Co m p re he n sive P ro je c t P ro p os al
CREATIVE COLLECTIVE D ES I GN • A RT • M U S I C • COMMUN IT Y
KATIE SECOR • 2023- 4
BU IL DING CO M M UN I TY ON TH E B AS I S OF C R E AT I V I T Y
WE LC OME 2
C ONTE NTS
04.
10.
16.
A B S TARCT
N ARRATIVE SCEN ARIO S
SIT E INF OR M AT ION
An introduction or summary to the content more thuroughly explained in the written proposal.
Six differernt narrative scenarios that help me more uniquely understand the space through the eyes of different user types.
Existing information that has been collected on my current site for the project.
05.
12.
W R I T TE N PROPOS AL
CASE STU DY 1
The thought process, research, and justifications that have lead me to my proposal for the Creative Collective.
NeueHouse. A membership based co-working and social club for creatives in Venice Beach, California.
08.
14.
PROGRAM
CASE STU DY 2
A written explanation of my programming information alon with supporting diagrams and a occupancy/sq ftg spreadsheet..
Bogor Creative Hub. A creative community ccenter entirely open to the publlic in Bogor, Jakarta.
18.
R ESE A R C H PL A N Future steps for further research, specifically first-person research. Including interviews, walk-throughs, and observations.
20.
R EF ER ENC ES
ABSTRACT The proposed project, “Creative Collective,” aims to address the pressing issues of loneliness, the decline in community engagement, and the overall quality of life in Portland, Oregon. The backdrop of societal changes - including the emergence of solitude societies, the global impact of COVID-19, and the influence of technology - has led to a palpable dissatisfaction in the city.Recognizing the interconnected nature of these challenges, the project emphasizes the importance of civic pride as a catalyst for positive change. Portland, once a beacon of progressive living, has experienced a downturn since 2020, marked by a decline in overall satisfaction among residents. The proposal highlights the transformative power of the arts and creativity in rejuvenating communities. The creative population, comprising artists, musicians, writers, and innovators, is seen as a dynamic force that contributes significantly to a city’s cultural vibrancy. Beyond enhancing cultural richness, the creative class plays a pivotal role in contributing to the city’s economy by stimulating innovation and attracting talent. The heart of the proposal is the “Creative Collective” community center, designed to be a central gathering place for creatives of all types. The aim is to provide a space where the diverse community can engage, learn from each other, and collectively contribute to Portland’s cultural tapestry. The term ‘creatives’ is intentionally used to be inclusive of various creative practices, encouraging a broad section of the community to feel welcome and involved.
4
WRITTEN PROPOSAL JUSTIFICATION AND RESE ARCH
LOSS OF COMMUNITY + LONELINESS
shift towards what some researchers have termed ‘solitude societies.’ These changes have been marked by a significant decline in community orientation and social interaction, ultimately resulting in increased levels of loneliness, isolation, and even depression. This phenomenon has grown so serious that the CDC has considered loneliness as one of the leading health concerns in the United States. The consequences of this transformation have had a profound impact on the overall quality of life for individuals across the nation. One significant factor contributing to the development of solitude societies is the rapid advancement of technology. In recent decades, the proliferation of smartphones, social media, and digital entertainment has fundamentally altered the way people interact and connect. While these innovations have undeniably brought new opportunities for
In the ever-evolving landscape of modern society, the United States grapples with a phenomenon that transcends geographical boundaries—a decline in the sense of community. The intricate tapestry of human connection has unraveled, weaving threads of loneliness, exacerbated by the emergence of solitude societies, the global impact of COVID-19, and the pervasive influence of technology. Amidst this backdrop, I propose a visionary initiative - “Creative Collective,” a dynamic creative community center poised to address not only the loneliness epidemic but also the broader challenges facing Portland, Oregon. Since the 1950s, American society has undergone a profound transformation in its social fabric, with a notable
5
communication, they have also led to what Sherry Turkle, a renowned expert on the social impact of technology, has described as “alone together.” The constant presence of screens and the allure of digital devices have eroded faceto-face social interactions, leading people to spend more time in virtual worlds and less in real-life communities. The COVID-19 pandemic further exacerbated this trend, revealing both the potential of digital technology to maintain connections and the isolating impact of public health measures. Lockdowns, remote work, and social distancing measures have isolated individuals physically, making many rely even more heavily on digital means of communication. While technology allowed some degree of connection during the pandemic, the absence of physical, in-person interactions created a sense of social disconnection, which, in turn, has been linked to heightened levels of loneliness and depression. This experience highlighted the importance of physical community and revealed the limitations of virtual connections.
