Design Capstone Research: COLAB Community by Shoshana Yardley

DESIGN THESIS

LOGO HERE

A D A P T E D T E M P LAT E BY I S S U U

“ We are often told we are materialistic. It seems to me that we are not materialistic enough. We have a disrespect for materials. We use it quickly and carelessly. If we’re genuinely materialistic people, we would understand where materials come from and where they go” - George Monbiot (The Guardian)

TABLE OF

CONTENTS 07

PROJECT STORY

PERSPECTIVE

LOCATION

OBSERVE

INQUIRE

115

SUSTAIN

problem & hypothesis solution Case Study Experiment Personal Reflection Design Theory

Why Tacoma Demographics What is a Makerspace? Buzzwords Case Study Precedence Site Observations Questionnaires Surveys

Sustainable Efforts Ergonomic & Human Factor

133

FUNCTION

1 57

IDENTIFY

1 75 1 87

SKETCH

Site Location Functional Needs Program Report Tool and Eqpt. Inventory Space Layouts Branding Story Concept Visual Direction

SOURCES

SHOSHANA YARDLEY

Dunwoody College of Technology - Fall 2019

LINKEDIN @SHOSHANA-YARDLEY

CREATE - SUSTAIN - SHARE

P ROJ ECT STO RY PROBLEM Excess building materials are too often discarded to a landfill rather than utilized within the construction industry or artist community.

HYPOTHESIS By focusing on collecting both excess studio and building materials the community will be encouraged to rethink available resources and contribute to a reduction in ‘usable’ materials sent to a landfill.

GOAL Designing a sustainable community space in Tacoma, Washington that promotes the reuse of excess materials by recirculating them into a Makerspace.

O BJ ECT I V ES 1 MATERIAL COLLECTION material library

2 SPACE TO CREATE fabrication labs

3 SHARE COMMUNITY ART gallery space

DESIGN RESEARCH BOOK |

“As the ‘circular’ approach to sustainability begins to gather ground, we humans are finding ourselves within the circle, not without.” - Michiel Schwarz, A Sustainist Lexicon

CREATE - SUSTAIN - SHARE

PERSPECTIV E Case Study Household Waste

Management

Experiment

M ate r i al Sor ti ng Beh av i or

Pe rson al Re f lec ti on Material Library Waste Design Theory Interior Ecosystem

Model

DESIGN RESEARCH BOOK |

CREATE - SUSTAIN - SHARE

FACTO RS I N F LU E N C I N G E N V I RO N M E N TA L AT T I T U D ES A N D B E H AV I O RS

A U . K . case s tud y of househo ld was te m an agemen t S tewar t B ar r, U n i ve rs i ty o f Exe te r, U . K .

large focus of my project goal and objective is to better the surrounding community and lower the environmental impact of salvageable excess materials going to waste. These objectives affect multiple elements within the building and are the reason for implementing a storage and material collection area within the space. Understanding more about user behavior and attitudes around individual waste reduction and reuse as well as the effects the broader community has on these individual actions will influence if and how to implement these goals, and if they are practical within the space. This information was supported by a case study done in the U.K., A U.K. case study of household waste management, which influenced the design theory and practice goals of this project. Steward Barr’s case study on household waste management in Exeter, United Kingdom is a thorough breakdown of three waste management behaviors; reuse, recycle, and waste reduction, and they were examined through multiple experiments, self-report questionnaires, and data collection. The environmental values, situational characteristics, and psychological factors all played a large role in his prediction of waste management behavior. Environmental values are defined by the underlying orientations held by individuals towards the physical environment.

Influential situational variables: • Given personal situation concerning behavioral context (service provision) • Individual characteristics (sociodemographic) • Individual knowledge and experience of the behavior in question Jumping to Stewart’s results, “673 usable questionnaires were received, representing a response rate of 69%.” From this information, I was able to observe differences between the individual user responses and an overall understanding of behavioral and attitude influence on waste management habits. There was a significant difference between the recycling and reduction items, recycling behavior can be characterized as a definitive behavior. The study results showed a variety of levels of waste management behavior and intentions. As a whole, some were willing to undertake the activities posed on them - some willing to recycle items more than reduce consumption and vis versa. By using the self-report methodology, Stewart was able to draw a distinction between what people state they do and what they are willing to do. How can I implement this into design? People with strong environmental values, citizenship values, and awareness of the waste problem are more likely to be willing to reduce their waste.

“ T H E I M PO RTA N C E O F OT H E RS R ECYC L I N G B E H AV I O R I S A L SO L I K E LY TO B E S I G N I F I CA N T I N I N C R E AS I N G I N D I V I D UA L R ECYC L I N G R AT ES . ”

DESIGN RESEARCH BOOK |

EXPERIMENT

his experiment was to better understand the userâ&#x20AC;&#x2122;s understanding of material waste, to observe behavior while discarding the excess waste, and how the participates felt during the sorting process. It was developed to gain behavioral and psychological understanding of users and sorting waste habits to inform my design intent, need, and spaces needed.

PROCESS

The experiment was held on campus, with a variety of students from the interior design department. This is noted to show the little userâ&#x20AC;&#x2122;s basis of material knowledge and use, to help the understanding and sorting process. In the room, there was a display of materials including; broadloom carpet, carpet tile, wood veneer, engineered wood flooring, plywood, upholstery fabric, mesh and felt fabric (manufactured chair material), plastic laminate, vinyl flooring, quartz, ceramic tile, and vinyl wallcovering. On the opposite side was a row of four trash bins each labeled; Trash, Recycle, Donate for Reuse, Keep for Reuse.

Students who create or participate in personal art for business or pleasure will have a better understanding of material use and how to discard or reuse the materials.

Pick a variety of materials from the pile (1-5 items) and then to think about what the items are and how one would discard them when they are finished using them.

HYPOTHESIS QUESTIONS

Do you create/design/art outside of school projects? How do you feel? While sorting, and after? Would you be interested in learning more about material lifespan?

CREATE - SUSTAIN - SHARE

MATERIALS: - broadloom carpet - carpet tile - wood veneer - engineered wood flooring - 3/4” plywood - upholstery fabric - mesh and felt fabric (manufactured chair material) - plastic laminate - vinyl flooring - quartz - ceramic tile - and vinyl wallcovering

“UNSURE, ST R ES S F U L , . . . I H AT E TO T H ROW M AT E R I A L S AWAY ” - Lilly C., Student

MATERIALS IN THE BINS TRASH: broadloom and carpet tile, plastic laminate, engineered wood flooring, plywood, mesh and felt fabric (manufactured chair material), quartz, ceramic tile, and vinyl wall-covering RECYCLE: broadloom and carpet tile, engineered wood flooring, plywood, plastic laminate, vinyl flooring, quartz, ceramic tile, and vinyl wallcovering DONATE: broadloom and carpet tile, wood veneer, engineered wood flooring, upholstery fabric, plastic laminate, quartz, ceramic tile, and vinyl wall-covering KEEP: wood veneer, engineered wood flooring, plywood, upholstery fabric, plastic laminate, vinyl flooring, quartz, and vinyl wallcovering

REACTIONS: - Confused/unsure – keep pile for outside school projects as well - Tore/torn - Pause – waiting, unsure - Unsure - Personal save for reuse - Hoarder – keep everything - “interested in learning more about material make-up, reuse, and lifespan” - “unsure, stressful, hate to throw materials away” - “academic bank – an awesome idea!” - “[I placed it in the trash] because other people did”

DESIGN RESEARCH BOOK |

CREATE - SUSTAIN - SHARE

SELECTION

SORTING PROCESS REUSE BINS RECYCLE

DESIGN RESEARCH BOOK |

PERSONAL REFLECTION: DESIGN LIBRARY PURGE Time: Mon-Fri Oct 2019 Goals: To clean/purge and reorganize the library of all discontinued items and things no longer used.

