more effective. A smaller gallery may risk reducing

called “Why We Fight: Remembering AIDS Activism” by

comprehension of the true scale and consequential

Barbara Suhr Design. Hosted by the New York Public

impact the AIDS crisis has had on the LGBT+ community

Library, this exhibition “focuses on the contributions of

domestically and internationally.

those whose work was undertaken in New York City, which was an early epicenter for both the recognition of the disease and the grassroots response to the epidemic.”3 The small gallery explores how activists fought to change perceptions of HIV, fought for publicized methods of prevention, organized demonstrations of public mourning,

88 PRECEDENTS AND POTENTIAL

All images sourced from: Barbara Suhr Design20 Entrance view

Period graphics and archives line the perimeter of the gallery

Overall view of the exhibition

TYPOLOGICAL 89

Typological Precedent: Behind the Leather Campaign The subject matter of the potential exhibit can arguably

The experiences of guests were captured and later

be presented as controversial. Many of the significant

published online. This method of engagement was

aspects of LGBT+ history are rooted in oppression,

particularly effective in creating a lasting impression,

violence, death, etc. These topics and truths, at face

persuading 87% of guests to change their shopping habits.4

value, could potentially be unappealing to heterosexual visitors, regardless the significance of the content. Thus,

The Behind the Leather Campaign is an example of

the prevalent question is: how can the emotionally visceral

an exhibition effectively communicating a visceral and

and ominous historical events of LGBT+ be presented to

provocative point. By contrasting the design of the overall

potential heterosexual viewers?

environment with the design of the elements within the space, the campaign was capable of attracting and

A notable pop-up exhibition having dealt with

communicating a position on a controversial issue. This

controversial subject matter is the Behind the Leather

methodology of attraction, interaction, experience, and

Campaign sponsored by PETA. This campaign consisted

learning can be utilized in the execution of parts of the

of a pop-up exhibit in Bangkokâ&#x20AC;&#x2122;s fashion district,

exhibit dealing with particularly triggering, unappealing,

presented as an exotic animal skin, fine leather boutique.

or violent subject matter. While the methods of execution

The boutique seamlessly blended in with similar

were effective for the Behind the Leather exhibition, a more

surrounding high-fashion stores in the area. Guests,

conservative approach should be utilized in the proposed

unaware the shop was really an exhibition, entered the

LGBT+ exhibition to ensure guests are not dissuaded from

store to examine and possibly purchase an exotic leather

completing the overall experience.

item. However, upon further examination of the products, guests were visibly shocked and horrified to discover hyper-realistic, animatronic depictions of the inner workings of the animals. Whether it be opening a purse, unzipping a jacket, trying on a shoe, or examining a belt, the guest was presented with the organs and tissue of the animals from which the leather was harvested.

90 PRECEDENTS AND POTENTIAL

All images sourced from: Puripong Limwanatipong via Behance21 Exterior faรงade of the pop-up shop

Interior view of fine exotic leather goods

Animatronic animal organs within a purse

Opening a leather jacket mimics the effect of pulling skin off an animal

TYPOLOGICAL 91

Stylistic Precedent: Night Fever - Designing Club Culture New York mega-clubs were pinnacle in the emergence of

In comparing these design drivers with the spatial design

queer identity in mainstream art and media in the 60s-70s.

of the Night Fever exhibition, the space fails to accurately

Night-life destinations, such as Studio 54, became an

reflect those of the nightclubs. There are several areas

epicenter for queer cultural/sexual expression, frequented

within the Night Fever exhibit that correspond to a

by pillars of the community, such as Andy Warhol and

different period or style of nightclub design. However,

Grace Jones. Both the culture and design of these

the exhibition’s spatial design fails to respond to this

environments left a profound impact on the approach

evolution. In procession through the exhibit, the space

to nightlife aesthetic and program. In March 2018, the

remains fairly constant.

Vitra Design Museum sought to capture and showcase the interiors and graphics of select famous nightclubs in an

Night Fever embodies a more traditional approach to

exhibit called Night Fever.

exhibition design, in which the space surrounding the objects serves as a constant, or a back-drop. Arguably,

Organized chronologically from 1960 to the present,

the spatial design of the exhibit fulfills the ultimate need

the exhibition showcases photographs, flyers, artworks

to display the artifacts. However, one must question how

and records derived from the world’s most iconic

effectively the exhibition space captured the underlying

nightclubs.7 The mission of the exhibition is to explore

dialogue of the subject. It may be contested the spatial

the “relationship between club culture and design.”8 In

desigh of the Night Fever exhibition may have been more

a statement provided to Dezeen.com, the Vitra Design

effective in chronicling the shifting aesthetics of the mega-

Museum acknowledges the nightclub as an “immersive

clubs by having the environmental design of each gallery

environment for intense experiences.”9 One may contest,

reflect the styles of their designated period.

however, the aesthetic of the Night Fever does little to embody this assertion. When examining the existing imagery of the mega-clubs, it is easy to see the spatial designs of these environments explored scale, pattern, texture, perception, etc.

92 PRECEDENTS AND POTENTIAL

Source: Paolo Mussat Sartor via It’s Nice That26 Discotheque Flash Back, Borgo San Dalmazzo, ca. 1972; designed by Studio65

Source: It’s Nice That27 New Century Hall, Manchester International Festival, July 2013.

Source: Dezeen28 The Night Fever exhibition in the Vitra Design Museum.

Source: Dezeen28 Night Fever fails to emulate the spatial exuberance of the mega-clubs the exhibition was based upon

STYLISTIC 93

Stylistic Precedent: The Club Kids of NYC An exhibit of LGBT+ history and culture needs

While the Club Kid movement largely dissolved in the

to accurately reflect the aesthetic evolution of the

90s, there has been a resurgence of the Club Kid aesthetic

community. One method of representation of the aesthetic

principles in drag today. Three leaders of the modern

of queer culture and rebellion is observable through drag

day Club Kids are Sussi, Ryan Burke, and Hungry. Each

queens. While the art of drag contains many styles and

modern day drag artist captures a unique period of

facets, one particular category stands out amongst others:

queer culture. Sussi’s less-refined make-up, clown-like

the Club Kids.

appearance, and high-fashion/constructed, thrift costuming is reminiscent of the artistic presentation of the Club Kid

There are many ways the Club Kid aesthetic movement

scene at it’s height. Ryan Burke’s work seeks to utilize

is symbolic of LGBT+ history and culture. The economic

principles of modern-day make-up design, abstracts them,

crash of the mid-80s resulted in the closure of many of

and presents looks/costumes that displays a blend of

New York’s mega-clubs, and the mainstream nightlife

modern day drag ideals with the artistic exuberance of the

scene went into major decline.5 In the vacancy of

Club Kid movement. Hungry’s drag is representative of the

prominent nigh-life venues, smaller clubs began to open,

future of Club Kids, rooted in the values of the original

and these clubs sought out to attract the remaining

movement. Her work seeks to challenge societal standards

young eccentrics of the party scene. These distinctly queer

of drag aesthetics, while metaphorically, and literally,

individuals, dubbed Club Kids, emerged in extravagance,

altering perception through her make-up design.

dawning outlandish make-up and fashion. The Club Kids established an exuberant night-life scene from the

Together, past and present Club Kid aesthetic is distinctly

ashes of the mega-clubs. The Club Kids valued freedom

queer, and may be used to inform the stylistic evolution

of expression, gender fluidity, and open expression of

of portraying the chronology of the subject matter of the

sexuality. The movement was at the helm of queer night-

proposed exhibition. The Club Kid movement, and drag

life until Rudy Giuliani’s “Quality of Life” crackdown on

itself, are symbolic of the assertion of identity. From the

Manhattan nightclubs dissipated the groups.6

grittiness of its founding, to the glam of today, the Club Kids are symbolic of the LGBT+ movement.

94 PRECEDENTS AND POTENTIAL

Source: NewNowNext22 The Club Kids of the 80s-90s were exuberant and gritty in style, rejected societal norms of gender and sexual expression

Source: Eivind Hansen23 Sussi is a modern-day club kid, with a traditional club kid aesthetic

Source: Ryan Burke Photography24 Ryan Burke is a contemporary make-up artist that blends aesthetic standards of the Club Kids, with modern makeup practices

Source: Hungry via Instagram25 Hungry embodies the future of Club Kid aesthetics with her iconic â&#x20AC;&#x153;distorted dragâ&#x20AC;? style.

STYLISTIC 95

Technical Precedent: Building 6 - Mass. MoCA When designing an exhibition, one of the most crucial

visitors to circulate in a loop around the extents of the

components to the installations design is the design

museum, rather than have to journey back against their

of the context in which the exhibit will be inserted. In

circulation path. Steel staircases are incorporated in

the majority of cases in exhibition design, the designer

this space to connect the three levels vertically, and are

has limited control of the physical building space.

“highlighted” by their blackened steel materiality. The

Therefore, the true moments of ultimate control of an

dark materiality of the staircase against the white walls

exhibition’s design exist when designing the overal gallery

of the gallery draw focus to a clearly designated, vertical

environment. When developing a gallery space, be it

circulatory path. Metal walkways and built walls within

through renovation or new construction, several technical

the building’s shell are painted white, not only to neutrally

factors must be considered.

display installations, but to highlight the horizontal circulation path.12

The Massachusetts Museum of Contemporary Art expanded its gallery space in 2017, transforming an

The interior of the expansion capitalizes on the existing

adjacent former textile factory into additional exhibition

fenestration design and natural daylighting factors.

space. The expansion, called Building 6, was designed

Building 6 is opened up into double height galleries in

by Bruner/Cott & Associates, and had the mission to

several areas to maximize daylighting potential while

“maintain the industrial vestiges of the brick buildings

providing sunset views. In contrast, areas in the middle of

and keep the ‘rugged raw vernacular typical of American

the floor plan are completely enclosed to provide spaces of

industrial spaces’ as much as possible.”

more controlled lighting for particular installations, such as

projections and video based works. Bruner/Cott & Associates first addressed the circulation flow of the space. Originally, areas of the building were

Most critically, the building was not originally designed

specialized in accordance to the functions of the factory,

to withstand the weight of extremely heavy installations.

and restricted the overall circulation throughout the

When considering the many tonnes of marble of a

building accordingly. In response, the firm opened up

future permanent installation, the renovations included

spaces around the perimeter of the building to allow

reinforcing the floors with additional steel supports.13

96 PRECEDENTS AND POTENTIAL

Source: Dezeen.com29 Double height gallery space takes advantage of existing fenestration

Source: Dezeen.com29 White horizontal materiality, to draw focus to future artifacts, contrasts black vertical materiality, signifying vertical circulation

Source: Dezeen.com29 The renovation combines double height and compressed ceiling heights to provide flexibility in scale for future installations

Source: ArchDaily30 Red areas within the exploded axon identify enclosed interior galleries, creating space with absolute lighting control

TECHNICAL 97

Technical Precedent: 9/11 Memorial Digital Interaction Story telling is a key component to any exhibition.