impetus that fuels community engagement, encourages active participation, and fosters a collective responsibility for the well-being of the city. The City of Portland and its governing board has recognized this issue of civic pride through supporting culture building efforts with the arts at the forefront. A creative community center in Portland can help foster more civic pride by supporting the city’s creative population and providing space for Portland to show off and expand its own creative culture. By rekindling this sense of pride, this project aims to instill a renewed spirit of connection among its diverse residents.
portland metro net migraton 4 quarter average as published by the cleveland fed
6 5 4 3 2 1 0 1 2 3 2015
REVITALIZING PORTL AND, OREGON
2016
2017
2018
2019
2020
2021
2022
2023
Source: federal reserve bank of cleveland, oregon office of economic analysis
The issue of loneliness and solitude societies is definitely prevalent in Portland, Oregon, and has been an increasing issue in the last few years. Once a beacon of progressive living and community engagement, Portland has experienced a disheartening downturn since 2020. The cityscape is marred by rising crime rates, a burgeoning homeless population, and the proliferation of graffiti and destruction. A palpable dissatisfaction of the city as a whole has taken root, leading to a large sum of residents moving out of the city who were once proud to call Portland home. Since the early 2000’s, Portland has been viewed as a newer emerging city, bringing in many out of state residents and visitors over the years. However, since 2018, the trends have shifted with an increasing amount of residents moving out of the city (refer to graph) and into less decrepit metropolitan areas in the US. It is imperative to view these issues not in isolation but as interconnected elements contributing to a decline in the city’s overall quality of life. The concept of civic pride emerges as a linchpin in revitalizing Portland. Pride in one’s city is not a superficial emotion; rather, it is a catalyst for positive change. It is the
THE POWER OF THE ARTS + CRE ATIVES At the heart of this proposal lies a profound understanding of the transformative power of the arts and creativity in rejuvenating communities. The creative population of a city serves as a dynamic force that significantly contributes to its cultural vibrancy. Creatives, including artists, musicians, writers, and innovators, infuse a unique and diverse energy into the urban landscape. Their expressions of imagination and originality become the backbone of a city’s cultural identity, fostering an atmosphere of innovation and openmindedness. Through public art installations, performances, and cultural events, creatives transform public spaces into dynamic canvases, turning the city into a living, breathing tapestry of ideas and expressions. Moreover, the creative community often acts as a catalyst for cultural exchange, pushing boundaries and challenging societal norms. Their presence not only attracts like-minded individuals but also generates a magnetic pull for visitors seeking to immerse themselves in the city’s rich cultural tapestry. In essence, the creative population is instrumental in shaping a city into
6
DeSiGN INVESTIGATIONS
a vibrant and culturally rich environment that reflects the diversity and dynamism of its residents. Moreover, it is important to also recognize the pivotal role played by the creative class in the success of a city. Beyond enhancing cultural vibrancy, the creative population significantly contributes to the economy. By supporting and empowering the creative community, we can stimulate innovation, attract talent, and position Portland as a nationally recognized hub of creativity. The city already boasts the title of the third most creative in the United States, hosting a myriad of creative freelancers and local businesses. Yet, there exists a conspicuous void—a lack of a central gathering place for these creatives to connect, collaborate, and showcase themselves as Portland’s creative forces. “Creative Collective” seeks to fill this void, serving as a nexus for creatives to engage, learn from each other, and collectively contribute to the city’s cultural tapestry. I intentionally use the term ‘creatives’, instead of ‘artists’ so that it is more all encompassing to various types of practices that fields of work that may engage one’s creative processes, inticing more sections of the community to feel welcome and involved. The community center is not merely a space; it is a transformative catalyst for positive change in Portland. By harnessing the power of the arts and creativity, this project aims to address the loneliness epidemic, rebuild civic pride, and contribute holistically to the city’s economic and cultural success.