Emily O. is the business owner and miracle worker of Organized Corp., a small team based in Denver, Colorado who helps design firms organize and manage their material libraries and new resources. I currently intern at a local architecture and design firm with a medium size interior design team and a fairly large in-house sample library. Our interiors team hired Emily to visit our office and to re-organize and purge our design library to make it a more workable space. I was able to meet, and work alongside Emily during the re-organization and was able to learn about her process, and how she works with and capitalizes on the material waste in our industry. Emily contacted our local reps with an informative email about her company, process, and our team goals. They were to schedule a time to come in, pick up items, update and condense, and meet with Emily. How does the purge/clean process go ? We set up times for reps to pick up the items, and reorganize or update the samples, books, or sets to the new allotted space provided. What wasn’t picked up or couldn’t be returned was tossed. We have a 20’ dumpster at our building that had about an eighth (1/8) full and the rest we were able to use. The dumpster was filled to the brim when we finished. We took roughly 20+ trips full of materials samples, books, binders, and other finish sample items to the dumpster. Materials included; large and small tile,

CREATE - SUSTAIN - SHARE

carpet, upholstery (fabrics), hanging books, tile and carpet books, stone, flooring materials, metals, glass, paint, wallcovering memos and binders, furniture samples, etc. Every load had discontinued or old items, both reusable or not. Some items were brand new and not picked up, others 6+ years old, some things could be salvaged, others less so. Roughly, a fourth of the items were new and current while the rest was old, broken, or discontinued for in-house design use – but still great for reclaimed project materials. It was not the greatest or ideal option to toss all the materials into the dumpster to the landfill, but unfortunately with the time constraint and available programs that is what we ended up doing. Emily mentioned that in other cities and offices, they have donated more items to art programs, schools, or other salvage organizations for reuse, re-purpose, or resell. This is a band-aid fix for a larger consumer issue, but in some way it can help the existing materials lifespan and help us understand what is re-usable vs. not. Personally, it was painful to toss all the items into the trash. For both Emily and I, each trip was hard to dump everything seeing it’s potential use as a crafter/environmentalist and a seamstress. I knew and saw the potential of the items (and salvaged some things) but just couldn’t collect all the materials in my basement or knew of programs that would take the items. I think there could have been more effort on our side to research programs or places to drop/pick up the materials. Emily, After the library purge was complete, I reached out to Emily to hear a little bit more about her business, how Organized Corp came about, and their process with material organization, new product, purging old product, and the material waste that is associated with the industry.

QUESTIONS: SHOSHANA YARDLEY: IN A FEW WORDS, WHAT ARE/WERE YOUR GOALS IN CREATING THIS PROGRAM? WHAT SPARKED THE IDEA OF YOUR BUSINESS? EMILY O.: I started my business 26 years ago when I needed a new career. There was a librarian that was working in LA that got me started. MY UNDERSTANDING IS THAT YOU SERVICE LARGE DESIGN LIBRARIES, ARE THERE ANY OTHER LIBRARY TYPES YOU WORK WITH OR HAVE WORKED ON IN THE PAST? We work with all sizes of Design and Architectural libraries from five person firms to some of the biggest in the world. We also have a separate database and niche with landscape architecture firms in the Denver market.

O RG A N I Z E D CO R P. Emily Odell | Owner

DESIGN RESEARCH BOOK |

D E N V E R , CO.

O RG A N I Z E D CO R P. M AT E R I A L L I B R A RY B US I N ES S

THINKING ABOUT THE LIBRARY PURGE/MANAGEMENT, DO YOU HAVE A ROUGH ESTIMATE OF HOW MANY DESIGN LIBRARIES YOU HAVE ORGANIZED AND/OR PURGED? I Have been doing this for 25 years so Hundreds. OUTSIDE OF DENVER, WHAT STATES OR CITIES HAVE YOU WORKED IN – REGARDING LIBRARY PURGING? We are based here in Denver, Colorado but we’ve also worked in CA, AZ, MN and Chicago. Our larger clients tend to use us in their other locations on a as needed basis. IF THERE IS ONE, WHAT WOULD THE AVERAGE RATIO OF MATERIALS WOULD BE: KEEP, DONATE, RECYCLE, DUMPSTER? This is completely library/firm specific. We have libraries that we’ve cleaned out that have architectural binders from the 1980’s but we’ve found ways to recycle and reuse. Some libraries that are newer but just have loose samples we try our hardest to get the reps to pick up. Where you run into hurdles are with manufacturers that do not have local representation (and there are a lot of these reps). These manufacturers will send materials but do not have programs or ways of taking them back. HAVE YOU WORKED WITH OTHER ORGANIZATIONS IS CO OR OTHER STATES TO DONATE MATERIALS OR OTHER OPPORTUNITIES INSTEAD OF THE DUMPSTER? IF SO, HOW OFTEN IS THIS APPLICABLE? AND IS THIS RESEARCH SOMETHING YOU WORK ON, OR A CONNECTION THE DESIGN FIRM WOULD HAVE SET UP? We are constantly researching new ways to recycle, reuse or donate and we will always take firm suggestions if they have found a group we haven’t (which usually doesn’t happen). Organized Corp tries to work with as many organizations as we can locally to donate outdated or old materials when possible. These programs are often volunteer run and tend to come and go at least in the Denver market so keeping a pulse on where and what can be donated is a constant battle. DURING A LIBRARY PURGE, HOW MANY (IF AT ALL) DUMPSTERS ARE NEEDED – ON AVERAGE? Generally we utilize the building dumpster or recycling bins when anything is needed at all. Size of firm, size of library, and last time it was overhauled all play into the amount of time or how often we do large purges. WHAT ARE THE MATERIALS YOU FIND ARE THE LARGEST AMOUNT OF THE PURGED/TRASHED SAMPLE ITEMS? ITEMS THAT COULD BE RETURNED, RECOVERED, OR REUSED BY THE FIRM OR THE MANUFACTURERS/REPS. (FABRIC, TILE, BOOKS, WOOD, PLASTICS)

CREATE - SUSTAIN - SHARE

Tile seems to be the biggest culprit at most firms and this is because it is sampled in large pieces, it’s heavy and there are A LOT of manufacturers that will ship one way but have no local presence for someone to grab the samples when they are no longer needed. For firms it is very hard to store these types of materials because again they are large in size and heavy in weight so with libraries already being limited on space it is not easy to keep very many of these around. Not to mention firms aren’t going to use the same 12x24 consecutively in projects so how long would a tile sit there before it’s needed again? HAVE YOU EVER HAD A LIBRARY CLEANING/PURGE THAT DIDN’T NEED A DUMPSTER AT ALL? ALL ITEMS WERE RETURNED, SALVAGED, DONATED? Yes we have many where we have longer periods of time to clean and return loose samples, books and boxes. ARE THERE SYSTEMS OR PRACTICES THAT YOU THINK DESIGN FIRMS OR MANUFACTURES CAN MAKE TO HELP REDUCE THE AMOUNT OF MATERIAL WASTE PRODUCED, LANDFILLED, OR NECESSARY IN OUR CURRENT INDUSTRY AND WORK PROCESS? Designers and architects alike can do a lot to help reduce the amount of materials acquired, ordered or shipped into a firm library or for projects (to a certain point). What I mean by that is, do you really need full size tiles or carpet samples in the initial conception phase or would pulling one of the sample books work just as well? Thinking about what you TRULY need before ordering it in or narrowing down from five sample options to two before asking for samples. There are always ways to visualize or consider options without having to ship in materials. We understand that once certain phases are reached in a project sometimes it because a necessity to have the actual (or full size sample) available for the contractor or for the client to be able to sign off on designs or patterns but we should consider how much and how many of samples are really needed. WHAT ARE THINGS THAT YOU HAVE DONE SUCCESSFULLY AND/OR THINGS THAT HAVEN’T BEEN AS SUCCESSFUL? I like to think we have done and continue to do a lot of successful things which is why we’ve been in business for 25 years! Each client is unique and because we cater our work to their needs their doesn’t seem to be much that goes wrong. We’ve stopped a lot of ordering errors because of research and constant follow up. We’ve also helped many designers (typically weekly) who are in project binds, lead time constraints that need VE options, and many other various time crunch or project sensitive issues. Being involved or being asked to step in to help in these situations are because of long time trust and bonds created with our clients where they know we will come through for them, whatever it takes.