Reflecting on 9/11 is an interactive component of the

The spatial organization of story-telling elements and

museum that is driven by personal guest experiences.

methods of communicating the narrative are critical

Composed of three audio/video recording booths, a

to ensuring a successful dialogue with guests. The 9/11

teleprompter provides guests with questions and guests

Memorial Museum in New York City is a precedent that

provide their own personal stories and reflections. These

utilizes technology to effectively communicate the overall

responses are compiled, edited, and then integrated into a

narrative of the memorial exhibition. The technological

projection installation within the museum.17

implementations of the 9/11 Memorial Museum were designed by Jake Barton. Technology was utilized to

Beam Signing is a contextually-specific interpretation of a

curate exhibits that “allow each individual[‘s] opinion to

digital guestbook. Touchscreen displays are incorporated

become part of the installation.”

around a steel beam recovered from the 9/11 site, and

The museum captures

stories of visitors through four key installations.

guests are prompted to provide handwritten notes and identify from where they’re visiting. These engagements are

The Last Column is the name of the final concrete pillar

then overlaid on a world map and projected on a screen

extracted from the 9/11 site. The column has inscriptions,

within the exhibition.18

paintings, and graphic elements added from the time of its recovery from the site. In the exhibit, the column is

With the utilization of technology, the 9/11 memorial gives

accompanied by a touchscreen wall that allows guests to

users the unique opportunity of interacting, and integrating

identify each marking and learn the stories behind each.

their experiences, into the overall exhibition. Creating

a heightend personal connection may be considered an Timescape is a wall projection within the museum that

effective method of creating a significantly more impactful

projects 9/11 related news coverage. The installation is

and meaningful experience. This strategic use of technology

designed to compile coverage, information, and news

should be considered when curating future empathy driven

stories pertaining to 9/11 from around the globe daily.

exhibitions/galleries.

This installation includes a digital display that allows guests to search and explore the catalogue of coverage.16

98 PRECEDENTS AND POTENTIAL

Source: Jin Lee via BU Today31 The Last Column is accompanied by interactive digital displays for guests to explore the inscriptions

Source: Medium.com32 Reflecting on 9/11 recording booth and exploration station of previous visitor recordings.

Source: FastCompany33 The Timescape projection displays all 9/11 related news coverage, updated daily

Source: Jin Lee via Wesleyan University34 Beam Signing installation with a world map guestbook projected beyond

TECHNICAL 99

INSIGHTS ON SITES

102 Selecting a City

104 Site Considerations

108 Site 1: 1901 Main St..

116 Site 2: Globe Furniture Building 124 Site 3: Rhinegeist Brewery 134 Comparative Analysis 135 Initial Site Selection

SELECTING A CITY The percentage of individuals living within urban areas is expect to exponentially increase over the upcoming decades.1 Increases in urbanization present unique challenges in coexisting, presenting a need to understand the diverse backgrounds and cultures of those with whom we live so closely together. While this project is primarily focused on curating an exhibition focused on LGBT+ history and culture, and will be designed with the intent to visit multiple cities, the challenge arises to identify where the exhibition will first be launched. After examining several cities, Cincinnati, Ohio has been identified as a leading city for potential project success. Culturally-driven spaces and events are some of the most highly attended attractions in the city. Of all highly attended cultural attractions, museums, art, and heritage centers were responsible for generating +1.75 million visitors in 2017.2 The popularity of these centers validate potential success of this project proposal. However, consideration of city statistics and specific sites are necessary to validate the potential for success.

102

Source: Peak Property Group14

Cincinnati & Over-the-Rhine - An Overview Cincinnati, Ohio is currently seeing extensive development within its downtown districts. As of 2016, downtown districts have been experiencing $881 million worth of construction and redevelopment.3 One area that has experienced significant development is the Over-the-Rhine district. This historical district provides an appropriate backdrop for a historically driven exhibition proposal. Recently, Cincinnati has been executing an initiative focused on revitalizing Over-the-Rhine. In response, the local populationâ&#x20AC;&#x2122;s perceptions of the area have improved. Recent statistics show 75% of residents have a positive impression of OTR.4 This area is most favorable, to individuals ages 18-34, but retains positive impressions from all age demographics. Unsurprisingly, the younger demographic makes up almost 49.5% of the population of OTR.5 According to ESRI, this population segment is â&#x20AC;&#x153;very interested in the fine arts and strive to be

Over-the-Rhine (red) in context to downtown Cincinnati

sophisticated; [valuing] education and creativity.â&#x20AC;?6 The next most popular segments include: older individuals nearing or post-retirement, who are dependent on social services; and individuals of lower education status, diverse

entertainment-driven spending. Across the overall

in culture, and encountering economic hardship.

neighborhood population, 47% commute by personal

Both of these segments find commonality in enjoying

vehicle, 25% utilize public transportation, 14% typically

community centers, and facing economic restrictions on

walk, and the remaining percent travel via other means.7

104 INSIGHTS ON SITES

LGBT+ in Cincinnati

The Opportunity:

Further examination of available statistics regarding the

Cincinnati has experienced great fluctuations surrounding

LGBT+ community in Cincinnati reveal several promising,

the LGBT+ experience, culturally and spatially. It is my

and troubling findings. Nationally, Cincinnati is rated as

contention that these varying factors support the need

one of the fifteen least-gay urban areas, with only 3.2%

for an LGBT+ historical and cultural exhibition. As

of individuals identifying as LGBT+.8 Additionally, the

previously discussed in the “Theories of Identity” section

amount of LGBT+ specific environments has drastically

of this book, there is a necessity to preserve community

decreased. While overall programmatic spatial statistics of

in LGBT+ identity to prevent personal, societal, and

these lost spaces are poorly documented, one can observe

cultural violence form occurring. The LGBT+ community

this decline through the reduction in number of queer-

in Cincinnati is one of the smallest of all urban areas in

specific bars/clubs. Over the past 16 years, 14 LGBT+

the United States. This presents opportunity to reaffirm

bars and clubs have closed, leaving only 4 remaining open

identity and foster community among the local LGBT+

locations.9 To put the decline into perspective, Pittsburgh,

population, while serving as an educational outlet to both

a city comparable to Cincinnati, currently has 21

wider demographic segments of the city.

LGBT+ establishments in operation. Cincinnati’s LGBT+ Community Center was also closed in 2013.

Over the past 16 years, 18 LGBT+ establishments have operated in Cincinnati. Today, only 4 remain open.

While these statistics seem troubling, equality in Cincinnati has been increasing over the past several years. From 2012-2017, Cincinnati has improved its HRC Municipality Equality Index Score from 77 to a perfect 100, without factoring bonus points for additional initiatives. However, local perceptions of Cincinnati reflect only 52% of the population feel the city

52%

Only 52% of Cincinnati’s population believe the city is gay-friendly

is gay friendly.10

SELECTING A CITY 105

SITE CONSIDERATIONS Convenient Access:

CAR

WALKING

Convenient and easy access has been cited as one of the key motivators for attending cultural activities in

SITE

the United States.11 The potential site should include ample off-site parking, robust support from public transportation, and have high walkability.

BUS BIKE

Suitability of Immediate Area:

OFFSET FROM HIGH TRAFFIC

The immediate area surrounding the site is crucial to ensuring the success of the exhibition. The site should be located in an area with potential to appeal to and generate

SITE

large numbers of visitors. The ideal site will capitalize on traffic driven to the neighborhood, without having the identity or intent of the site dictated by its neighbors. HIGHLY POPULAR AREA

Target Demographic Appeal: Since a motivator of this proposal is for the exhibition to serve as an educational engine, itâ&#x20AC;&#x2122;s important the location has potential to capture the ideal target demographic for whom the space is designed. Failure to appeal to the target demographics significantly reduces educational potential, and will render the proposal ineffective.

106 INSIGHTS ON SITES

STREETCAR

Size and Volume of Site:

VOLUME

Size and volume of the building are critical to the exhibitionâ&#x20AC;&#x2122;s success. In order to ensure the experience I wish to curate in the exhibition is feasible, the site needs substantial horizontal and vertical space. The greater the volume, the less inhibitive the shell will be in developing the desired experience.

Existing Conditions:

NONINVASIVE STRUCTURE

FLOOR AREA

The ideal site will present opportunities to engage with the existing shell, both interior and exterior. Opportunities to utilize daylighting are preferred. Structure must be

FLEXIBLE SPACE

non-restrictive, or at minimum non-invasive. Flexibility of the existing building will yield flexibility for the proposal. Multiple circulation paths are preferred.

Beyond an Exhibit: While the primary focus of this proposal is to curate an educational exhibition on LGBT+ history and culture, additional consideration will be given to the potential to expand the scope of the project. Opportunities to expand the programmatic function to benefit the community

LGBT+ HISTORY/CULTURE EXHIBITION

GALLERY SPACE

MUSEUM? CULTURAL CENTER? ...???

beyond an educational exhibition will be considered. Sites that can be transformed into a broader engagement, one which hosts the exhibition, are more favorable.

SITE CONSIDERATIONS 107

SITE 1: 1120 MAIN ST. The first site under consideration for this exhibit is located at 1120 Main St.., Cincinnati, OH 45202. This site is located in Over-the-Rhine. 1120 Main is located immediately adjacent to a U.S. Bank and a local pizzeria. Popular nearby destinations consist of boutique shops, restaurants and bars. Located within walking distance of Cincinnatiâ&#x20AC;&#x2122;s two remaining downtown LGBT+ specific bars, this site is the closest to these specialized queer spaces. Currently, the site is under construction. For the purpose of this evaluation, the site will be considered as an option to be converted into a permanent gallery space, that will host a temporary, traveling, educational exhibit relating to LGBT+ history and culture.

108

1120 Main: In Context While 1120 Main is situated in downtown Cincinnati,

towards the local police museum, as law enforcement has

the location is easily accessible. The location is 3 minutes

a degree of infamy in LGBT+ history. There is potential

from I-71, and a block from Central Parkway, providing

risk the siteâ&#x20AC;&#x2122;s proximity near the Salvation Army could be

convenient access for individuals traveling from the

triggering, and should be taken into consideration when

suburbs, or outside the municipality. Visitors commuting

evaluating viability of the site. There is also a degree of

from outside the city have several parking options,

irony in locating the exhibit near the Salvation Army

including a city garage behind the site, a parking lot

and the local police museum. An exhibition exploring

across the street, and street meters north of the site. With

queer identity, history, and culture near two institutions

a Cincinnati Streetcar station and a Cincinnati Metro

representative of oppression could foster an appealing,

Bus stop across the street, the location is easily accessible

unashamed representation of pride and affirmation of

through public transportation. Situated in downtown,

queer identity.

the location is susceptible to foot traffic. Preliminary observations reflect the site receives low levels of foot traffic during the day, and heavy foot traffic at night. The surrounding area is dense in boutiques, restaurants and bars. This area of OTR typically captures a younger demographic of visitors. The neighborhood appeals to individuals seeking locations, brands, and companies with distinct personalities. Notable organizations located in the immediate proximity of the site include a Salvation Army and a local police museum. In recent times, the Salvation Army has received criticism for its organizationâ&#x20AC;&#x2122;s culture and policies towards the LGBT+ community. A similar scrutiny can be applied

110 INSIGHTS ON SITES

Buildings adjacent to site

SITE MAP: 1120 Main (Red) Blue: Cincinnati Streetcar Route Gray: Public Parking Lots Purple: Below Zero Lounge (Nearby LGBT+ Space)

1120 MAIN ST. 111

Building Properties The shell of the space is approximately 46’ by 90’, with

When examining the condition of the shell of the space,

four levels. The ceiling heights are approximately:

there are various opportunities and setbacks. The existing

12’ 3” in the basement; 22’ 3” on the main level; and

circulation plan could provide opportunities to curate a

16’ 1” on the top floor. The space could possibly be

more customized, varied path of vertical circulation, by

too small for a proposed exhibition intervention.

taking advantage of the multiple existing paths of egress.