Cultural integration + artistic expression incorporating local cultural elements and artistic representations into the design of the community center. This includes showcasing public art, murals, or symbols that reflect the identity of the community, creating a space that celebrates and resonates with its cultural richness.
flexible/multifunctional spaces + activities making sure that the design of this community center can be easily transformed and manipulated to hold a variety of events, meeting groups, etc. flexible spaces that can become very large or very small depending on use.
providing a variety of different atmospheres people have different preferences regarding the atmosphere they work in. some want it very bright and clean, while others perfer a darker more intimate space to get their creative juices flowwing. This community center atims to provide a variety of atmospheres to meet all needs, no mat ter the mood.
clear spatial org, while allowing for exploration because this community center will house a wide variety of uses, it is important to have a clear organization that seperates the activities. However, I want to make sure that the different spaces are somewhat visible from one-another, allowing for inspiration and exploration.
7
PROGRAMMING INFORMATION
C R E AT I N G
above grade
c o l l a b o r at i n g
below grade
inspiring
8
Break Space co-creating spaces Computer Lab
co-working spaces cafe
Rentable Office/Studio
mtng rooms
flexible event space
retail
bar
lounge
music room
S QUAR EFO OTAG E SP RE ADS HEET
Wood Shop
lobby/ reception
gallery
The Creative Collaborative, a visionary community center in the heart of Portland designed to foster inspiration, collaboration, and creation across three dynamic levels. The basement serves as the source of inspiration, featuring a curated library, an art gallery, music and film rooms, a vibrant bar, and a cozy lounge. On the main level, the atmosphere shifts to collaborative spaces, encompassing coworking areas, meeting rooms, workshops, classrooms, and an expansive event space. A retail section and cafe beckon the public, creating a lively fusion of creativity and commerce.
Photog. Room
inspiration library
Space name
work shop spaces
Ascend to the top floor, where the spirit of creation thrives. Diverse co-creating spaces, a well-equipped woodshop, a cutting-edge computer lab, and an array of rentable studio and office spaces provide the ideal environment for bringing imaginative visions to life. Socializing areas will be spread throughout the space to encourge connection and collaboration. This tri-level haven not only offers a space for creatives to socialize, collaborate, and innovate but also acts as a catalyst for weaving their collective creativity into the fabric of Portland’s artistic community.
film room
Occupancy/sq f tg
totals
30 10 25 10 10
2500 sf 500 SF 2000 SF 1000 SF 1000 SF
7,000 SF
30 100 30 20 300
600 SF 2000 SF 1000 SF 800 SF x 4 3000 SF
9,000 SF
Inspiration library / Gallery beverage bar lounge music room film room
Collaboration lobby/reception cafe + coworking space retail workshop rooms flex space/event hall
Creation Rentable Offices/studios shared woodshop co-creating studio shared lounge computer services
other administrative spaces bathrooms storage elevator
30 30 30 30 10
5,000 SF 1500 SF 1500 SF 600 SF 250 SF
8,850 SF
3 15 2 3-
600 SF 750 SF 250 300 SF x 3
2,500 SF
9
Subtotal
27,350SF
circulation 20%
5,470 sf
OVERALL TOTAL
32,820 sf
NARRATIVE SCENARIOS
KYLI E
CHARLIE
MA GGIE
Kylie is a 30 year-old independent illustration artist, who has been freelancing entirely out of her living room for around a decade. She has been living in Portland her whole life, but has had trouble finding or forming a solid community around creativity. Excitedly diving into the world of rentable studios, Kylie secured one, though she longed for more varied options. As a seasoned freelancer, the studio in a creative hub symbolized a chance to connect with peers, find inspiration, and explore new artistic paths. Her appreciation for spacious work areas, abundant natural light, and a must-have surround sound system enhanced her daily creative journey as a full-time freelancer, working diligently from 8 am to 4 pm. While relishing the communal break area for socializing, Kylie harbored a sporadic wish to share her space with fellow artists, although she treasured the solitude and distraction-free environment that fueled her focused creativity.
Charlie is a young 20 year-old aspiring graphic designer. He is studying digital art at the Pacific NorthWest College of Art in Portland. Josh is very involved in his college and has been wanting to create a graphic design club. Charlie explores reserving a room for his graphic design club, pleased with the variety of options. With about 20 regular attendees, he often chooses a medium-sized workshop space. Given the digital arts focus, the meeting area requires ample technological support, including outlets, laptop workspaces, and a projection screen. Interested in experiential work, the facility should provide areas for the group to experiment with different mediums. In accommodating diverse backgrounds, Charlie emphasizes the importance of the facility supporting creatives with varying resources. Beyond selling art goods, he suggests options like material rentals and a ‘free-for-all’ area with donated or leftover materials for artists to use.