O RG A N I Z E D CO R P. Emily Odell | Owner

DESIGN RESEARCH BOOK |

I N T E R I O R ECOSYST E M M O D E L I N T E R I O R D E S I G N T H EO RY

Interior Ecosystem Model design theory depicts three environment centered around humans; natural, social, and designed. Natural environment refers to the geographical location of the persons. Social environment refers to the behavior and culture in the surroundings. Designed environment refers to the built environment around the person.

S U STA I N A B I L I T Y

The sustainability of a human society is not just about its relationship with the environment; it’s a problem concerning the nature of the society and the way it is organized. •

“Sustainability is the ability to continue a defined behavior indefinitely.”

•

“Improving the quality of human life within the carrying capacity of supporting Eco-systems.”

•

“Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.”

GREEN DESIGN

Green building (green construction or sustainable buildings) refers to both a structure and the using of processes that are environmental responsible and resource-efficient throughout a buildings life-cycle: from sitting to design, construction, operation, maintenance, renovation ,and demolition. Green Design Principles • Social Responsibility - Creating comfortable, healthy, sustainable built environment’s • Environmental Stewardship (Green Design) - Reduce energy consumption, greenhouse gas emissions, water consumption, and solid waste generation. • Economic Profitability - Reduce costs and liability; increase value; and achieve more predictable results in design, construction, and continued building operations and maintenance.

CREATE - SUSTAIN - SHARE

Green Design in Interior Reduce energy use Conserve water Minimize waste Repurpose furnishings or materials Eliminate toxins and harmful particles or fibers Use natual, rapidly renewable products and materials Contribute to a sustainable environment and economy

s quia consequuntia conem viditi quid quae volenditi doluptur? Obis dolupta delique dolorem oluptati cus. Ex earum quaessum quia vere aut ea debitati dolestio berspiciis modionseque non rati te dolorem olupide rernamenimil minvel mincti inimporatur acipiene vide rem faceperum dolest alitatatis que sedisqui que pelendit et ut ium rat. Rae digeniende expe sit molesti ossequidel estrunte pari sitet essitio ruptaes ciditio. Ut exerum in pores ut inciam, nobis porepe volestrum qui que eatur aut ariorrum facculp aribeaque plamus ad mos conestrum quametur as dipient eosa vellacest, corerferitis aspisciuntem facestrum velibus, occae cullesciet aut autet estio. Laccae sita il maximodi arum volorem fuga. Nam, quae volum unt eiur alitiur? Qui des as alic tem et et a pore vella volor reprempor reperatis eaque eostia is et andamus moluptae velitin cipsum ut andant. Iscit alique remo volupta sinus re pre pere lictinci ide optatemqui ut est, omnit ari con experiatem quae nos poris dem aborrum et re aut eatis et harum quiandel inctece rferorr ovidebis nonsed eariberum ut evenditi doluptaquae nis diti consendicime comnis aut la quae nobitatqui dolupta ilit reptatum latur sundis et reperio nsecab id ullupta deni consequ iatempos dit re sint mo escitiam id moluptae volum, sapis idem rae num aut aliqui aut occaepere, nulla et eum quodi sapiet ipsaped qui blaccae pro beatum ape nonsero essi destem nonsernate quibus aut eatia ipsanitibus. Um rest, soluptae odit vel im rem rem. Neque inimi, tet quamus. Cid maximo id molorporem impor sa pernatur? Quistisim quos dolore sectem quosam, sapiditi bero volupta ipsandi tem dus doloris sam aut imolorunt quae voloreiciis ipis sint aut omnimil icitati berfere con porruptas aditat facerum hilis apicaborum anto derum qui omnis expe voluptas magnam sunt arum quosam sit lacea quam quuntius, ni undae nos alite eles sequat odio inulpa discillit quissim fuga. Icimporrum nos mos nonse cus esed et ullaut ut quia sunt earum et officiatia quo venimin umendae nimenihil es et, quuntiis as debisquatur? Nihilit re id entin con nosanih illatqu untotas sapid estecabore vendis eaquis ditinus. Accum isquisquide non poreseque dolupit autet, quidus eictorro earchil is vellaborem etus auditiosa aperia sa delit et voluptas maxim velestis mos estrum eatet et veligen issimagnam con et quaectur, a sequo et ut et occatur, aut omnim ent dolo Sae simenissed essunt quias si ressimust, offic to ipsum dolor ad mo quunt et, optas doluptaturi dollit unte eosam eum est ma consequiam et, quo erum fugiasp edigendae verovit a sequian imintiu ntinvendi to iuntest libus. Ecta quat expelis endam id maios alit andit, cusant audam, cusam cullatemque sit as rest, etur, sin restrum il et et latia dit ad ut voluptatus est parum fugit, odia nulliquo te doloria tecusam nobiti ipisime quis molupta tionser cipsam hil illitium volorat emporest in peris et latas alit liciis eos es molorae ssequissende solupta tatet, sinissu mquam, volendi genistios dolupta tescidus, venimaio omni cus acepta dolendit laborep ellabore modit mo diorrovit am sima verisitionet officide que sumque evel int oditi occus eos si volecea vent harchilit lauda qui dolo dolorem. Os sin re estorro desciam aut es denihillam, sinulparum ipsapis sum et es ape net officabor simporibus, corempe ipsum quia si nis accupta alit rest re digendebis ea ped quos ut debit ut mossin nobis eosae voluptasit provit ande rem inis velibus. Ferehendit acient. Et amendebis aut voluptatur, corepti busapiciam vendit dolupta tempor sae nis evelent ipsunt re dolo debit eum nem alique dem cum, que plic totas endandant quo berum quo volesci

natural. social. built.

DESIGN RESEARCH BOOK |

“Arts programming allows community members to not only consume

CREATE - SUSTAIN - SHARE

but create as well.”

L O CAT I O N W h y Ta c o m a ?

Ci t y Lo c ati on

Demographics

Ci t y Con tex t

W h at i s a M a ke rs p ac e ? History of Making

M a ke rs p ac e s A ro u n d th e Wo r ld W h o M a ke s U p a M a ke rs p ac e ?

Ty p e s o f M a ke r s p a c e s

Bu z z w o r d s

DESIGN RESEARCH BOOK |

markets. The city also is in close proximity to the hustling cities of Seattle, only 30 miles south and 140 miles north of Portland. Geographically, Tacoma has water and the Puget Sound to the west and the Cascade Mountains to the east. Tacoma offers an incredibly efficient public transportation system with a combination of commuter rail, light rail, buses and ferries, having the average commute time of 15 minutes. Tacoma has two common Transit route, the Link and the Sound Transit which both offer affordable and eco-friendly transportation throughout the cityfrom 15min rides around downtown to 3060min rides throughout Pierce County. The City of Tacoma is committed to providing high-quality, innovative, and transparent municipal services that enhance lives and grow businesses. The city is full of a variety of key industries that help businesses succeed from all background types: from a rich maritime legacy to a burgeoning tech and startup community.

TACO M A , WA Tacoma is all about equitable economic growth and opportunity by supporting existing businesses, enabling reinvestment and revitalization, and promoting the attraction and creation of new businesses, living wage jobs, and housing options to enhance the quality of life in the community.

With a population of more than 213,00 people, Tacoma is a city of young and diverse mix of cultures, with 41% of the population under 30. With many higher-education institutions including the University of Washington Tacoma in the heart of Downtown, Tacoma’s workers can receive an education and training at a variety of locations. The median household income of $53,553 and a home value of $288,700, Tacoma has the best of both worlds; an affordable lifestyle and an incredible quality of life. Tacoma is a large hub for international trade and supply chain as one of the closest port connections to Alaska and the Pacific Rim

CREATE - SUSTAIN - SHARE

•

Tech – Tacoma is one of the best regions in the country for tech jobs. It has demonstrated massive growth in tech and cyber security over the last few years. Affordable office space, top talent, and a lively downtown community have attached tech companies along with new and local tech startups. Tacoma’s retention rate for programmers and tech workers is significantly higher than the rest of the country.