Proportionally, the space presents opportunities for

Egress between the exterior and interior is facilitated by

multi-axial circulation, but the efficacy of such circulation

multiple access point through the front facade, and a

will be dictated by the final design of the gallery space.

single access point in the rear. The front facade provides a

Volumetric constraints emphasize a need to carefully

unique opportunity to curate a particular circulation path

examine how circulation through the exhibition would

by possessing several entry points, while the back entrance

be planned. The size of the space restricts program

could be inhibitive to the operations of a gallery/traveling

opportunities to solely a gallery space to host a LGBT+

exhibit. The access point from the back of the building

historical and cultural exhibition.

is constrained to a single door, rather than a preferred loading dock. A loading dock is preferred for more

The overall shape of the shell is orthogonal, and contains

convenient installation and removal of exhibitions.

no programmatically restrictive elements. The space the second level, which appears to have potential to be

MAIN ST PHARMA BATHHO

90ʼ

2ʼ - 0”

contains a mezzanine level between the main level and

the overall building structure. The overall structure seems

16ʼ - 1”

removed or altered, as its structure is independent of

GENERAL NO

1. Drawings are for desig 2. All measurements and to be verified in field.

the second level is integrated into the shell walls, and

22ʼ - 3”

contained primarily to the external walls. Support for therefore cannot be altered, unless extreme care and structural support.

PROJECT INFOR 12ʼ - 3”

consideration is given to reinforcing the level’s

Bathhouse Schematic De 1120 Main Street Cincinnati, OH 45202

Source of drawings: University of Cincinnati Section through building 5

112 INSIGHTS ON SITES

SHEET INFORM

KEY PLAN

Longitudinal Section

Drawn by: Abi Knipsche Scale: As Noted Issued: 20 July 2017

MAIN STREET PHARMACY & BATHHOUSE 1

GENERAL NOTES 1. Drawings are for design intent only. 2. All measurements and conditions to be verified in field.

PROJECT INFORMATION

Bathhouse Schematic Design

Second Level Plan 5

1120 Main Street Cincinnati, OH 45202

SHEET INFORMATION To be demolished

MAIN STREET PHARMACY & BATHHOUSE

LINE OF

As-Built Level Two Plan & Photos

MEZZANINE ABOVE

Drawn by: Abi Knipscher Scale: As Noted Issued: 20 July 2017

GENERAL NOTES

1. Drawings are for design intent only. 2. All measurements and conditions to be verified in field.

PROJECT INFORMATION Bathhouse Schematic Design

First Level/Mezzanine Plan 5

90ʼ

MAIN STREET PHARMACY & BATHHOUSE

SHEET INFORMATION

To be demolished As-Built Level One Plan & Photos Drawn by: Abi Knipscher Scale: As Noted Issued: 20 July 2017

1120 Main Street Cincinnati, OH 45202

GENERAL NOTES

46ʼ

1. Drawings are for design intent only. 2. All measurements and conditions to be verified in field.

3 2

PROJECT INFORMATION

Bathhouse Schematic Design

Basement Level Plan

1120 Main Street Cincinnati, OH 45202

SHEET INFORMATION To be demolished As-Built Basement Plan & Photos Drawn by: Abi Knipscher Scale: As Noted

Issued: 20 July 2017

1120 MAIN ST. 113

Fenestration throughout the space is not optimal for the integration of natural light. While the exhibit has potential to operate independently of daylight through proper lighting design, a permanent gallery space may benefit from access to utilizing natural lighting. Due to the orientation of the site, daylighting will only directly enter the space in the later hours of the day, through direct, western lighting. Otherwise, daylighting will diffusely enter the space, the efficacy of which cannot be properly evaluated in person due to the site currently being under restoration. There are several unique opportunities presented within the interior planning of 1120 Main. This space includes a basement level with appropriate ceiling height to be incorporated in the overall guest journey. The basement could provide additional, and necessary, exhibition space. This space also includes an accessible rooftop. While a rooftop is not essential to the considered program, opportunities to engage with the space should be considered to maximize utilization of the overall footprint. Overall, these additional spaces increase overall potential spatial engagement for the proposed exhibition/ gallery space.

114 INSIGHTS ON SITES

Sidewalk view of siteâ&#x20AC;&#x2122;s first level storefront windows

Building Character As mentioned previously, 1120 Main is currently

When designing my proposed intervention, there is

undergoing restoration. At this time the restoration does

opportunity to utilize or completely remove the mezzanine

not appear to be inclusive of the front facade. The current

level, providing flexibility for potential ceiling heights in

state of the front facade is typical of other buildings in

the main space. The current state of the interior provides

this district in architectural expression. The first level

significant opportunity to capture a desired expression

currently reflects a previous retail program, with three

without requiring too intense of further renovations.

points of access and three window display nooks. Current guidelines for restoration in this area of OTR indicate potential to extensively redesign the base level facade of the building. However, changes to the second floor are more restricted in order to preserve the architectural integrity of the OTR neighborhood. When proposing changes to the overall facade, consideration should be given to ensuring renovations to the lower level achieve the desired expression without detracting from, or competing too strongly with, the expression of the upperlevel facade. Although, access was not permitted for an in-person site evaluation, observations of the interior were conducted from street-side views into the space. In the current stage of restoration, the majority of the built elements

Interior of 1120 Main St.., currently under reconstruction

of the space appear to have been removed, and the shell materiality has been reduced to that of the native structure. The mezzanine level has appeared to have been extended in depth beyond depictions in accessible plans.

1120 MAIN ST. 115

SITE 2: GLOBE FURNITURE BUILDING The second site under consideration for this proposal is the Globe Furniture Building located at 1801 Elm St., Cincinnati, OH 45202. This site is located in Overthe-Rhine. The Globe Furniture Building is located directly across the street from Findlay Market, a popular community market that offers locally sourced, artisanal, and specialty foods. Findlay Market also hosts outdoor vendors, farmerâ&#x20AC;&#x2122;s markets, and specialty events regularly.12 Currently, the site has a mixed-use occupancy. The main level houses a restaurant and adjacent, independent gallery/retail space (which cycles in occupant throughout the year in accordance with a Cincinnati grant program). The remaining levels are currently office spaces. For the purpose of this evaluation, the site will be considered as an option to be converted into a permanent gallery space, that will host a temporary, traveling, educational exhibit relating to LGBT+ history and culture.

116

Globe Furniture Building: In Context Located in Over-the-Rhine, the Globe Furniture Building

does not seem to be a deterrent for those determined

is situated in downtown Cincinnati, though not quite

to visit the area. Site visit observations reveal heavy

as close to the center of the city as 1120 Main Street.

pedestrian traffic, composed of individuals from a wide

Although the site is situated in downtown Cincinnati,

range of demographics in age, gender, race, sexuality,

the location is still easily accessible by those traveling

etc. Heavy pedestrian traffic is not solely confined to

from outside the city. The site is a 5 minute drive from

the market, as visitors can be seen exploring local shops

I-75 and I-71, and has available parking in several lots,

and restaurants around a 2 block radius of the market.

including two lots located behind the building, and along

The siteâ&#x20AC;&#x2122;s proximity to the market yields great potential

most neighboring streets. A Cincinnati Streetcar Station

for generating foot traffic. A permanent exhibition

and metro bus stop are located across the street from the

space in this neighborhood could experience significant

building, providing access via public transportation.

incidental/impulse traffic from individuals visiting the market. Beyond key market hours, the site may struggle to

While the site has easy access via several modes of

generate traffic, and would be dependent on the appeal of

transportation, the convenience of access is complicated

the program, in conjunction with other local businesses.

by the neighboring Findlay Market. Most weekends, the

On the contrary, the identity and program of the market

market hosts a farmerâ&#x20AC;&#x2122;s market and outdoor vendors,

may be counter-intuitive to the proposal. Such a close

generating heavy pedestrian and vehicular traffic. In 2017

proximity to the market may cause the identity of the

alone, Findlay Market generated 1.13 million visitors.

gallery/exhibition to be associated with the market, and

Convenience of access during the marketâ&#x20AC;&#x2122;s hours on

may conflict with primarily retail-oriented area.

weekends are significantly more difficult, as some parking lots reach capacity, and street parking is hard to find.

Preliminary observations of neighboring business indicate

Interviews of local employees during the site visit indicate

there are no other significant gallery or cultural spaces

the experience of accessing the site during evenings and

in the immediate area. Immediately adjacent spaces

weekdays starkly contrasts that of the weekend. Both

are vacant, and currently being redeveloped for future,

street parking and lot parking are relatively easy to locate

unidentified use, indicating potential for the area to

during evenings and weekdays. The convenience of access

develop into a more significant community hub.

118 INSIGHTS ON SITES

SITE MAP: Globe Furniture (red) Yellow: Findlay Market Gray: Parking Blue: Cincinnati Streetcar Route

Exterior of Findlay Market

Source: Sherry Hopkins15 View of the Globe Furniture Building from within Findlay Market

Buildings adjacent to the Globe Furniture Building being restored

GLOBE FURNITURE BUILDING 119

Building Properties

DEANNA HEIL 10784 EXP. DATE: 12/31/2015

The overall floor space of the Globe Furniture Building seems large enough to sustain a permanent gallery space. 1801-1805 Elm Street Cincinnati, OH 45202

The floor plan is estimated to be 51’ x 110’, including the secondary, pre-existing exhibition space. Previous renovation plans reflect the average ceiling height throughout the building is approximately 12-15’.

Fourth Level

The primary space includes four levels, basement space,

basement, and outdoor rooftop space. This secondary

1/4" = 1'-0"

3134 Bernard Drive Edgewood, Kentucky 41017 Phone (859) 331-0084 Fax (859) 331-0085

1 FILE: S:\PROJECTS\Globe Furniture Building\Drawings\A2.0 Demo plans.dwg

The secondary exhibition space includes two levels, a

FOURTH FLOOR DEMOLITION PLAN

DEANNA HEIL

4 T H F L O 10784 OR D E M EXP. O DATE: P L A12/31/2015 NS

A2.4

PLOTTED: 6/18/2014

and currently houses restaurant and office programs.

1 A2.4

space is attributed to the overall property footprint, and is 1801-1805 Elm Street Cincinnati, OH 45202

therefore being considered in the scope of this project. With the exception of the entrance to the main space, which is angled across the two street-facing facades, the shell shape appears to be orthogonal throughout the entire

Third Level

space, and complimentary to the proposed intervention.

of the space, with few opportunities of circulation

3134 Bernard Drive Edgewood, Kentucky 41017 Phone (859) 331-0084 Fax (859) 331-0085

1 FILE: S:\PROJECTS\Globe Furniture Building\Drawings\A2.0 Demo plans.dwg

limit the circulation flow to primarily through the extents

THIRD FLOOR DEMOLITION PLAN 1/4" = 1'-0"

DEANNA HEIL 10784

3 R D EXP. F LDATE: O O12/31/2015 R DEMO PLANS

A2.3

PLOTTED: 6/18/2014

There is mild concern that the width of the space may

1 A2.3

across the span. Some opportunity exists for circulation 1801-1805 Elm Street Cincinnati, OH 45202

across the space, as the second level of the main space is connected to the second level of the secondary exhibition space. An extensive proposal to create a vertical addition to the secondary space, would yield more opportunities for circulation across the space.

Second Level 1 A2.2

1/4" = 1'-0"

3134 Bernard Drive Edgewood, Kentucky 41017 Phone (859) 331-0084 Fax (859) 331-0085

FILE: S:\PROJECTS\Globe Furniture Building\Drawings\A2.0 Demo plans.dwg

TED: 6/18/2014

120 INSIGHTS ON SITES

SECOND FLOOR DEMOLITION PLAN

2ND FLOOR DEMO PLANS

A2.2

The structural grid appears to be non-invasive to the floor space, and primarily contained to the shell. The main structural wall is represented in thicker pochĂŠ in the floor plan, and can be observed as containing thresholds on the first and second level. If an extensive vertical addition were constructed above the secondary

Side-Street Elevation

exhibition space, one may deduce potential arises to create additional, yet limited, thresholds through the primary DEANNA HEIL 10784 EXP. DATE: 12/31/2015

structural wall. Further examination of the structure is required to conclude engagement opportunities with the primary structural wall. Other notable circulation and

1801-1805 Elm Street Cincinnati, OH 45202

egress elements include a single elevator, and a single stairwell, both of which span through the primary space. The secondary exhibition space also includes a stairway to its second level. The space does not currently include a loading dock, which could present challenges with

First Level 1 A2.1

FIRST FLOOR DEMOLITION PLAN

3134 Bernard Drive Edgewood, Kentucky 41017 Phone (859) 331-0084 Fax (859) 331-0085

1/4" = 1'-0"

loading/unloading installation elements.