Maggie is a 23 year-old recent college graduate who loves all things that unleash her creative side. She took many creative courses in college, but has yet to find a medium or art outlet that she is really attached to. Maggie thrives in the co-working spaces and cafe of the creative community center, finding inspiration from fellow creatives. When not immersed in her own projects, she watches others create to spark new creative energy. In the inspiration lounge/library, she delves into books on famous artists and techniques for hours. Maggie values the library’s unique atmosphere, allowing her to stay late, enjoy a drink, and connect with like-minded individuals. As a recent graduate and newcomer to Portland, Maggie seeks friends and community. Excited about networking events, socializing opportunities, and workshops at the center, she checks the community board regularly for upcoming events that align with her interests.
THE LONELY FREEL ANCER
THE CLUB COORDINATOR
10
ONE WITH CRE ATIVE BLOCK
NI CHOL AS
S A MA N T H A
BEN JA MIN
Nicholas is a 45 year-old male who is visiting Portland for the first time. Nicholas loves to travel to new cities and learn about their culture, creatvity, and overall way of life. He often just strolls aroud town, hoping to stumble on interesting people, places, and activities. Drawn in by a vibrant cafe and creative shop, Nicholas grabs a coffee. The energetic atmosphere filled with unique individuals captivates him, prompting him to stay. After checking emails, he explores the retail section, particularly enjoying the locally made artisan goods, buying a few ceramics and prints as souvinirs of Portland. Venturing further, Nicholas explores the inspiration library, immersing himself in the displayed artworks. He discovers a small bar and lounge, orders a beverage, and people-watches. On his way out, he spots a sign promoting a live music event later that night, planning to return and experience the event’s vibe.
Samantha is a web-designer in her 50’s. She has been doing this kind of design work for several decades and has been wanting to start holding classes to educate others on what she has learned and generate more income. Samantha loves going to the creative community center to work, but just found out that there are rentable rooms to hold meetings and workshops. This is perfect for her newly emerging webdesign course, so she books a room for teaching two times a week. Her class is at around 15 students currently, so she booked a smaller room. She is hoping that she will eventually have enough students to need to book the larger workshop room. Before her courses, she comes 30 minutes to an hour early to sit at the coffee lounge, have a tea, and make sure she is all prepared for the course she will be teaching that day. Being a webdesign course, outlets, projectors, and printing services should be within the room or nearby for use.
Benjamin is one of our front desk receptionists. He works during the morning shift from Monday to Friday, starting at 7am and leaving by 1pm. He is a 60 year-old retired artist. He starts his day by opening the building with the other staff members working that morning. Once the cafe is up and running, he grabs a coffee and heads to the front desk for the day. Most of his work consists of answering questions and guiding people around the facility when needing help. He also tries to keep an eye on the retail section, just in case there’s any theft other issues. Ben and his front desk coworker, Susan, are in charge of bookings. They are both very proud of how organized they keep it at the desk with how many different bookings are happening every day. Because they have to run everything by the boss, the front desk is adjacent to the administrative ‘behind-the-sccenes’ offices for ease of communication.
THE VISITOR
THE TE ACHER
11
STAFF MEMBER
NEUEHOUSE VENICE Neue House is a co-workking and socializing space built for ‘creatives’. In its own words, is it a “membership community for creators, innovators, and thought leaders looking to work, socialize and connect,” which aligns almost percfectly with my vision. The main differece from NeueHouse’s model and The Creative Collaborative model is the engagement with the public. NeueHouse is a membership-based program, making it exclusive from the general public and only accessible to those who can afford a costly membership. However, there are a lot of similar spaces in my model, including collaborative work spaces, meeting rooms, private offices, and event space. There are also cafes and bars to foster gathering and socialization. NeueHouse has several locations across America in metropolitain areas that have a large creative class. Each location holds its own unique aesthetic, connecting the design to the city and it’s culture. I am inspired by NeueHouse and how well they make it feel like a second home and draw from hospitality design, instead of a traditional, more sterile workplace.