•

Art – Art and culture are both major components of Tacoma’s economy. “According to a 2016 study, art and culture generates about $137 million in economic activity in Tacoma every year and support 3,656 jobs.” Art and culture are the heart of Tacoma’s community and economy, including the Museum of Glass, Rialto Theaters, the Tacoma Art Museum, and more.

•

Healthcare – Tacoma has a growing population with large healthcare training programs as well as University degrees in biomedical science, healthcare leadership, and nursing.

•

Banking And Insurance - The University’s Professional Development Center offers world-class training on entrepreneurship and business, and develops top talent within the banking and insurance industry.

•

Construction - “Construction is booming in Tacoma.” Tacoma has one of the fastest growing construction industries in the country. In 2017, more than 2,000 multi-family homes will break ground in downtown; big businesses are significantly expanding their office and warehouse space. New restaurants, breweries, and hotel expansions are also surging, providing significant opportunities for construction throughout the region.

•

Aerospace - The Seattle-Tacoma region “is a hotbed for aerospace innovation and is home to major aerospace companies.”

•

Maritime - Tacoma’s thriving maritime industry supports 29,000 jobs and is a major center for bulk, breakup, and automobiles. Downtown Tacoma neighborhoods feel a strong sense of

A RT I ST ’ S I N TACO M A In February 2019, Tacoma made the list for the best cities for artist’s to live and here are some reasons why. WHAT ARTISTS SHOULD KNOW: • Home to the Northwest College of Art and Design, as well as the Broadway Center for the Performing Arts, this city of just over 200,000 people has a strong commitment to the arts. • In 2016, the city launched ArtFull Tacoma, a plan designed to “help grow the city’s economy by promoting its creative builders and makers, and creating spaces for art in every neighborhood,” Rachel Cardwell. • Etsy, the online global crafts marketplace, named Tacoma an Etsy Maker City, recognizing the importance of artisans and craftspeople to the city’s economy. • The small city is full of public art projects, museums and galleries.

D OW N TOW N TACO M A ownership which has led to an almost village-like vibe amongst the people who have settled here. It’s not hard to get to know people and very easy to participate in civic and community life. Tacoma is a growing city, but the stories of the past give it character and self-reflection that is rare in other cities. Tacomans are focused and community oriented, with a strong sense of city ownership, constantly asking themselves, “Where are we going?” and “what kind of city do we want to be?” Downtown Tacoma is packed with culture, hospitality, and local businesses from bars, coffee shops, and new restaurants to theaters, museums and more. Artists come from around the world to preform in the variety of historic theaters, music venues, and museums. WHY DOWNTOWN TACOMA? When I was starting my research into districts and areas around Tacoma, I found a local (Tacoma) website that helped me narrow down and find one that will fit the right demographic and location. While talking with Marguerite; SY: Hi Marguerite! I’m working on my design thesis project and am looking to place my business/project in Tacoma. The users would include the general public, similar to the tool library and artist and maker professionals. ... M: Got it! So who is your target market? You said makers/ the general public.. SY: It is a similar target, but I’m looking to create a community within the space. Yes it would be open to the general public, but would be geared towards artists and makers as their profession. M: Like an artist’s co-working space sort of? SY: The space will have material collection, and gallery, but will mostly be a space for working. Yes exactly! M: My guess is the best options for this kind of space is probably downtown Tacoma.

M OV E TO TACO M A Marguerite | Online Chat

DESIGN RESEARCH BOOK |

“ I OW N A B U S I N ES S I N D OW N TOW N TACO M A .

I M OST LOV E T H E M A N Y OW N E R O P E R AT E D B U S I N ES S ES H E R E , THERE IS MORE OF A SENSE OF CO M M U N I T Y T H A N I H AV E FO U N D I N OT H E R C I T I ES . ” - A N G EL A

C I T Y CO N T E X T

AG E | G E N D E R

As part of my research into Tacoma and if the cities needs and opportunities would align well with this makerspace project, I started to look into the demographic and workforce specifics. I gathered most of this information and the infographics from the Tacoma 2017 social demographic report, and I was able to find a great amount of information around age, gender, elementary and higher education, and the current workforce. The numbers and graphical information that are most prevalent to this design project are employment, age, and education.

Young Adults (15-34)

2017 CITY PROFILE DATA: AGE & GENDER Median Age: 35.9 • Youth (0-14) - 18% • Youth (15-34) - 30% • Youth (35-64) - 38% • Senior (65+) - 12%

Experienced Working Age (35-64)

Seniors (65+)

SC H OO L CAT EGO RY

HIGHER EDUCATION • Science and Engineering - 28K • Arts & Humanities - 21.1K • Business - 12.6K • Education - 9.7K INDUSTRY OCCUPATION • Management, Business, Science, and Arts • Sales and Office • Service • Production, Transportation, and Material Moving • Natural Resources, Construction, and Maintenance Employment Profile • 54.3% Experienced Workers • 41.49% Young Adults • 4.12% Seniors

Youth (0-14)

CREATE - SUSTAIN - SHARE

E M P LOY M E N T

A R E A O F ST U DY | AG E

A RO U N D TOW N To better understand the surrounding consumer habits in Tacoma, I dove into user needs, behaviors, and activities. This included education, art and culture, material collection sites, and reuse store locations in close proximity to the downtown area. A goal of the location and demographic needs is the openness to environmentally conscious consumerism and material goods. The map pictured references the greater Tacoma area with a variety of locations highlighted by color. Each color represents a different type of building and/or business. This study and exploration of Tacomaâ&#x20AC;&#x2122;s material use and recycling opportunities helped my understanding of the cities relationship with reuse, the current market, and which area of Tacoma will best facilitate cross-collaboration with other businesses. Included in the visual, Tacoma has a large variety of material reuse and second hand stores, showing that the opportunities for Ecobusinesses are thriving, as well as the variety of art and cultural areas that will support the makers and artists that will be using this space.

BUSINESS

MANUFACTURING SITE

RECYCLE CENTER OR SITE ARCHITECTURE & DESIGN FIRMS

SECOND HAND

MATERIALS AND SUPPLIES

CLOTHES AND OTHER GOODS

CULTURE

ART, GALLERIES, & MUSEUMS

DESIGN RESEARCH BOOK |

A L I T T L E H I STO RY O F M A K I N G One way to define making, and the current maker movement is by knowledge and access. Knowledge includes the tools, invention, and new information gained and access refers to the avenues that we can gain knowledge from and share it with. “The more knowledge we gain, the more innovation we see, but the more access we see the faster that knowledge spreads.” Historically, the practice of making was when ideas, knowledge, and technological growth were shared through conversations, written text, and mentor ship - from prehistoric times when language was developed and we began to have written knowledge to the classical times of ancient Roman architecture and engineering to the Medieval eras when libraries were the “makerspace,” where anyone could go to have access to knowledge and ideas from around the world. With the rapid growth and human development during the Industrial Revolution, a new phase of knowledge and access began. Production and new technology development were able to spread quickly with new communication and transportation including; chemical manufacturing, iron production, improved efficiency in assembly line production, inventions of machine tools, and the rise in factory systems. In the 20th century, the rise of the Internet, knowledge sharing skyrocketed and people all over the world, at home and in business could access unprecedented quantities of knowledge through multiple communications; media, commerce, entertainment. This ability to share information and the access to new techonology is the foundation to the maker movement we know today, and the makersapces that have formed on these principals, the essence of makerspaces is access to knowledge.