FILE: S:\PROJECTS\Globe Furniture Building\Drawings\A2.0 Demo plans.dwg

DEANNA HEIL 10784 EXP. DATE: 12/31/2015

1ST FLOOR DEMO PLANS

PLOTTED: 6/18/2014

A2.1

The site is situated on a corner lot, and the shell of the building has considerable fenestration on each facade. The site orientation, however, does not produce any

1801-1805 Elm Street Cincinnati, OH 45202

natural lighting from the north, but does produce diffuse lighting from the south and west. While northern lighting is preferable for a gallery space, lighting design strategies can be utilized to optimize the space. Basement Level 1 A2.0

BASEMENT DEMOLITION PLAN 1/4" = 1'-0"

3134 Bernard Drive Edgewood, Kentucky 41017 Phone (859) 331-0084 Fax (859) 331-0085

ED: 6/18/2014

FILE: S:\PROJECTS\Globe Furniture Building\Drawings\A2.0 Demo plans.dwg

BASEMENT DEMO PLANS

A2.0

GLOBE FURNITURE BUILDING 121

View of entrance

View of the Globe Furniture Building from across the street

View of main level interior

122 INSIGHTS ON SITES

View of rear cafe

Source: City Studios Architecture16 View of upper-level offices

Building Character The exterior expression of the Globe Furniture Building is

incompatible with the proposal. In contrast, the secondary

typical of historic Over-the-Rhine architecture. Since the

exhibition space, and upper-levels of the primary space,

building is within the historic district, “Over-the-Rhine

are more neutral in expression, and minimal in built

Historic District Conservation Guidelines” apply when

elements. Renovations to these spaces to achieve desired

approaching renovations to the exterior. However, this

expression would be less intensive. Additionally, greater

building is classified as “non-contributing,” presumably

ceiling heights would be preferred to present more

due to the more recent, significant alterations to the

opportunities to explore scale the proposal. However,

building since its initial construction. In result, there is a

structural constraints prevent the possibility to increase

degree of flexibility when it comes to proposals to exterior

ceiling heights.

renovations and additions. The baseline requirement for exterior renovations in this area of OTR is that proposals cannot detract from the historically significant style of architecture of the neighborhood. For a permanent gallery space, the exterior expression is not ideal stylistically, as it is uniquely stylized. However, opportunities exist to propose new exterior paint schemes, and alternative signage than the existing “GLOBE” sign. While potential engagements are limited, or face restrictive guidelines, the exterior can be altered enough to adequately blend with the proposed intervention. The current expression of the building interior neither conclusively enhances, nor detracts from the proposed intervention. The restaurant space is particularly

View of adjacent retail space

GLOBE FURNITURE BUILDING 123

SITE 3: RHINEGEIST BREWERY The final site under consideration is Rhinegeist Brewery. Rhinegeist is located in historic Over-the-Rhine at 1910 Elm St., Cincinnati, OH 45202. The brewery exists in what was formerly a warehouse. The overall facility consists of several levels and an overall footprint of over 51,556 gross square feet, spanning three levels, a basement level, and rooftop space. The massive size of the site presents a unique opportunity to expand the general scope for the project. Therefore, the following site evaluation examines the site as a location to establish a greater cultural institution, with a permanent gallery, to host a LGBT+ exhibition.

124

Source: UrbanOhio.com17

Rhinegeist: In Context Rhinegeist is located in the same area of the Over-the-

the development patterns of the immediate area. As

Rhine district as the Globe Furniture Building. Ease of

previously discussed in the overview of Cincinnati,

access to the site is comparable to the Globe Furniture

the number of queer spaces in Cincinnati is steadily

Building. With a public parking lot across the street

decreasing. Establishing an LGBT+ cultural institution

from the property, and a Cincinnati Street Car Station

in this site could influence the surrounding spaces to be

and metro bus stop immediately in front of the building,

developed as companion LGBT+ spaces. Overall the area

Rhinegeist is easily accessible.

is viable for the development of a new queer cultural district, common in most major urban cities, but absent in

In comparison to the immediate area of Findlay Market

downtown Cincinnati. There are several vacant properties

and the Globe Furniture Building, Rhinegeist has

in the immediate area around Rhinegeist, presenting

significantly reduced vehicular traffic, permitting more

opportunity for the development of additional queer

convenient access to the site. Rhinegeist is also within

-specific spaces.

walking distance of Findlay Market, and most of the siteâ&#x20AC;&#x2122;s pedestrian traffic is driven by the market. The siteâ&#x20AC;&#x2122;s close proximity to Findlay Market presents the opportunity to establish a cultural institution that may capitalize from traffic driven by the market. Simultaneously, the siteâ&#x20AC;&#x2122;s situation outside the immediate area of the market reduces risk of identity/programmatic association with the market. An examination of the area surrounding site reflects there are no other significant galleries or exhibition spaces, reducing threats of competition. Adjacent buildings appear to be vacant or undergoing restoration. Not only does the site itself present opportunity to develop a larger LGBT+ cultural space, there is opportunity to influence

126 INSIGHTS ON SITES

SITE MAP: Rhinegeist Brewery (red) Yellow: Findlay Market Gray: Parking Blue: Cincinnati Streetcar Route

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

Alternate view of the buildingâ&#x20AC;&#x2122;s front-facing facade, where the secondary loading dock is located

RHINEGEIST BREWERY 127

Building Properties Rhinegeist has several areas of the facility open to public

In addition to the primary public space, opportunity exists

access. On the second level, Rhinegeist has a large, open

to utilize existing event spaces for the proposed exhibition.

space in the building’s center. The orthogonal expression

Rhinegeist currently has two semi-public event spaces that

of the floor plan of this level is optimal for the proposed

are regularly rented out, most commonly for weddings

intervention. This area has an approximate overall height

and receptions. Both spaces are adjacent to each other.

of 25’ 1”. The ceiling height presents little restrictions to

The first space is 22’-3” in height, and the second space

vertical engagement, and would provide great flexibility

is adjacent, but only 12’ in height. The height difference

for the insertion of an experiential exhibit. The structural

is attributed to the second space existing on a third level,

design does not seem too restrictive, and clearing all built

accessible either from a stairway in the first space, or a

and mechanical elements in this area should create a large

bridge from the stairwell leading to the rooftop. There is

enough area to facilitate the proposal.

a unique opportunity to utilize these spaces, in tangent with the main public space on the second level, for the

The existing shell of the second level presents several

exhibition. The non-invasive structural plan of these

opportunities to utilize existing means of egress/vertical

areas, and multiple circulation paths, provide flexibility in

circulation, yielding potential to create a more customized

designing and choreographing the guest journey.

circulation experience. Currently, guest circulation is concentrated to two public stairwells: one from the main level to the second level, and one from the main level to the rooftop. While there is an appealing rooftop bar space with grand vistas of the surrounding city, the footprint is too small and too far detached from the primary activity space to create a seamless exhibition experience spanning to that level.

128 INSIGHTS ON SITES

ST A

RE G

G L

REVISION

DATE

Drawing provided by the University of Cincinnati Second 51,018 LevelGROSS Plan (the current primary public space) SQUARE FEET

plot data name : date : issue :

RHINEGEIST BREWERY 129

A0 9-2 pla

Building Character The aesthetic of Rhinegeist embodies a historical

backdrop for the proposed exhibition. Rhinegeist’s shell

warehouse, with styling typical of Over-the-Rhine. Due to

also includes double-height windows throughout the

the site’s historical status, engagement with the exterior

space, which allows in substantial diffuse lighting.

is limited. Since the Rhinegeist building is classified as a contributing historical site, the entirety “Over-the-Rhine

The space also has large skylights that run through the

Historic District Conservation Guidelines” apply when

extents of the space. These skylights, similarly to the shell

approaching renovations to the space. The only truly,

windows, provide diffuse natural lighting throughout

unique engagement opportunities with the exterior exist

the space, and help create a sense of drama in the overall

through supplemental signage advertising the space. Even

lighting scheme. It is also important to consider the

still, the guidelines contain restrictions on sign type and

volumetric benefits of the shell when evaluating the

expression. These restrictions are important to keep in

appropriateness of the interior aesthetic. Due to the larger

mind since the building is not in a densely populated area.

spatial envelope, opportunities arise to create completely

The site is easy to locate primarily due to its massive size,

enclosed, temporary spaces that eliminate influence of the

but the exterior expression does not immediately inform

pre-existing interior aesthetic on the exhibition’s aesthetic.

the user of the spatial function.

Completely enclosing the exhibit provides complete control over the aesthetic expression of the exhibit,

The interior expression of Rhinegeist is defined by its

but compromises the ability to integrate natural lighting

distinct warehouse aesthetic. All of the materiality has

into the space.

be reduced to fulfill functionality rather than aesthetics. In doing such, materiality consists primarily of concrete and brick, metal stairs and rails, and wood accents for supplemental elements incorporated into the defined built environment. The shell aesthetic provides a neutral

130 INSIGHTS ON SITES

Rhinegeist entrance

Primary public gathering space with overhead skylights

Primary public staircase

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

RHINEGEIST BREWERY 131

COMPARATIVE ANALYSIS Site:

1120 MAIN ST.

Strengths:

Weaknesses:

-Easy and convenient access

-Smaller footprint

-Alterable/optional mezzanine level

-Available documentation of

-Flexibility in redesigning facade

building is not robust

-Potential engagement w/ basement

-Less daytime foot traffic -Less opportunity to utilize natural lighting

GLOBE FURNITURE

-Heavy daytime foot traffic

-Single vertical circulation path

-Multiple levels

-Conditions of shell may restrict

-Corner site allows more natural

circulatory patterns

light to enter space

-Dependent on construction of an

-Potential to propose an addition for

addition to properly program space

larger floor space

RHINEGEIST

-Large spatial volume permits little

-Strict guidelines on exterior design

restriction on scale of exhibit

-Selecting entire facility creates

-Includes loading dock

challenge to design program around

-High levels of natural light

exhibition space

-Multiple circulation paths

132 INSIGHTS ON SITES

Opportunities:

Threats:

Notes:

-Near popular LGBT+ venues

-Bar culture in neighborhood may

Proposal would be designing a

-Of considered sites, closest to other

discourage evening/night popularity

permanent gallery space, launching

major cultural institutions in the city

-Proximity near other galleries may

with an exhibition focused on

cause competition

LGBT+ history and culture

-Can capture Findlay Market traffic

-Less convenient to access during

Proposal would be designing a

-Other sites in area are being

morning/afternoon of weekend

permanent gallery space, launching

redeveloped, potentially increasing

-Close proximity to Findlay Market

with an exhibition focused on

attraction to area during weekdays

may cause space to be associated as

LGBT+ history and culture

-Diverse demographic locational appeal

part of the marketâ&#x20AC;&#x2122;s identity

-Large enough to propose a greater

-Not located near existing LGBT+

Proposal would be reprogramming

program to host the exhibition

specific spaces

overall space to be a LGBT+

-Other vacancies in the area could

-Lack of activity in adjacent

cultural institution. Part of the

be developed into queer spaces,

facilities may create challenges

programming would include a

anchored by a cultural center

generating incidental traffic

permanent gallery space, to host an

-Can capture Findlay Market traffic

exhibition on LGBT+ history/culture

COMPARATIVE ANALYSIS 133

COMPARATIVE EVALUATION Site:

1120 Main

Globe

Rhinegeist

1. Convenience and accessibility

2. Popularity of site neighborhood/location

3. Appropriateness of neighborhood and adjacent buildings

4. Site appeal to target demographic

5. Size and volume of site

6. Opportunities to engage with existing shell

7. Non-restrictive structure

8. Potential to engage with natural lighting

9. Flexibility of circulation

10. Access to robust plans and ability to visit site in-person

Totals: 134 INSIGHTS ON SITES

SITE SELECTION: 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 exhibit. 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.