12
13
BOGOR CREATIVE HUB Designed as generator for creative people in Bogor, Indonesia, this creative hub aims as a collective space of activities that acts as an open platform for exchange, spontaneous, informal exercise & inspiring spaces. The concept is to maintain this building as a blank canvas for creative spirit to filling in and activate it with their color & soul. The programs inside (auditorium – classrooms – Gallery) occupy different geometries under single curvy roof that reflects as a dominant expression of tropical design. All programs are surrounded by open terrace that enlarge the space as communal space and accessibility. The park in-between old building itself becomes an outdoor stage; performances can either face the large public plaza or as an extensive room from the program inside. While this program is a much more simplified version of the Creative Collective, it still holds all the general spaces that I am planning on including, just in much less abundance. What I find most inspiring from this project is the form. All of the different programmed areas have a clear sepration from one another. However, the curved form around a courtyard area makes it feel that these spaces are all clearly connected and apart of the same whole. It also makes it faily easy for one to navigate through the space and peek into each area without feeling excluded. The architects placed a few corridors between some of the programmed area, providing areas of refuge, encouraging socialization, and making for an overall more dynamic design.
14
15
SITE: MASON EHRMAN ANNEX
Location: 208 NW 5th Avenue. Portland, Oregon Total Square Footage: 28,550 Year Built: 1940; rennovated in 2017.
Old Town
Originally built in 1940 as a flexible warehouse space. Rennovated in 2017 as creative office space. There are three levels, including a large basement space, inviting opportunities for double height rennovations, connecting different activities and providing a grand, doubble height central zone where the programmed elements can all grow from. The exterior is made up of the original masonry painted white with subtle curved elements, giving it an industrial retro futurism aesthetic that could be exciting to build a design off of. Huge abundance of warehouse-style windows and large garage style openings, allowing the interior to be experienced from an outside view. The building already allows access to the roof, further expanding my program and the potential of outdoor spaces.
Pearl District Located just outside of the Pearl District, in an emerging area of Old Town. Blocks away from PNCA, the Pacific Northwest College of Art, drawing in students. Adjacent to public transportation and bike routes.
16
17
FIRST- PERSON RESEARCH PLAN FUT URE RESE ARC H INI TI AT IV ES: I NT ERV IEW S, WA LK- T HRO UGHS , AND MORE.
For my creative community center, “The Creative Collective”, I am hoping to do a handful of one-on-one interviews with a wide variety of creatives. Because my project isn’t tailored to one specific creative medium, it is important for me to talk with creatives of all fields to understand what they need in a space like this, what they would want, and where there is and isn’t overlap based on medium. I am hoping to talk to a lot of student artists and designers within the College of Design, including painters, illustration artists, 3D artists, architectural/interior designers, digital artists, writers/poets, musicians, etc. Practically any creative student that is willing to give me their opinions on this type of facility. Outside of students, I am hoping to find some freelance artists/designers in the Portland area that would benefit from a space like this. These freelancers will give me insights into the requirements of rentable studio spaces and certain events that they would find appealing. It would also be insightful to interview an administrative member at the Multnomah Arts Center. The MAC is one of the larger art centers in the Portland area, and they could give me beneficial information regarding how
apply to their building if money wasn’t an issue. Another space that would be beneficial to walk-through is ‘The Haven’ in Portland. This space is a building for people to create almost anything together. It has a very similar mission to my project, which is building a creative community in Portland. They have a lot of open space for creating along with several more private spaces for individuals to rent out for their own creative endeavors. It would be great to talk with an administrative member of The Haven to see how their space functions, what events they hold, and what adjustments they would make if they had the funds. I have several friends and family members that reside in Portland of various ages and interests who would also have beneficial opinions for this project, as they are general members of the greater community in Portland. These are important insights as they don’t necessarily work in creative fields and I want my creative community center to feel open to all patrons, not solely creatives. These individuals would be able to share with me what spaces or events in this space would draw them in. Would co-working space be appealing to them? Gallery space?
their space operates. It would be interesting to see what events/programs are the most popular at the MAC, along with which spaces are the most frequently used/most under-used. If possible, it would be great to have a walkthrough of their spaces, especially the ‘back-of-house’ operations. While walking through, I could get information on what renovations/additions they would
Retail of handmade local goods? A lot of people who don’t work in creative practices still can enjoy creative events, the arts, etc.
18
IN T E RVI E W QU E S T I ON S F OR C R E ATIV ES O F P O R TL AND How do you envision an ideal creative space that accommodates various artistic mediums? In what ways do you think a communal space can encourage collaboration and interaction among different creative individuals or groups? Considering the diversity of creative activities, what features or design elements would you find essential for a space that can adapt to different artistic needs? How important do you think technology is in a creative workspace, and what specific technological features would enhance the creative process for you? What environmental factors contribute most to your creative inspiration? How can these be incorporated into the design of the community center? How can the design of the community center ensure accessibility and inclusivity for creatives of all abilities and backgrounds? What types of storage solutions and display areas would you find most useful for your work and the work of others in your creative community? How do you balance the need for a vibrant, communal atmosphere with the necessity for concentration and focus in your creative process? In what ways do you envision the community center hosting events and activities that bring creatives together? What kind of spaces or features would facilitate these events? How important is sustainability in a creative space to you? What eco-friendly features or practices would you like to see integrated into the community center’s design?