M A K E RS PAC ES A RO U N D T H E WO R L D In more recent years, the maker movement has grown worldwide and approximately 75% of makerspaces worldwide are between North America and Europe. The advancement of technology and rapid innovation in these areas allow for adequate funding and opportunities for makerspaces and maker to thrive. Across the globe, makerspace have similar space programming and goals that help facilitate making. These include but are not limited to; collaboration, workspace, innovation, fabrication, retail, and distribution.

MAKERSPACES GLOBAL TRENDS

CREATE - SUSTAIN - SHARE

MAKING IN THE UNITED STATES

DESIGN RESEARCH BOOK |

WHAT MAKES A MAKERSPACE? A local maker, John McPearson wrote me an insightful metaphor about maker-spaces, and how they develop and improve, â&#x20AC;&#x153;these types of spaces are maybe best compared to moss, the spaces tend to form around an area where some people with common interests are pooling resources to develop a site that works for them.â&#x20AC;? This metaphor is insightful because through my research, interviews, observations, and precedence studies three driving points have continued to stand out as important foundations to a makerspace; tools, education, community. A makerspace is...

A makerspace is grounded in making, it includes tools and equipment that allow people to make. Some makerspaces have specific specialized crafts and then curate those tools needed. Others are created to facilitate diverse opportunities for all makers to make anything and therefore provide a variety of tools and equipment. ..... is a place of education. A core element of a makerspace is access to knowledge, both formal and informal. This is provided in both organized classes and training - safety protocols and learning new skills. Informal education happens more organically when members share their knowledge and ideas with each other, being a source of ideas, inspiration, and activity allows all members both seasoned and new to foster creativity and learning. ..... is a place of community. There is a lot of research done on the types of communities that creative spaces foster, but most makerspaces embody one or more of the three types of communities ; neighborhood, innovation, and corporate. A neighborhood community is outwardly focused, they are looking to empower the wider local community through education and are typically non-profit. Innovation makerspaces are more inwardly focused and emphasize communication between members to help build internal innovation - these are most similar to co-working spaces. Lastly, Corporate makerspace communities are outwardly focused on supporting makers who directly support the corporation. The purpose is to create innovative products, mostly for-profit situations.

WHO MAKES UP A MAKERSPACE? Who makes up a makespace, Makers. Makers are individuals who make, create, innovate, design, learn, share, develop, iterate, and build. Often makers have educational background and/or training, but not always. Makers are most often between the ages of 16-24 or 46-59, but all ages are welcome. A maker is a ....

CREATE - SUSTAIN - SHARE

DESIGN RESEARCH BOOK |

BUZZWORDS Every type of Makerspace has it’s own name, it’s own community, and it’s own jargon. To best understand the differences in spaces, tools, and communities, I’ve included a few of the more common names of maker/creative spaces ... Broadly, “makerspaces are places where people can design and invent among a community of other makers and that emphasize 21st century skills, including creative and critical thinking, collaboration, and communication; these spaces offer interdisciplinary, participatory, and peer-supported learning environments.

CREATE - SUSTAIN - SHARE

FA B L A B Short for “fabrication lab,” fablab is a generic term. Even though the “fab” refers to digital fabrication, the activities in fablabs aren’t restricted to 3D printing and laser cutting. They run the gamut of physical and digital construction, using tools, crafts, and modern technology. The term originates from the Fab Foundation led by Neil Gershenfeld and Sherry Lassiter of the MIT Center for Bits and Atoms. Neil Gershenfeld is the author of the 2005 book “Fab: The Coming Revolution on Your Desktop–from Personal Computers to Personal Fabrication” that predicted much of the impact that personal fabrication tools would have on the world. All Fab Labs have a common charter and specific requirements for space and tools including digital fabrication tools, milling machines, cutters, CNC machines, etc. Every Fab Lab is required to have free and open access to the public and participate in the network.

TECH SHOP OR LAB Techshop is a chain of for-profit makerspaces that was started in 2006 in CA. They bill themselves as part prototyping and fabrication studio and part learning center. Tech shops and labs that are inspired by the original Techshop are generally stocked with similar types of maker equipment like 3D printers, laser cutters, CNC machines, hand tools etc. Each have their own specific rules and charters to follow.

E D U C AT I O N M A K E R S PAC E A makerspace is a collaborative work space inside a school, library or separate public/private facility for making, learning, exploring and sharing that uses high tech to no tech tools. A makerspace doesn’t need to include machines, if you have cardboard, legos and art supplies you’re in business. It’s more of the maker mindset of creating something out of nothing and exploring your own interests thats at the core of a makerspace. These spaces are helping to prepare those who need the critical 21st century skills in the fields of science, technology, engineering and math (STEM). They provide hands on learning, help with critical thinking skills and even boost self-confidence. Some of the skills that are learned in a makerspace pertain to electronics, 3d printing, 3D modeling, coding, robotics and even woodworking,

H AC KE RS PAC E “Hacking” is both the action and belief that systems should be open to all people to change and redistribute for the greater good and often done for fun and amazement. The concept of a hackerspace started as places in the community where a group of computer programmers could collectively meet, work, and share infrastructure. These are spaces largely associated with adult, computationally focused making that emphasize forms of making utilizing digital technologies, similar to fab labs. DESIGN RESEARCH BOOK |

“A makerspace is a physical location where people gather to share resources and knowledge, work on projects, network, and build.”

CREATE - SUSTAIN - SHARE

OBSERV E Case Study

Bu l l i t t C e n t e r

Precedence

TXRX Labs Prototype PGH

Site Observations

Creators Space Tw i n Ci ti e s M a ke rs M i n n e a p o l i s To o l L i b r a r y SOO Visual Ar ts Center

DESIGN RESEARCH BOOK |

BULLITT CENTER CAS E ST U DY:

The Bullitt Center in Seattle, Washington is a prime example of a “deep green building”. A deep green building is one that are resilient and are a large component of resilient cities, they encompass the ideas of evolving, healthy, living ecosystems. To quote Denis Hayes, “Tomorrow’s cities will consist of “living buildings” inside vibrant, resilient neighborhoods all connected by superefficient transportation links.” Living buildings represent efforts to learn from nature on how to exist in a specific environment, both comfortably and productively, making the least possible demand on resources. To think about living without the negative consequences of our current actions with health, comfort, and satisfaction, and to re-think our approach to design and our limited resources. The green building movement has made progress around the world in recent years, but we are still far from where we should be with our current economic and environmental state. “If we had 100 years to figure out the climate crisis, species extinction, or the buildup of toxic chemicals, the need would be less urgent. But we do not have 100 years, or even 20 years” Hayes states when speaking about the urgency for “deep green buildings”. The Bullitt Center building is trying to accelerate the pace of change by setting an example of what is possible and the technology and construction processes that are out there. The building only used off-the-shelf products (in 2011-2013). Bullitt Center to achieve the goals of the Living Building Challenge (version 2.0), as described by the International Living Building Institute.

The Living Building structure certification requires the building to produce as much energy as it uses in a year, to capture and treat rainwater for all its needs for at least 12 continuous months and to meet rigorous standards for “Red List” compliant materials and for the quality of its indoor environment. The Living Building Challenge requires a project to meet 20 specific imperatives within seven performance areas (or “Petals”). For the Bullitt Center, meeting the imperatives included the following: • • • • •

• •

Site: The location supports a pedestrian-, bicycle-, and transitfriendly lifestyle. Water: Rainwater is collected on the roof, stored in an underground cistern and used throughout the building (once approved by the regulatory authorities). Energy: A solar array generates as much electricity as the building uses. Health: The building promotes health for its occupants, with inviting stairways, operable windows and features to promote walking and resource sharing. Materials: The building does not contain “Red List” hazardous materials, including PVC, cadmium, lead, mercury and hormone-mimicking substances, all of which are commonly found in building components. Equity: All workstations are within 30 feet of large operable windows, offering workers access to fresh air and natural daylight. Beauty: Stunning architecture, an innovative photo-voltaic array, a green roof and other native plantings, large structural timbers and a revitalized pocket park help beautify the surrounding neighborhood. “AN ECODISTRICT IS SUSTAINABILITY APPLIED AT THE NEIGHBORHOOD SCALE.”