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

SITE SELECTION 135

AN LGBT+ IDENTITY EXHIBIT

138 Defining the Facility

142 Appealing Across the Spectrum

DEFINING THE FACILITY While this project will primarily focus on developing an

This new Cincinnati LGBT+ Cultural Center and

LGBT+ history and culture exhibition, the larger spatial

Museum seeks to accomplish the following objectives:

envelope of the Rhinegeist site permits opportunities to define a greater facility. The proposed overall facility shall be defined as a LGBT+ Cultural Center and Museum. Programmatic spaces in this facility include: permanent

-Develop galleries to showcase exhibitions that portray the history and culture of the LGBT+ community -Provide safe spaces to host LGBT+ related events

and rotating galleries; exhibition production, support, and storage ares; event spaces; educational spaces; LGBT+ health and counseling offices; and administrative offices. This section explores spatial requirements and estimates for the facility.

138

-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

es s ay lig ht /V iew Pl um s bi ng

Pu bl ic

od es

nc ie s

dj ac e

. )2

ity To ta lS pa ce

(ft 2 ) Comprehensive Design be Planned Programmatically Zoned

Programs to Receive Spaces to

(ft

1,000

Central

◊

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 ft

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

1,000

1. Main Facility Lobby:

Program:

2. Gallery Lobby:

Spaces to be

Q ua nt

Scope:

Si ze

Programing Outline:*

Building GFA (excluding rooftop): 141,910

*Sources used to identify key programs and approximate spatial requirements: The Manual of Museum Exhibitions1; “Museum Architecture”2; Museum Handbook. Vol. 1.3; Smithsonian Institution Facilities Design Standards4; Architectural and Design Standards for Presidential Libraries5; Design Handbook for Cultural Centres. 1st ed.6 ◊: ADA, Ohio IBC-A3, ASTM E119 ◊◊: ADA, Ohio IBC-A3, ASTM E119, 2015 ASHRAE

Programming Matrix:

Program: 1. Main Facility Lobby: 2. Gallery Lobby: 3. Permanent Gallery Space: 4. Large Rotating Gallery Space: 5. Small Rotating Gallery Space: 6. Exhibition Production Areas: 7. Receiving and Handling Areas: 8. Exhibition Staging Areas: 9. Collections Freight Elevator: 10. Public Elevators: 11. Stairwells: 12. Bathrooms: 13. Collections Storage: 14. Exhibition Elements Storage: 15. AV/Tech Rooms: 16. Auditorium/Theater: 17. Administrative Offices: 18. Art Studios: 19. Educational Spaces: 20. HIV Health Clinic:

KEY: Immediate Adjacency Important Adjacency Reasonable Accessibility Unimportant Remote

140 AN LGBT+ IDENTITY EXHIBITION

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

Notes on Programs to Receive Comprehensive Design Program: Main Facility Lobby: Gallery Lobby:

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.

Permanent Gallery Space: Large Rotating Gallery Space:

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: Exhibition Staging Areas: Collections Freight Elevator:

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 egress, occupancy limits, fire ratings, structural requirements, etc. ADA Codes must be followed in order to ensure equal accessibility amongst all visitors. ASTM E119 should also be referenced for relevant fire codes. Spaces containing or storing artifacts or archives need to adhere to the guidelines in the 2015 ASHRAE Applications Handbook to ensure proper storage and conservation. All renovations to the Rhinegeist site must adhere to the Over-the-Rhine Historic Conservation

DEFINING THE FACILITY 141

APPEALING ACROSS THE SPECTRUM 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. This section identifies initial targeted users and discusses their benefits and possible journeyâ&#x20AC;&#x2122;s though space.

142

Source: “Rainbow Church” by Tokujin Yoshioka1

User 1: The Young and Proud Young and Proud describes LGBT+ people between

musicians like Lady Gaga, they have little awareness

the ages of 16-27 years of age. These individuals have

of the community’s cultural evolution and historical

largely known a world of increased tolerance towards

struggle for acceptance. These individuals certainly can’t

people in the LGBT+ community. Growing up queer,

be blamed for their lack of knowledge, because societal

these individuals likely endured a range of experiences.

attitudes towards homosexuality had only become more

The majority of these individuals likely endured some

acceptable as they’ve entered adulthood. Instead, these

form of discrimination and bullying, either from peers in

Young and Proud individuals are open, willing, and

school or their own families. As these individuals neared/

intrigued to learn more about their community’s roots,

entered adulthood, they began experiencing their sexual

and to better understand the cultural foundations and

awakening and gained the ability to explore and embrace

historical significance of their community.

their true sexual identity. The youngest of this group, however, may have experienced a slightly different journey to their identity discovery. These individuals may have

User Benefits:

benefitted from the rapidly shifting attitudes towards homosexuality in the 21st century, and encountered less individual discrimination as they entered adolescence.

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

Family attitudes may still vary, but increased acceptance from peers may have been experienced. As a collective, the Young and Proud either somewhat, or

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

fully, recognize and embrace their sexual identity. These individuals are more affirmative in their identity now than in comparison to their past. But aside from their personal history, these youthful individuals lack the knowledge and understanding of the LGBT+ communities history and cultural development. Outside of RuPaul’s Drag Race and

144 AN LGBT+ IDENTITY EXHIBITION

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

Source: Instagram2

Potential Journey:

Arrive

LGBT+ Exhibition

HIV Testing

Rotating Galleries

Leave

College LGBT+ Meeting

(Multi-purpose)

APPEALING ACROSS THE SPECTRUM 145

User 2: The Dutiful Tolerant The Dutiful Tolerant is committed to her

The Dutiful Tolerant is most conflicted by raising

community, her family, and faith. She is a single

suspicion her son may be gay. She’s always embraced

mother with two children in high school. Her

his interests in choir, the arts, and athletic endeavors,

overall family is quite large, and gets together

but she doesn’t condone homosexuality. However, one

regularly around the holidays, as well as yearly

of her biggest fears is losing a child, and she doesn’t

reunions. She’s a self-described creature-of-habit,

want to see distance grow between herself and her son.

attending church weekly with her kids, and thrives

While she hasn’t discussed the issue with her son, she has

in her steady 9-5 routine during the week.

been attempting to prepare herself with the appropriate information to handle the potential conversation. She

She actively volunteers for various charities around

knows she’ll always love her son, but is worried about

the city and encounters people from all walks of

whether she could ever truly accept him in her heart, the

life. While she lives true to her personal values, she

thought of which troubles her.

realizes others hold different beliefs. Previously, she’s advocated openly for conservative values, but recent rhetoric on the national stage has led her to

User Benefits:

re-evaluate some of her more socially conservative beliefs. Personally, she’s always been tolerant of the beliefs and lifestyles of others, though she may not understand or agree with them. Above all, she

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

tries to treat others with dignity and respect. As she navigates to find moral and religious clarity, she actively tries to listen to those she disagrees with,

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

striving for a more comprehensive knowledge of the issues. Her children have shown evolving attitudes towards social issues, and worries her personal convictions may present conflict.

146 AN LGBT+ IDENTITY EXHIBITION

-Opportunity to overcome misconceptions about queer identity

Source: “Prayers for Bobby” via GLAAD3

Potential Journey:

Arrive

LGBT+ Exhibition

LGBT+ Educational Course

Rotating Galleries

LGBT+ Lecture

Counseling Session

Leave

APPEALING ACROSS THE SPECTRUM 147

User 3: The Seasoned Queen Approaching her 70th birthday, this drag queen has

financially difficult. She worries about losing touch

seen it all. She’s lived through a time in history where

with her community as she grows older. While she still

homosexuality was outlawed, marriage was a distant

enjoys performing in drag shows, she also desires a queer

dream, and she had to fight for her existence. She looks

experience not explicitly driven by a partying lifestyle.

back in admiration on her community and the progress the gay liberation movement has made. Through all the riots, marches, and neglect during the AIDS epidemic, she

User Benefits:

is proud of her community and its progress. Being a drag queen has largely helped her push through

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

all the difficult times she faced as a trans woman growing up and living through the 20th century. She has always loved the culture of drag, even during the times it largely

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

existed “underground” in society. She longs for the days of Studio 54 and the height of the queer cultural renaissance. She worries the younger generation is out-of-touch with the struggles and challenges faced by her generation. She doesn’t have many interactions with younger LGBT+ folk outside of performing, but she truly enjoys educating them about the community’s past. As she gets older, she realizes just how much has changed in society, and its views of queer identity. Periodically, she travels to San Francisco or New York to gain a stronger connection to the history of her community. Recently, making her journeys have become more physically and

148 AN LGBT+ IDENTITY EXHIBITION

-An opportunity to indulge in cultural nostalgia

Source: The Legendary Misty Knight4

Potential Journey:

Arrive

LGBT+ Exhibition

Performs in Charity Drag Show

Rotating Galleries

LGBT+ Lecture

Counseling Session

Leave

APPEALING ACROSS THE SPECTRUM 149

User 4: The Affirmative(?) Ally Growing up as a heterosexual woman, she grew up

he’s just from a conservative household, and his behavior

similar to most other girls from the Midwest. She enjoyed

is a “product of his upbringing.” She loves listening to

childhood in the suburbs, and was thrilled to head to

country music, and used to attend church regularly. She

college in a major city. When she arrived, she encountered

still believes in God, but doesn’t like feeling she should

all different types of people she’d rarely interacted

have to act a specific way. The Affirmative Ally knows

with in her hometown. One particular group of people

may people who love and embrace who they are. She

she especially grew fond of were LGBT+ folks. Back

believes it’s their right to live how they want, and she just

home, she rarely had opportunities to interact with this

wants to celebrate life with them.

community of people. She regularly frequents the local gay bars with her self-

User Benefits:

described gay-best-friend. She is in love with drag queens and can often be found tipping them with a dollar between her teeth. She loves having a gay-best-friend

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

because she’s learned a whole slew of new slang. “Yas queen!” is perhaps her favorite. Besides the gay clubs, she loves RuPaul’s Drag Race, Lady Gaga, and the yearly pride festival in her local city. If it’s gay, she’s fascinated

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

with it. She already has plans to hold her eventual bachelorette party at a local drag show. Outside of her endeavors with her gay-best-friend, she most commonly hangs out with her boyfriend. Her boyfriend is hyper-masculine and can often be heard throwing out “gay” and “faggot” when conversing with his buddies. She just tries to ignore it, because she knows

150 AN LGBT+ IDENTITY EXHIBITION

-Increased knowledge about a community they advocate for will help them be better allies.1

Source: Instagram5

Potential Journey:

Arrive

LGBT+ Exhibition

Attends Concert in Theater

Rotating Galleries

Art Studios

Leave

LGBT+ Educational Course

APPEALING ACROSS THE SPECTRUM 151

ADDITIONAL CONSIDERATIONS

154 Ethical Integrity 156 Sustainability

Ethical Integrity In designing an exhibition that deals with sensitive

Perhaps the greatest ethical issue is ensuring the accurate

subject matter, such as LGBT+ history and identity, there

and appropriate portrayal of any piece of LGBT+ history

are several key ethical issues that should be carefully

and culture. Inaccuracies or improper presentation of any

considered. While this proposed exhibition largely

historical or cultural narrative/visual risks rendering the

examines queer identity, the identity portion itself

exhibition ineffective, and potentially offensive to the very

could present conflict. If the exhibit includes imagery of

community it’s intended to reflect.

individuals in a pride parade, a march on Washington, etc., there may be a need for censure. Although this

Guests should also be presented with clear understanding

exhibit is largely to celebrate queer individuality,

of the mission of the overall facility and exhibition. Guests

individuals portrayed in the exhibition material may not

should be well informed the space is reflective of LGBT+

personally celebrate themselves. There is a present risk

identity to ensure those who are uncomfortable with the

of exhibiting someone’s image, disclosing their queer

subject/topic aren’t “tricked” into entering/experiencing

identity which may have previously been concealed. Any

such a space. This will help ensure the safety and comfort

depictions of real people should be chosen with scrutiny

of the LGBT+ community and non-queer individuals.

to ensure a person’s queer identity isn’t “outted” without their knowing approval. A potential solution to overcome

For additional considerations regarding ethics, the

this issue is blurring the faces of individuals exhibited,

American Alliance of Museums Code of Ethics for

but consideration should be given to whether this strategy

Museums, and the Code of Ethics and Guidelines for

truly emulates identity celebration.