IN T E RVI E W QU E S T I ON S F OR NO N-C R E ATIV E S O F P O R TL AND How often do you engage with community centers or similar spaces in Portland, and what activities or services would encourage you to participate more? Are there specific programs or services you believe would greatly benefit the community and should be offered in the new community center? How could the community center incorporate outdoor areas or green initiatives to enhance the overall experience for residents? What types of educational opportunities or classes do you think would be valuable for the community center to provide? In what ways do you see the community center fostering civic engagement and a sense of community pride among Portland residents? Some people may feel intimidated by traditional creative spaces. How can a creative area within the community center be designed to feel welcoming and accessible to everyone, including those who may not consider themselves “creative”? How would you envision non-creative individuals participating in or benefiting from creative activities or events within the community center? Creativity is not limited to traditional arts. How can the community center embrace and celebrate everyday creativity, such as cooking, gardening, or DIY projects, that may resonate with a broader audience? What types of interactive exhibits or installations would you find interesting or engaging?
19
REFERENCES: L O S S O F C OM M U N I T Y / LONE L INESS E P IDE M IC Cebelo, Anton. “Is America Suffering a ‘Social Recession’? | Anton Cebalo.” The Guardian, Guardian News and Media, 2 Jan. 2023, www.theguardian.com/commentisfree/2023/ jan /02/america-social-recession-less-friends-sex-mental-health. Accessed 05 Dec. 2023. Filocomo, Frank. “Are Americans Losing Their Sense of ‘Belonging’?” Philanthropy Daily, 15 May 2023, philanthropydaily.com/are-americans-losing-their-sense-of-belonging /. Accessed 05 Dec. 2023. Michalski, Camilla A, et al. “Relationship between Sense of Community Belonging and Self-Rated Health across Life Stages.” SSM - Population Health, U.S. National Library of Medicine, 12 Oct. 2020, www.ncbi.nlm.nih.gov/pmc/articles/PMC7585135/. “Our Epidemic of Loneliness and Isolation.” US Public Health Services, 2023, www.hhs.gov/sites/default/files/surgeongeneral-social-connection-advisory.pdf.
REVI TA L I Z I N G P OR T L A N D , O R E G O N Elinson, Zusha. “Portland Is Losing Its Residents.” The Wall Street Journal, Dow Jones & Company, 28 June 2023, www.wsj.com/articles/portland-ore-is-losing-residents-weary-of-crime-and-high-housing-prices-7b57eec3. Totten, Michael. “Portland Sobers Up.” City Journal, 14 June 2023, www.city-journal.org/article/portland-sobers-up. Wing, Sage Van. “Portland Lays out Plan for Arts Funding.” OBP, 8 Aug. 2023, www.opb.org/article/2023/08/01/ portland-lays-out-plan-for-arts-funding/.
TR A NS FO R M AT I V E POW E R O F THE AR TS/ C R E ATIV ES Bhatia, Juhie. “The US Is Facing a Loneliness ‘Epidemic’. Can Art Help Reverse the Trend?” AlJazeera, 13 Nov. 2023, www.aljazeera.com/news/2023/11/13/the-us-is-facing-a-loneliness-epidemic-can-art-help-reverse-the-trend. Gelter, Jessica. “Loneliness and Access to The Arts.” Arts Alive & Discover Monadnock, 28 Jan. 2021, monadnockartsalive.org /artblog /2020/10/7/loneliness-and-access-to-the-arts. Gislason, Dallas. “Art in the City - the Surprising Impacts of the Creative Sectors on Your City.” Medium, 23 June 2021, dallasgislason.medium.com/art-in-the-city-the-surprising-impacts-of-the-creative-sectors-on-your-city-a7e3ed6c67e9. Nobel, Jeremy. “Creativity and the Arts: A Not-so-New Way to Address Loneliness.” Milken Institute, 11 Oct. 2023, milkeninstitute.org/article/creativity-arts-loneliness.
20
THANK YOU
COMPREHENSIVE PROJECT PROPOSAL 2023 KATIE SECO R
21