Location: The Bullitt Center is located within the Capitol Hill EcoDistrict. The EcoDistricts provide a framework for realizing advanced sustainability through behavior change, building design, and infrastructure investments.”

“IN ADDITION TO AN ENERGY EFFICIENT DESIGN, THE BULLITT CENTER RELIES ON TENANT BEHAVIOR TO MEET THE GOALS OF NET ZERO ENERGY AND WATER.“ BUILDING FEATURES

How can I implement this into design? Learning from the Bullitt Center’s Sustainable Design, I plan to implement multiple sustainable strategies inspired by and similar to this building into my project as it relates to interiors, human comfort, and energy. This includes; interior materials and furniture materials, windows and shades, bicycle storage, regenerative elevator and an irresistible stair(s) Items that would be added if architecture and HVAC were included would be heating, gray water systems, heat recovery ventilation, etc.

DESIGN RESEARCH BOOK |

CO N T.

BULLIT CENTER

COMPOSTING TOILET SYSTEM 92% less water than an average commercial building in Seattle, due mostly to the world’s only six-story composting toilet system. Aerobic digestion converts solid waste to compost in the building’s basement. The compost is sent to a local supplier, where it is composted a second time before it is sold as GroCo, a natural soil conditioner. FSC-CERTIFIED HEAVY TIMBER FRAME GREYWATER FILTRATION The Bullitt Center is filtering and infiltrating grey water back into the ground to recharge the aquifer and reconnect the hydrological cycle on the site. Sinks, showers and dishwashers drain into a tank and the grey water is then pumped to a constructed wetland for filtration the way nature has been doing it since time immemorial. INTEGRATED WINDOWS AND BLINDS The Bullitt Center uses automated systems for windows and exterior blinds that respond to conditions inside and outside the building. The exterior blinds minimize heat gain and reduce glare on workstations. IRRESISTIBLE STAIRWAY To encourage physical activity and reduce energy use, the Bullitt Center includes a prominent exterior stairway with sweeping views of Seattle. The building is fully compliant with the Americans with Disabilities Act, with an elevator easily accessible just beyond the stairway. METERED ENERGY EFFICIENCY PHTHALATE-FREE AIR BARRIER RADIANT HEATING AND COOLING To heat and cool the building, the Bullitt Center uses an in-floor radiant system. During the cold winter months, a glycol-water blend is pumped 400 feet into the ground in a closed geothermal loop that returns the fluid to the building at a constant 53 degrees F. Super-efficient heat pumps then extract heat from that fluid to boost a closed internal loop to 90 degrees F for circulation through pipes embedded in the building’s concrete floor coverings. RAINWATER FILTRATION SYSTEM When rain hits the solar panels on the Bullitt Center, it drips down onto the roof and is directed into downspouts to a 56,000-gallon cistern in the basement. From there, the rainwater is “ultra-filtered” through a series of ceramic filters and ultraviolet light before a touch of chlorine is added. Water is passed through activated charcoal to remove the chlorine before use. SOLAR ARRAY On the roof of the Bullitt Center is a solar array with 575 panels that generate approximately 240,000 kilowatt hours per year. TOXIC-FREE MATERIALS During product selection, the Bullitt Center team worked to screen out 362 known hazardous chemicals from more than 1,000 individual products used to construct the building. Called the materials “red list,” the chemicals are common in building materials even though they are known to harm human and environmental health. WALKABLE NEIGHBORHOOD To promote car-free living, the Bullitt Center is located in a walkable neighborhood with good access to transit and bicycle infrastructure. With a WalkScore of 99 out of 100, parking for 30 bicycles onsite (but no parking for automobiles), and showers on every floor, the Bullitt Center is located and designed to demonstrate that living car-free is possible and convenient. 38

CREATE - SUSTAIN - SHARE

D EEP GR E E N B U I LDIN G S ARE A N EC ES S A RY CO M PO NENT O F RESI L I ENT CI TIES.

DESIGN RESEARCH BOOK |

T X RX L A BS , T X P R EC E D E N T:

TXRX Labs Houston Texas is a Non-Profit Makerspace. Their mission statement summarizes their purpose and the community that their members have created, “We like a challenge. We seek out opportunities to learn, create, and innovate, and we encourage this in others. Our diverse network of creators, artists, and inventors coupled with tools and knowledge enable dreams to become reality. We teach people of all ages and backgrounds the skills they need to build a future full of novelty and inspiration.” • Makerspace: Diverse classes and equipment access to make your project dreams a reality. • Innovation: Support for startups and legacy manufacturers to grow and scale your ideas. Education: After school programs and professional development you can’t get anywhere else. TXRX offers education, workshops, and classes from machining to ceramics, Craft + Wine Night, and private events accessible to everyone. A few of the offerings include; Arts & Crafts, Automotive, Ceramics, CNC Machining, Drafting & Design, Electronics, Fabrication, Metal Working, Photography/ Video, Programming, Sewing, Welding, Woodworking, and Young Makers. There are spaces that a member could rent; Table spaces and full studios are available to rent at the lab for all project types and needs.

CLASS/WORKSHOP EXAMPLES: • • •

CNC Router + CAM CNC Plasma Cutting Laser Cutting I

• •

Woodworking I: Woodshop tools Woodworking II: Box Build

• • • • • •

Welding I: Stick Welding II: Welding Shop Essentials Welding I: TIG Welding I: MIG MIG Welding I: Sculpture Brazing I: Oxy/Acetylene 101: Heating, Cutting, Brazing

• • •

Airbrushing and Powder coating Basic Machine Shop Technology – Metal Lathe 3D Printing I

• •

Ceramics II: Intro to Clay Ceramics Glazing Workshop

•

Kombucha & Ginger Beer

WELDING: TIG welding is more flexible in terms of materials, precision, and position. Learn the complex technique of manipulating the TIG torch with one hand while adding filler rod with the other. MIG welding (GMAW) is one of the easiest and versatile welding processes, perfect for working with materials up to ⅜” when producing sculptures, furniture, mechanical assemblies, etc.

“30,000 SQFT OF LAB, SHOP AND MAKE-SPACE“

CO MPUTE R CLA SSROOM Computers Professional Photo & 17” Color Inkjet Printer Duplex Copier/ Scanner 24” Large Format Color Printer High Capacity & HP Color Laser Printer

E L ECTRO NI CS LAB Exposure Unit 2 HMz Function Generator DC Power Supply High Voltage Calibrated DC Power Source PCB Plating Line 100 MHz Oscilloscope Spectrum Analyzer Three Phase Power Analyzer PCB Shear Black & White Laser Printer 60 MHz Oscilloscope Synthesizer / Function Generator 13” Laminator PCB Spray Etcher

R A PI D FAB R I CATI ON 4x5 CO2 Laser Cutter Strip Heater Dual Extruder FDM 3D Printer FDM Delta 3D Printer 2x4 Laser Cutter 16 1/2” Variable Speed Drill Press SLA 3D Printer FDM Prusa 3D Printer FDM 3D Printer SLS 3D Printer

WOO D SHO P

4x8 Router Table Panel Saw 12” Miter Saw 8” Jointer Oscillating Spindle Sander 10” Wood Lathe Mortising Machine Scroll Saw 10” Table Saw 2 Speed Wood Band saw 15” Drill Press Router Table 24” Planer 12_ Wood Lathe Pneumatic Braid Nailer & Stapler Station Resaw Band saw

F I N I SHI N G LA B Powder Coating Oven Aluminum Oxide Blasting Cabinet Vacuum Kiln Flammable Storage Cabinet Aluminum Anodizing Vessels Kiln (2) Vacuum Forming Machine Glass Bead Blasting Cabinet Paint Booth

METAL SHOP Sinker EDM Machine Surface Grinder CNC Vertical Mill Vertical Mill 12.5” Metal Lathe Powerhawk VMC CNC Lathe 16” Metal Lathe 15” Metal Lathe