Practice of the American Institute for Conservation of Historic & Artistic Works, should be consulted.

A similar ethical conflict may arise when exhibiting particularly sensitive content. For example, if imagery of individuals during the AIDS crisis is to be included as part of the historical dialogue, one must consider if displaying the individual’s identity, or the subject content of the particular image, is appropriate or potentially insensitive.

154 ADDITIONAL CONSIDERATIONS

Sustainability The proposal for an LGBT+ Cultural Center and

permanent programmatic offerings that cater to the

Museum must be sustainable ecologically, economically,

LGBT+ community, and provide potential benefits to

and socially. Ecological sustainability may manifest in

the community-at-large. Incorporating rotating galleries

many forms. The materiality of the space should meet

in the museum space allows for new content to be

high environmental standards. Any rotating or traveling

displayed, providing incentives for visitors to return

exhibitions should be designed using environmentally

as new exhibitions are launched. Most importantly,

sustainable materials and should have the ability to be

the cultural center and museum should promote the

transported efficiently. Museum materials should posses

sustainability of the local LGBT+ community. While it

a low carbon footprint. The massive facility should

is important the facility is designed to appeal to a wide

utilize any opportunities of natural daylighting

variety of individuals, the LGBT+ community in particular

and environmental control to ensure efficient

should be feel welcomed. Support services should be

energy consumption.

integrated into the facility to ensure the space can help the community grow and combat existing and potential

Economical sustainability is necessary to ensure the proposal may operate as a permanent location for education and celebration of LGBT+ identity. The overall program of the space should yield opportunities for various sources of revenue to sustain operations. Developing supplementary spaces within the cultural center and museum should be considered to provide spatial opportunities for the greater community to lease and hold events. Inclusion of supplemental spaces to be rented for the larger community to utilize is also a strategy for social sustainability. The proposal should also provide

156 ADDITIONAL CONSIDERATIONS

future adversity.

Source: Seattle Magazine1

COMPILED SOURCES

160 Introduction 160 Trends in Identity 164 Theories of Identity 167 Precedents and Potential 168 Insights on Site 169 An LGBT+ Identity Exhibit 170 Additional Considerations

1. INTRODUCTION Image Sources: 1. Burke, Ryan. Accessed via http://www.ryanburkephotography.com/self/5kz wz9dmadhju2rfmy9c83dyy41apr 2. Maplethorpe, Robert. Ken and Lydia and Tyler. 1985. Accessed via http://nuvomagazine.com/magazine/autumn-2016/robert-mapplethorpe 3. Sagmeister & Walsh. Aizone 09-14 Campaign Accessed via https://sagmeisterwalsh.com/work/all/aizone-09-14/

2. TRENDS IN IDENTITY Sources Referenced: 1. Flores, Andrew R., and Andrew Park. Polarized Progress: Social Acceptance of LGBT People in 141 Countries.Report. School of Law, UCLA. March 2018. Accessed June 2018. https://williamsinstitute.law.ucla.edu/wpcontent/uploads/Polarized-Progress-April-2018.pdf.

6. “#BornPerfect: The Facts About Conversion Therapy.” 2016. National Center for Lesbian Rights. The National Center for Lesbian Rights. December 6. http://www.nclrights.org/bornperfect-the-facts-aboutconversion-therapy/. 2. Ibid. 2. 3. “Gay and Lesbian Rights.” 2018. Gallup.com. Gallup, Inc. Accessed July 4. https://news.gallup.com/poll/1651/gay-lesbian-rights.aspx. 4. Ibid. 5. “Gay Marriage Timeline - Gay Marriage - ProCon.org.” 2018. Should Gay Marriage Be Legal? ProCon.org. https://gaymarriage.procon.org/view. timeline.php?timelineID=000030. 7. Miller, Susan. 2018. “‘Being LGBTQ Is Not an Illness’: Record Number of States Banning Conversion Therapy.” USA Today. Gannett Satellite Information Network. April 26. https://www.usatoday.com/story/news/ nation/2018/04/17/states-banning-conversion-therapy/518972002/. 8. Bellis, Rich. 2017. “Here’s Everywhere In The U.S. You Can Still Get Fired For Being Gay Or Trans.” Fast Company. Fast Company. December 13. https://www.fastcompany.com/40456937/heres-everywhere-in-the-u-s-youcan-still-get-fired-for-being-gay-or-trans.

2. Ibid. 2.

9. Wagner, Meg. 2013. “How HRC’s Marriage Equality Campaign Put People First.” Mashable. Mashable. September 24. https://mashable.com/2013/09/24/ hrc-marriage-equality/#GcZDfK6DXqqS.

3. “Gay and Lesbian Rights.” 2018. Gallup.com. Gallup, Inc. Accessed July 4. https://news.gallup.com/poll/1651/gay-lesbian-rights.aspx.

10. “About GLAAD.” 2017. GLAAD. GLAAD. June 12. https://www.glaad. org/about.

4. Ibid.

11. Ibid.

5. “Gay Marriage Timeline - Gay Marriage - ProCon.org.” 2018. Should Gay Marriage Be Legal? ProCon.org. https://gaymarriage.procon.org/view. timeline.php?timelineID=000030.

12. “Five Year Trends.” 2017. GLAAD. GLAAD. May 29. https://www.glaad. org/sri/2017/five-year-trends.

160 COMPILED SOURCES

13. Stokes, Zeke, Ray Bradford, Megan Townsend, Alma Carranza, Iliana Garcia, and Tara Shivkumar. 2018. “GLAAD Where We Are on TV.” Rep. GLAAD Where We Are on TV. GLAAD. https://glaad.org/files/WWAT/ WWAT_GLAAD_2016-2017.pdf. 14. Close, Paris. 2018. “17 Music Videos With LGBTQ Themes.” Billboard. Billboard. January 13. https://www.billboard.com/articles/news/ pride/7964664/17-gay-music-videos-lgbtq-themes. 15. “HRC National Gala Dinner to Honor Jennifer Lopez.” 2013. The Washington Post. The Reliable Source, WP Company. September 20. https:// www.washingtonpost.com/news/reliable-source/wp/2013/09/20/hrc-nationalgala-dinner-to-honor-jennifer-lopez/?utm_term=.769ec9b38d9c. 16. Robinson, Joseph P, Dorothy L Espelage, and Ian Rivers. 2013. “Developmental Trends in Peer Victimization and Emotional Distress in LGB and Heterosexual Youth.” Pediatrics 131 (3). doi:10.1542/peds.2012-2595d. 17. IMPACT. (2010). Mental health disorders, psychological distress, and suicidality in a diverse sample of lesbian, gay, bisexual, and transgender youths. American Journal of Public Health. 100(12), 2426-32. 18. CDC. (2016). Sexual Identity, Sex of Sexual Contacts, and Health-Risk Behaviors Among Students in Grades 9-12: Youth Risk Behavior Surveillance. Atlanta, GA: U.S. Department of Health and Human Services. 19. Family Acceptance Project™. (2009). Family rejection as a predictor of negative health outcomes in white and Latino lesbian, gay, and bisexual young adults. Pediatrics. 123(1), 346-52.

22. Ibid. 23. Reynolds, Daniel. 2018. “One Year Later, Chechnya’s ‘Gay Purge’ Remains Uninvestigated.” ADVOCATE. Advocate.com. April 6. https://www. advocate.com/world/2018/4/06/one-year-later-chechnyas-gay-purge-remainsuninvestigated. 24. Durwood. 2016. “7 Pop Culture Phrases That Were Appropriated From Black And Gay Culture.” Oxygen Official Site. Oxygen Official Site. September 14. https://www.oxygen.com/very-real/7-pop-culture-phrases-thatwere-appropriated-from-black-and-gay-culture 25. Wallace, Dougie. 2016. “Bridal Party Problems: How Bachelorettes Are Ruining Gay Nightlife.” OUT. Out Magazine. April 11. https://www.out.com/ lifestyle/2016/4/11/bridal-party-problems-how-bachelorettes-are-ruining-gaynightlife. 26. Segal, Mark. 2015. “I Was at the Stonewall Riots. The Movie ‘Stonewall’ Gets Everything Wrong.” PBS. Public Broadcasting Service. September 23. https://www.pbs.org/newshour/arts/stonewall-movie. 27. Gilchrist, Tracy E. 2018. “Blink and You’ll Miss Freddie Mercury’s Queerness in Bohemian Rhapsody Teaser Trailer.” ADVOCATE. Advocate. com. May 15. https://www.advocate.com/film/2018/5/15/blink-and-youllmiss-freddie-mercurys-queerness-bohemian-rhapsody-trailer. 28. Zipsane, Henrik. 2011. “Instrumentalism in Heritage Learning.” Museum International 63 (1-2): 130–39. doi:10.1111/j.1468-0033.2012.01771.x. 29. Ibid.

20. “Accelerating Acceptance 2018.” 2018. GLAAD. GLAAD. January 25. https://www.glaad.org/publications/accelerating-acceptance-2018. 21. Waters, Emily, Larissa Pham, Chelsea Convery, and Sue Yacka-Bible. 2018. “A Crisis of Hate a Report on Lesbian, Gay, Bisexual, Transgender and Queer Hate Violence Homicides in 2017.” Rep. A Crisis of Hate a Report on Lesbian, Gay, Bisexual, Transgender and Queer Hate Violence Homicides in 2017. National Coalition of Anti-Violence Programs. http://avp.org/wpcontent/uploads/2018/01/a-crisis-of-hate-january-release-12218.pdf.

30. Ibid. 31. Ibid. 32. González, Jakoba Šraml, and Jesús González Torres. 2012. “TRENDS IN PRACTICAL HERITAGE LEARNING.” Rep. TRENDS IN PRACTICAL HERITAGE LEARNING. The Nordic Centre of Heritage Learning & Creativity. http://nckultur.org/wp-content/uploads/2013/06/Booklet.pdf.

161

33. Zipsane, Henrik. 2009. “Lifelong Learning through Heritage and Art.” Essay. In The Routledge International Handbook of Lifelong Learning, edited by Peter Jarvis, 1st ed., 173–82. New York, NY: Routledge. http://nckultur. org/wp-content/uploads/2013/10/ZIPSANE-HENRIK-12-LIFELONGLEARNING-THROUGH-HERITAGE-AND-ART....2007.pdf. 34. Hackshaw, Wendy. 2017. “El Museo Del Barrio and the Act of Preserving Memory and a Culture.” Latino Rebels. June 22. http://www.latinorebels. com/2017/06/21/el-museo-del-barrio-and-the-act-of-preserving-memory-anda-culture/. 35. Leval, Susana Torruella. 2018. “Pa’lante: Political Works from the Collection of El Museo Del Barrio.” Lehman College Art Gallery: Architecture/Emigrant Savings Bank. El Museo del Barrio. Accessed July 4. http://www.lehman.edu/vpadvance/artgallery/gallery/palante/index.htm. 36. Merritt, Elizabeth. 2018. “Capture the Flag: the Struggle over Representation and Identity.” American Alliance of Museums. January 19. https://www.aam-us.org/2017/05/12/capture-the-flag-the-struggle-overrepresentation-and-identity/.

42. Merritt, Elizabeth. 2018. “Empathy a Mile in My Shoes: Closing the Empathy Deficit.” American Alliance of Museums. American Alliance of Museums. January 23. https://www.aam-us.org/2017/05/01/empathy-a-milein-my-shoes-closing-the-empathy-deficit/. 43. “Millennials: Fueling the Experience Economy.” 2014. Rep. Millennials: Fueling the Experience Economy. Eventbrite. https://eventbrite-s3. s3.amazonaws.com/marketing/Millennials_Research/Gen_PR_Final.pdf. Study conducted in conjunction with Boston Consulting Group 44. “Event Marketing 2018: Benchmarks and Trends.” 2018. Rep. Event Marketing 2018: Benchmarks and Trends. Bizabo. https://blog.bizzabo.com/ event-marketing-2018-benchmarks-and-trends. 45. Ibid. 46. “Event Track 2018: The Event & Experiential Marketing Industry Forecast & Best Practices Study.” 2018. Rep. Event Track 2018: The Event & Experiential Marketing Industry Forecast & Best Practices Study. Eventmarketer. http://www.eventmarketer.com/reports/event-track/. Conducted in collaboration with Mosaic.

37. Ibid. 38. Ibid. 39. Leroux, Kelly & Bernadska, Anna. (2014). Impact of the Arts on Individual Contributions to US Civil Society. Journal of Civil Society. 10. 10.1080/17448689.2014.912479. 40. Herz, Rebecca. 2015. “How Can Museums Foster Empathy?” Museum Questions. Museum Questions. March 30. https://museumquestions. com/2015/03/30/how-can-museums-foster-empathy/. 41. Greene, Jay P. Kisida, Brian Bowen, and Daniel H. 2014. “The Educational Value of Field Trips: Taking Students to an Art Museum Improves Critical Thinking Skills, and More.” Education Next, , 2014. https://educationnext.org/the-educational-value-of-field-trips/.

47. “Millennials: Fueling the Experience Economy.” 2014. Rep. Millennials: Fueling the Experience Economy. Eventbrite. 48. “Google Deep City.” 2018. HUSH. HUSH Studios Inc. Accessed July 5. https://heyhush.com/work/google-deep-city/. 49. “Ten Trends 2017: Cultural.” 2018. CORE Education. CORE Education. https://core-ed.org/ten-trends-category-cultural/. 50. “Ten Trends.” 2018. John Cage’s 10 Rules for Students and Teachers | CORE Education. CORE Education. Accessed July 6. https://core-ed.org/ research-and-innovation/ten-trends/. 51. Ibid. 52. Ibid.

162 COMPILED SOURCES

53. Ibid. 54. Papastergiou, Marina. 2009. “Digital Game-Based Learning in High School Computer Science Education: Impact on Educational Effectiveness and Student Motivation.” Computers & Education 52 (1): 1–12. doi:10.1016/j.compedu.2008.06.004. 55. Bacca, Jorge & Baldiris, Silvia & Fabregat, Ramón & Graf, Sabine & Kinshuk, Dr. (2014). Augmented Reality Trends in Education: A Systematic Review of Research and Applications. Educational Technology and Society. 17. 133-149. 56. Pellas, N., Fotaris, P., Kazanidis, I. et al. Virtual Reality (2018). https:// doi.org/10.1007/s10055-018-0347-2 57. Ibid. 58. “DAQRI - Home.” 2018. Professional Grade AR - DAQRI. DAQRI. Accessed July 6. https://daqri.com/. 59. Zipsane, Henrik. 2011. “Instrumentalism in Heritage Learning.”

Image Sources: 60. Griffin, Elizabeth. 2016. 50 Photos to Remind Us That Love Wins. Photograph. 50 Photos to Remind Us That Love Wins. Sao Paulo, Brazil: ELLE. https://www.elle.com/culture/news/g28378/50-photos-of-pridecelebrations/?slide=7. 61. Dickey, Megan Rose. 2013. Millions Of People Changed Their Facebook Profile Pictures To Support Marriage Equality. Photograph. Millions Of People Changed Their Facebook Profile Pictures To Support Marriage Equality. Business Insider Australia. https://www.businessinsider.com.au/ facebook-profiles-marriage-equality-2013-3. 62. About GLAAD. 1989. Photograph. About GLAAD. Los Angeles: GLAAD. GLAAD. https://www.glaad.org/about.

63. About GLAAD. 1997. Photograph. About GLAAD. GLAAD. GLAAD. https://www.glaad.org/about. 64. Years And Years. 2018. Years & Years - If You’re Over Me (Official Video). YouTube. May 14. https://www.youtube.com/ watch?v=niviooakBLs. 65. Donigan, Daniel. 2017. Photograph. Consulate-General of Russia in New York City. 66. Frenkel, Dave. 2018. Accessed via https://www.gaytimes.co.uk/ news/103199/a-year-after-the-anti-gay-purge-in-chechnya-heres-whatyou-can-do-to-help/ 67. Villareal, Daniel. 2018. Hornet. Photograph. Hornet. Hornet Stories. https://hornet.com/stories/chechnya-purge-two/. 68. Davies, Diana. 2017. The Trans Rights Movement’s Mothers Are Finally Getting Their Due. Photograph. The Trans Rights Movement’s Mothers Are Finally Getting Their Due. VICE. https://www.vice.com/ en_us/article/yw3jwy/the-trans-rights-movements-mothers-are-finallygetting-their-due. 69. Loughery, Clarisse. 2016. Roland Emmerich Hits Back at Stonewall Whitewashing Criticisms, Claims It Was “White Event”. Photograph. Roland Emmerich Hits Back at Stonewall Whitewashing Criticisms, Claims It Was “White Event”. The Independent. https://www. independent.co.uk/arts-entertainment/films/news/roland-emmerichhits-back-at-stonewall-whitewashing-criticisms-claims-it-was-whiteevent-a7104476.html. 70. Art Blart. “Robert Maplethorpe” gallery at Grand Palais. Accessed via https://artblart.com/tag/robert-mapplethorpe-self-portraitautoportrait/ 71. Wikimedia Commons. https://commons.wikimedia.org/wiki/ File:Nordic_Museum_Stockholm_(Nordiska_museet),_interior.jpg

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72. Rose Mary C. 2015. Yelp. Accessed via https://www.yelp.com/biz_photos/ el-museo-del-barrio-new-york?select=koul6L7fXcvsHiv7NsHzIg 73. Museum Environments. https://museumenvironments.com/el-museo-delbarrio-new-york/ 74. Whintey Plantation. http://whitneyplantation.com/photo-gallery.html 75. Kerri Westenberg. 2017. Accessed via http://www.startribune.com/ whitney-plantation-near-new-orleans-immerses-visitors-in-the-lives-ofslaves/450670073/ 76. The Museum of Modern Art. Accessed via https://www.moma.org/visit/ groups/ 77. Gerald Mark Soto. Accessed via https://geraldmarksoto.com/googleces-2018 78. HUSH Studios. Accessed via https://heyhush.com/work/google-deep-city/ 79. GRUPA GDYBY. Accessed via http://gdyby.pl/mr-technic-academyexhibition/ 80. Medium.com. Accessed via https://medium.com/inborn-experience/usageof-augmented-reality-in-education-be783e0159a

85. HUSH Studios. Accessed via https://heyhush.com/work/google-deep-city/ 86. TechPrior. Accessed via https://www.techprior.com/the-potential-of-vrand-ar-in-transforming-education-sector/

3. THEORIES OF IDENTITY Sources Referenced: 1. Wiarda, Howard J. Political Culture, Political Science, and Identity Politics: An Uneasy Alliance. Abingdon, Oxon: Routledge, 2016. 2. Wormald, Benjamin. “Religious Landscape Study.” Pew Research Center’s Religion & Public Life Project. May 11, 2015. Accessed July 20, 2018. http:// www.pewforum.org/religious-landscape-study/. 3. Fea, John. Was America Founded as a Christian Nation?: A Historical Introduction. Louisville, KY: Westminster John Knox Press, 2016. Accessed July 2018. https://www.wheaton.edu/media/migrated-images-amp-files/media/ files/centers-and-institutes/cace/articles/Was-America-Founded-as-a-ChristianNation.pdf.

81. Ticeman. Accessed via http://www.ticeman.fr/lepropulseur/?p=2452 82. DAQRI. Accessed via https://daqri.com/blog/announcing-daqriworksense/

4. Wiarda, Howard J. Political Culture, Political Science, and Identity Politics: An Uneasy Alliance. 5. Ibid.

83. The Robert Mapplethorpe Foundation. Accessed via http://www. mapplethorpe.org/exhibitions/2017-10-07_pratt-institute-dekalb-hall-gallery/ 84. Rediff.com. Accessed via http://www.rediff.com/getahead/slideshow/slide-show-1-specials-vday-photos-the-museum-of-brokenrelationships/20130206.htm

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6. Wilson, Jason. “’A Sense That White Identity Is under Attack’: Making Sense of the Alt-right.” The Guardian. August 23, 2016. Accessed July 20, 2018. 7. Altman, Dennis. Homosexual: Oppression and Liberation. University of Queensland Press, 2012.

8. Ibid. 9. Ibid. 10. Ibid. 11. “Gay and Lesbian Rights.” 2018. Gallup.com. Gallup, Inc. Accessed July 4. https://news.gallup.com/poll/1651/gay-lesbian-rights.aspx.

21. Goetting, Cody, “A Comparison of Ancient Roman and Greek Norms Regarding Sexuality and Gender” (2017). Honors Projects. 221. https://scholarworks.bgsu.edu/honorsprojects/221 22. Chen, Min-Jye, Bonnie Mccann-Crosby, Sheila Gunn, Paraskevi Georgiadis, Frank Placencia, David Mann, Marni Axelrad, L.p Karaviti, and Laurence B. Mccullough. “Fluidity Models in Ancient Greece and Current Practices of Sex Assignment.” Seminars in Perinatology 41, no. 4 (2017): 20613. doi:10.1053/j.semperi.2017.03.014.

12. Altman, Dennis. Homosexual: Oppression and Liberation. 23. Altman, Dennis. Homosexual: Oppression and Liberation. 13. Ibid. 14. Wallace, Michele. “Modernism, Postmodernism, and the Problem of the Visual in Afro-American Culture.” Dark Designs and Visual Culture, 2004, 364-78. Accessed June 2018. doi:10.1215/9780822386353-040.

24. Wallace, Michele. “Modernism, Postmodernism, and the Problem of the Visual in Afro-American Culture.” Dark Designs and Visual Culture, 2004, 364-78. Accessed June 2018. doi:10.1215/9780822386353-040. 25. Ibid.

15. Ibid. 16. White, Edmund. Beautiful Room Is Empty. New York City, NY: Alfred A. Knopf, 1988.

26. Milo Yiannopoulos and Dave Rubin Discuss Gay Rights and Cultural Libertarians. Performed by Dave Rubin and Milo Yiannopolis. YouTube. 2015. https://www.youtube.com/watch?v=M0505RbdG5k.