METAL FAB 5x12 CNC Plasma Table Plasma Cutter MIG Welder 6” Bench Grinder TIG Welder with Chiller 7” Pedestal Grinder Horizontal Metal Band Saw MIG Welder (x3) TIG Welder Pedestal Band Roller 3 Speed Belt Grinder 14” Dry-Cut Saw 14” Abrasive Cut-Off Saw 8” Bench Grinder Pipe & Tubing Bender Tool Grinder For High Speed Steel

SHEET METAL FAB Vertical Band Saw 20” Variable Speed Metal Drill Press Shrinker & Stretcher Hydraulic Shop Press 8’ Hydraulic Shear 50” Slip Roll Planishing Hammer Ironworker

JEW LERY Hand Tools and Shear Rolling Mill Acetylene Torch

ART LAB

Sewing Machine (x10) Industrial Sewing Machine Screen Printing Station Etching Press 12" Vinyl Cutter

CERAMICS STU D I O Pottery Wheel Slab Roller Electric Kiln

WATERJET CLOS E T DESIGN RESEARCH BOOK |

P ROTOT Y P E PG H P R EC E D E N T:

Prototype is a creative space for feminist makers. Founders Erin Oldnyski and E. Louis Larson both have a background in makerspaces but saw a need in the market for a space for women and feminists of all gender identities to work in a welcoming and opening environment. The new maker space, “opens accessibility up even further - welding the maker movement with inter-sectional feminism that includes non-binary people, trans women, and women from all races, religious backgrounds, and sexual orientation.”

These ideals are the backbone of Prototype and the forefront of its success. The rather simple space has had great success from classes and workshops, to community crafting, business pursuits and more. Prototype started with support from local and national opportunities and now offers membership at a low price so all income levels can join. The website offers a $25 introductory rate, for 10 hours of access a week for 6 months. They plan to add pay-what-you-can, scholarships, and payment plans in the future.

Makerspaces evolved from hackerspaces, community spaces where technology was altered or “hacked” to perform alternative tasks in the ’90s. Eventually, the spaces were broadened to include making of any sort... Hackerspaces originated as male-dominated technological centers, and makerspaces followed suit, particularly when the making involved STEM projects — a field where female participation is already low. Larson felt similarly with feminism and makerspaces, “Makerspaces [are] still something that’s like hedging into everyday vernacular, and that’s kind of true with feminism as well, especially inter-sectional feminism.”

460 Melwood Ave Co-working and select equipment use: • BoXZY desktop mill, 3D printer and laser engraver • PrintrBot Play (PLA setup) • CNC vinyl cutter • Soldering irons, Arduino boards • Hands tools (screwdrivers, hammers, etc) • Screen printing equipment • Hat press and t-shirt heat press

Larson and Oldnyski set out to create a maker space that will show women that traditionally female crafts, like sewing, can be technical and precise, and that women can pursue hobbies that are often seen as too technical or masculine. As Larson noted, “A really intimidating part of any maker or craft community is just sort of finding an entry point into the conversation and knowing you’re allowed to be there.”

LOCATIONS & EQUIPMENT

7800 Susquehanna Street The second location in partnership with PittsMAc: • Rabbit industrial laser cutter (80 watts) • CNC wood router • Soldering iron and circuit tester • Sewing machines • Multiple 3D printers (Orion, TAZ 6, BoXZY) • Band saw, miter saw and drill press • and More... • • • • • • •

Training tables for workshops and classes Large work-surfaces for multi-purpose use and for gathering when learning and group making Flexible and movable furniture for change and event use Tool and supply storage, Material storage Small kitchenette for member use Staff/Volunteer desk and business work Tack-able/writable wall surfaces for art display, publicity, events, instruction, safety instruction, etc.

“WE’RE PROTOTYPING THE KIND OF WORLD THAT WE WANT TO LIVE IN.”

DESIGN RESEARCH BOOK |

S I T E O BS E RVAT I O N

reators Space in Saint Paul, MN is a local creativity center and coffee providing Artists, Entrepreneurs, and Philosophers the space and tools to create. “We are igniting a creators movement, THINK. EXPLORE. CREATE.” The belief in the power of creativity, the potential of the individual, and the importance of bringing together a collaborative community to ignite positive impact. I was connected with a past Dunwoody student, Renee, who is currently working at Creator pace as an artist, graphic designer, and membership manager. Renee was open to sit down and chat about her experience as an artist, member, and staff within this growing community. Renee and I met at Creators Space during the St. Paul Art Crawl, the member studio were open to the public and the artists were working and sharing their art and story. I arrived a little early to observe the coffee house as a new visitor and right off the bat a few things stood out to me. Creators Space is a casual, fun, vibrant, environment with welcoming vibes.

CREATE - SUSTAIN - SHARE

My chat with Renee about her involvement in the space, the owners goal and initiative with the renovation, community collaboration, and artist-in-residence / fellowship programs lead to a tour where I was able to see and learn about the space planning, requirements, and use from Renee and her knowledge of the users and needs. Currently, the space is 34,000 sqft. and could use more space. Membership is at 85, but the goal is 300. The list below is a collection of notes that will help inform the spacial requirement, amenity needs, and studios within the new COLAB space. MATERIALS: • Some basic items are sold here, would be Good to sell art supplies • Storage and lockers – own lock, no charge

SUSTAINABLE EFFORTS: • Building renovation, pull back to the core and open up space • Open up windows, improve energy and ventilation / HVAC • Scrap wood from construction site, use for art • Artist = self/reuse not the operational • Historic space: not easy adjustable • Electrical, Daylighting, Noise, Water PHOTO STUDIO: • 6 backdrops, lighting, sound system • Dimmable large ceiling lights • Props all available for while using • Video, interviews, product shoots; 8+ people • Change: WAY MORE STORAGE, seating area, sounds proof, x windows, more plugs • Multi-use space: Figure drawing class in the photo room

SA I N T PA U L , M N

C R E ATO RS S PAC E 3 4 , 0 0 0 SQ F T

CULINARY ARTISTS: • Coffee house • Catering business • Ticket dinners • Could be larger RETAIL SHOP: • Sell artwork from members • Put together, could be more organized • Large tables, racks, shelving on walls GALLERY: • Open space; use/sell • Work, curated – group/solo shows • High ceilings with lights, sounds, video eqp. • Projector, hook up to sound system MOVEMENT SPACE: • Professional grade spring floor • Personal training, yoga, dance • Dimmable lights, projectors (video demo) • Pillars not constructive for dance or movement LOUNGE: • Open common area – open to public, lounge area with workspace tables, small chat, lounge • Tack able area for display art and events • Lots of laptop work in café • Students, artists, work CO-WORKING SPACE: • Seating, outlets, flexible, meet • White-boards, projector • Class, meeting, client, workspace, “office” • Member computers – own laptops • Use printers (print services would be great) • Photography and Prints • Event flyer’s and marketing • 2-3 members currently use regularly COLLABORATE ART STUDIO: • Easy, arts craft, lockers – personal small storage, cubbies for large art work storage • Lacking storage – both indiv. and communal • Seating and furn (minimal) • Wall stacking, • Access to water

GARAGE: • Loading and finishing • Spray paint, large items • ELEVATOR VERY IMPORTANT POTTERY STUDIO AND CLASSROOM: • 10 + 6 Wheel throwing class • Dry work Hand throw tables • Tools: storage is great • 3 racks, Lockers, Cabinet • Common glazes are kept for use • Kilns (2) 8 PRIVATE STUDIOS: • Display art all along corridor walls • Probably, standard 8-10 or 10-12’ space • All have sink and connection to water • Plug in Outlets on 3 walls • Great ventilation • Can fit 2 desks in one space MUSIC AND PERFORMANCE: • Private rooms • Stage lighting - is huge here • Sounds – small stage • Accessible stage SANCTUARY – DOWNSTAIRS • Tech free zone • Healing arts, energy healing and reading • Rent rooms • Yoga studio • Meditation area and practice SALT CAVE: • Rent hours • Pump salt into unfinished room • Unfinished on purpose, so the salt will build up and create more of a cave

DESIGN RESEARCH BOOK |

34,000 S Q F T O F P O S S I B I L I T Y

CREATE - SUSTAIN - SHARE

CO FFE E H O US E T H E CO M M O N S C R E ATO RS S PAC E G AL LERY N O RT H E R N L IG H TS STUD I O T H E LAB S H U TT E R- BOX STU D IO ART IST RY ALCOV E T H E FLOW STU D IO C LAY C H AM BE R T H E M U D ROO M T H E ST U DY T H E BO IL E R ROO M S ALT CAV E R N E ART H ROO M M E D ITAT IO N LO U N G E H E AL IN G ARTS ST U D IOS

DESIGN RESEARCH BOOK |

S I T E O BS E RVAT I O N 48

win Cities Maker is a non-profit, volunteer-driven community of artists, engineers, and makers. A place where people are able to help individuals looking to pursue creative goals by providing space, tools, and training to bring your creative vision to life.

the space and planning, and see what ancillary and amenities they offer. I was able to talk with a few other staff members to learn more about their involvement at TCM, and things to know about how a makerspace functions, and the importance of the community.