17. Ibid

27. Ibid.

18. Moritz, Marguerite J. “How US News Media Represent Sexual Minorities.” In Journalism and Popular Culture, edited by Peter Dahlgren, and Colin Sparks, 154-70. SAGE, 1992. https://books.google.com/books?id =RXcRMoCWevwC&pg=PA154&lpg=PA154&dq=lack of news coverage stonewall riots&source=bl&ots=FHOoxMBouS&sig=ORBSw4JrBAvmq Kp-eBGjkG1Biv8&hl=en&sa=X&ved=0ahUKEwjp-4rvua7cAhXs24MKH Wt9CSk4ChDoAQg2MAM#v=onepage&q=lack of news coverage stonewall riots&f=false.

28. Ibid.

19. Ibid.

31. 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.

20. Altman, Dennis. Homosexual: Oppression and Liberation.

29. Altman, Dennis. Homosexual: Oppression and Liberation. 30. 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.

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

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33. Ibid.

46. Daniel Zennon. Twitter. Accessed via https://twitter.com/dzennon/ status/957072849545515009

34. Ibid. 47. NIGRA. Accessed via https://nigra.org.uk/need-sex-education/ 35. 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. 36. Ibid. 37. 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. 38. Ibid. 39. Ibid.

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48. Columbian College of Arts and Sciences. History News Network. Accessed via https://historynewsnetwork.org/article/15002 49. United to End Genocide. Accessed via http://endgenocide.org/learn/pastgenocides/native-americans/ 50. The Randy Report. Accessed via http://randyreport.blogspot. com/2017/06/stonewall-riots-newspaper-reports-homo.html 51. Medium.com. Accessed via https://medium.com/@keiyakukekkon/thedecline-of-marriage-62faeb8e64b1 52. Salvador Dalí. “In Voluptas Mors.” 1951. “Historias de Amor e Morte.” Accessed via https://historiasdeamoremorte.wordpress.com/2016/03/15/ quem-te-matou-caveira-recolha-silvio-romeiro/

40. John Clang. “Hopenhagen.” Accessed via http://johnclang.com/ hopenhagen

53. CMG Worldwide. Accessed via https://www.cmgww.com/stars/baker/ about/biography/

41. Sagmeister & Walsh. NY Times Cover. June 26, 2016. Accessed via https://sagmeisterwalsh.com/work/all/ny-times-cover-/

54. Vulture. Accessed via http://www.vulture.com/2018/02/rupauls-drag-raceseason-10-queens-have-been-announced.html

42. Gay Art History. Zephyrus and Hyacinth. 490-485 BCE. Boston Museum of Fine Arts. Accessed via http://www.gay-art-history.org/sop1000.htm

55. OUT. Accessed via https://www.out.com/popnography/2017/3/03/farright-tweet-future-liberals-want-sparks-viral-conversation

43. Pagan Press Books. ComeOut!. 1969. Accessed via http:// paganpressbooks.com/jpl/COMEOUT.HTM

56. John Clang. “Erasure.” Accessed via http://johnclang.com/erasure

44. Diana Davies. NYC. 1969. MSNBC. Accessed via http://www.msnbc.com/ msnbc/msnbc-pride-test-your-knowledge-the-stonewall-riots 45. Southern Poverty Law Center. Accessed via https://www.splcenter.org/ fighting-hate/extremist-files/group/westboro-baptist-church

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57. We Are Found Home Design. Accessed via http://www.wearefound.com/ measure-for-interior-doors/hallway-luan-interior-doors/ 58. Nigel Young. Foster + Partners. Accessed via https://divisare.com/ projects/286931-foster-partners-nigel-young-westlake-apple-store

4. PRECEDENTS

AND POTENTIAL Sources Referenced:

1. “11 Facts About HIV and AIDS in the US.” DoSomething.org | Volunteer for Social Change. Accessed July 14, 2018. https://www.dosomething.org/ facts/11-facts-about-hiv-and-aids-us.

8. Ibid. 9. Ibid. 10. Ibid. 11. Howarth, Dan. “Bruner/Cott Further Expands MASS MoCA Art Museum in the Berkshires.” Dezeen. March 31, 2017. Accessed July 15, 2018. https://www.dezeen.com/2017/03/29/bruner-cott-expands-massachusettsmuseum-contemporary-art-mass-moca-building-six-north-adams-berkshires/. 12. Ibid.

2. James, Scott. “An AIDS Museum: The Challenges Are Huge, but the Timing Is Right.” The New York Times. March 13, 2017. Accessed July 14, 2018. https://www.nytimes.com/2017/03/13/arts/design/aids-museummemorial-san-francisco.html. 3. “Why We Fight: Remembering AIDS Activism.” The New York Public Library. Accessed July 14, 2018. https://www.nypl.org/events/exhibitions/ why-we-fight/more. 4. Limwanatipong, Puripong. “BEHIND THE LEATHER.” Behance. 2016. Accessed July 14, 2018. https://www.behance.net/gallery/40936225/ BEHIND-THE-LEATHER. 5. Teicher, Jordan G. “New York’s Fabulous 1980s and ‘90s Club Scene .” Slate Magazine. March 13, 2014. Accessed July 15, 2018. http://www. slate.com/blogs/behold/2014/03/13/alexis_di_biasio_photographs_1980s_ and_90s_new_york_club_culture_in_the.html. 6. Dool, Steve. “Disco and Debauchery inside Studio 54.” CNN. June 05, 2018. Accessed July 15, 2018. https://www.cnn.com/style/article/studio-54ian-schrager/index.html. 7. Morby, Alice. “Night Fever Exhibition Documents Five Decades of Clubbing Culture.” Dezeen. March 19, 2018. Accessed July 15, 2018. https:// www.dezeen.com/2018/03/17/vitra-design-museum-night-fever-exhibitionclubbing-culture/.

13. Ibid. 14. “Inside the Tech of the 9/11 Memorial Museum.” Yahoo! Finance. September 11, 2015. Accessed July 15, 2018. https://finance.yahoo.com/news/ technology-brought-the-world-the-news-and-90600061439.html. 15-18. Ibid.

Image Sources: 19. Apple. AdWeek. Accessed via https://www.adweek.com/brand-marketing/ spike-jonze-and-fka-twigs-made-a-jaw-dropping-short-film-for-appleshomepod/ 20. Barbara Suhr Design. Accessed via http://www.barbarasuhrdesign.com/ why-we-fight/sx1k7rl0krkoc6p9ezif91uz9th9fw 21. Puripong Limwanatipong. Behance. Accessed via https://www.behance. net/gallery/40936225/BEHIND-THE-LEATHER 22. NewNowNext. Accessed via http://www.newnownext.com/michael-aligglory-daze-documentary-netflix/09/2016/ 23. Eivind Hansen. Accessed via https://www.eivindhansen.com/ jcrytuhoipl7syp66f0uuh83iceyi9

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24. Ryan Burke Photography. Accessed via http://www. ryanburkephotography.com/current/cdlebelpcljsr03a4q53w39fa0q73u 25. Hungry. Instagram. Accessed via https://www.instagram.com/p/ BY6d6ljn3aX/

5. INSIGHTS ON SITE

26. Paolo Mussat Sartor. It’s Nice That. https://www.itsnicethat.com/articles/ exhibition-history-of-nightclub-design-vitra-night-fever-120318

Sources Referenced:

27. It’s Nice That. Accessed via https://www.itsnicethat.com/articles/ exhibition-history-of-nightclub-design-vitra-night-fever-120318

1. Stein, RJ. “Museums... So What? – CODE | WORDS: Technology and Theory in the Museum – Medium.” Medium. June 05, 2014. Accessed July 12, 2018. https://medium.com/code-words-technology-and-theory-in-themuseum/museums-so-what-7b4594e72283.

28. Deezen.com. Accessed via https://www.dezeen.com/2018/03/17/vitradesign-museum-night-fever-exhibition-clubbing-culture/ 29. Dezeen.com. Accessed via https://www.dezeen.com/2017/03/29/brunercott-expands-massachusetts-museum-contemporary-art-mass-moca-buildingsix-north-adams-berkshires/30.

2. The Future State of Downtown: Progress of Downtown Cincinnati in 2016. Report. 2017. Accessed July 12, 2018. https://www. downtowncincinnati.com/docs/default-source/Stakeholder-Docs/2017-sod. pdf?sfvrsn=2. 3. Ibid

30. ArchDaily. Accessed via https://www.archdaily.com/883699/mass-mocabuilding-6-bruner-cott-and-associates/5a0b9cb5b22e38476300046b-massmoca-building-6-bruner-cott-and-associates-materials-inserting 31. Jin Lee. BU Today. Accessed via http://www.bu.edu/today/2016/9-11memorial-museum-jan-seidler-ramirez/ 32. Medium.com. Accessed via https://medium.com/@carousel51/911-memorial-visit-by-mike-katie-sweeney-in-the-post-annapolis-eradc053f68c413 33. FastCompany. Accessed via https://www.fastcompany.com/product/ timescape 34. Jin Lee. Wesleyan University. http://magazine.wesleyan.edu/2015/12/07/ the-911-memory-keeper/

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4. 2016 Downtown Cincinnati Perceptions Survey. Report. 2016. https:// www.downtowncincinnati.com/docs/default-source/Stakeholder-Docs/dci2016-executive-summary-5.pdf. 5. “Explore Your Neighborhood.” ArcWatch | A New View of the Arctic. Accessed July 12, 2018. https://www.esri.com/en-us/arcgis/products/tapestrysegmentation/zip-lookup. 6. Ibid. 7. “Cincinnati Demographic Data.” Cincinnati - Demographics. Accessed July 12, 2018. http://www.choosecincy.com/Economic-Development/DataDemographics/Demographics.aspx. 8. Pyle, Encarnacion. “Poll: Columbus Ranks 15th in Cities with Highest Gay Population.” The Columbus Dispatch. March 24, 2015. Accessed July 12, 2018. http://www.dispatch.com/content/stories/local/2015/03/23/gallup-poll. html.

9. KWIR. “Cincy LGBT Bars: Why Are so Few Left?” KWIR Media. May 4, 2016. Accessed July 12, 2018. https://www.kwirmedia.com/cincy-lgbt-barsleft/. 10. 2016 Downtown Cincinnati Perceptions Survey. 11. LaPlaca Cohen. Motivators for attending cultural activities in the United States as of April 2014. https://www.statista.com/statistics/321552/ motivators-for-attending-cultural-activities-usa/ (accessed 7/12/18, 6:16 PM). 12.“The Findlay Market Story.” 2018. Findlay Market. Findlay Market. Accessed July 9. http://www.findlaymarket.org/about. 13. The Future State of Downtown: Progress of Downtown Cincinnati in 2016.

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14. Peak Property Group. Accessed via https://peakpropertygroup.com/

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

15. Hopkins, Sherry. “A Local’s Guide to Over-the-Rhine, Cincinnati - Urban Adventures.” Intrepid | Urban Adventures. June 22, 2018. Accessed July 13, 2018. https://www.urbanadventures.com/blog/neighbourhood-locals-guiderhine-cincinnati.html.

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

16. City Studios Architecture. Accessed via https://www.citystudiosarch.com/ w6

5. 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.

17. UrbanOhio.com. Accessed via https://www.urbanohio.com/forum/index. php?topic=31016.0

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

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7. ADDITIONAL CONSIDERATIONS Image Source: 1. Seattle Magazine. Accessed via http://www.seattlemag.com/arts-andculture/must-list-st-vincent-trojan-women-dark-beer-and-chili

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171