Based in Minneapolis, the shared community workshop includes; • A machine shop for producing high-precision mechanical parts out of steel, aluminum, or brass. • A large metalworking shop, for cutting, bending, forging, and welding • A woodworking shop with almost any kind of power tool you could ever need. • A high-end laser cutter, capable of cutting and engraving a wide range of materials.

Notes from discussion and tour with John: Visit: Wed Oct 2019 7-930pm

As an observation and site visit, I attended a tour of Twin Cities Makers Hack Factory on a Wednesday night. From this visit I was hoping to observe members during their work process, experience

Poll on how membership price, what people pay to commit but not break the bank. Cost = respect for tools, $150.

CREATE - SUSTAIN - SHARE

Goals: To visit Maker Space/Hacker Factory, tour if available, observe storage and users. Tour with John, Chatted with Michael, co-founder, Chatted Artillery manager... Great chat about what the space is, how began, and good and bad elements. Check out Texas Houston Maker space – most successful, one to base ours off of.

M I N N E A PO L I S , M N

T W I N C I T I ES M A K E RS M A K E RS PAC E

SPACES IN THE SPACE: • • • • • • •

Hackfacotry: Metal Shop Room for air vents for finishing (clean air) vacuum Office room / classroom for learning space, teaching, movie night, events Storage units – 6 racks – large personal storage area, relatively organized and have rules etc. 3d maker space – soft skills Woodworking with tools Woodworking with tables and hand tools (wood shop)

• • • • •

Long tall storage for 8’ pieces And test scrap bins are for taking Long back wall with tools, tons of storage units Better air and vent circulation Lighting is okay, could be better

• • • • • •

Cleaning area with mops Drill station with 5’ well 7 tables for working Sanding machines (2) Joinery Hard flooring

Artifactory: • 2 soft tables • Two sewing stations • 1 large table with storage for fabrics • Irons (3) and ironing board – yarn spools, lots of storage • Peg walls – 2/4 walls • Large boards needed • Sink – needed, maybe two “Accessible space” - ___ in the people • Darker – with minimal light, • Improvements of space: Tool vs. Workspace Lean flow

DESIGN RESEARCH BOOK |

CREATE - SUSTAIN - SHARE

TECH LAB • • • • • •

Small sitting area with tv and sofa / lounge Hackerspace area, tv .. Computer lab – 3D LAB 6 computers 3 3d printers in small room (all different) Games for game night and events/fun

W ELDING •

With complete set, tons of space, 2 curtain grouping (at least) Haphazard tools and storage units, just things that form Hard flooring Metal piece rack – holding horizontally

• • •

WOODWORKING • • • • • • • •

3’-5’ AROUND THE MACHINERY – LOOKS LIKE IT TONS OF AIR VENTS ELECTRICAL ALONG WALLS 9 TOOLS / MACHINES CHAIRS? FLOOR IDENTIFICATION FOR SPACE COLLECTION OF WOOD ALONG SURFACES/ WALLS WOOD/PLY STORAGE WITH “PERMITS” - 30 DAYS LIMIT DUST BINS EVERYWHERE

•

LOADING •

Docking area with open garage pull up

STORAGE • • • • • • • • •

Cubbies with bins for personal storage Wheels for moving items Hanging storage for large items (kayak) Ladders – everywhere Tall vertical space for large pieces Long tall storage for 8’ pieces And test scrap bins are for taking (see plan/sketch) Long back wall with tools, tons of storage units

DESIGN RESEARCH BOOK |

S I T E O BS E RVAT I O N

he Minnesota Tool Library (MTL) offers the community access over ownership. This means the library and community users don’t need to own costly tools for a onetime use, but instead allows consistent, low-cost access to the tools needed, when they are needed. A goal is to expand the library collective skill set, help each other to learn which tools to use for more meaningful projects, and reconnect with the community while creating. MTL’s mission is to cultivate a more resilient and equitable community and reduce waste by empowering residents with access to tools, training, and workspaces. The library runs on shared values; Trustworthiness, Inclusivity, Accountability, Integrity, Transparency, and Community Building. The Minnesota Tool Library envisions a vibrant and resilient city where: • We reduce waste and unnecessary consumption of resources;

CREATE - SUSTAIN - SHARE

• •

• • •

Community members are more connected and reliant on each other; Resources and knowledge are shared equitably so that people have access to what they need through a robust city-wide sharing economy; Community members have inspirational spaces to collaborate on creative projects; Everyone is empowered to use tools and improve the quality of their homes; and Individuals and the larger community can withstand environmental and economic challenges.

I reached out to the MTL for a informal tour of their space and to learn more about how they participate in the community. Thomas Ebert, the CO-Founder and Branch Manager eagerly got back to me and was happy to meet and show me around. Thomas has a background in waste reduction, community development, and tool libraries. Thomas hopes that “MTL can serve as a catalyst to further connect the many communities

M I N N E A PO L I S , M N

TOO L L I B R A RY L I B R A RY

within the NE Minneapolis community... and become a “sharing hub” for many different materials and/or services, allowing us to view nearly all that we do through a lens of cooperative support.” HOW DOES THE TOOL LIBRARY WORK? The Minnesota Tool Library makes available a large inventory of tools that members can check out for up to one (1) week. In order to become a member, one must: 1. Pay the annual fee. 2. Sign a liability waiver. 4. Review and agree to our tool safety protocol. Notes from discussion with Thomas: Visit: Thursday Oct 2019 6-7pm Goals: To visit Tool Library, tour if available, observe storage and users. •

1,200 members, good 30% renewal rate - Would like a better new membership rate

• • • • •

Music, acoustics, string lights for events Community event/social space 2-3 events a season, would like to do more Provide community, functional/ educational Social events anniversary party, Art world

• •

Reduce cost! Space to use tool and machines

• •

High ceilings Separation of space, mostly to do work, not shop and work Work space near machines, and tool storage Shelving racks/units, High shelves for long tools Metal shelves are not as good, vs. Wood! Rental Shop, Donation Desk Back Storage Office - Admin work area

• • • • • •

M I N N E A PO L I S TO O L L I B R A RY N E LOCAT I O N

Thomas Ebert | Co-Founder and Branch Manager

DESIGN RESEARCH BOOK |

VERY COMMUNAL, "WE HELP EACH OTHER OUT"

CREATE - SUSTAIN - SHARE

RETURNS • Challenge - Front desk has two tasks; check in, returns, drop off, donations storage, and person (2), volunteers can also access desk • Small tools and bits for purchase and merchandise, calendar and marketing area • Need lower level for drop off place to lay items (not at working height) • Both need computer access • Carts needed. • Check out and check in separate!

FOR SALE • 6pm – 3-5 people, two staff (later learned 4 staff) three volunteers, who work on projects, two members, two staff • 2 drop in for returns

TOOL CAV E • • • • • • • • • • • • • • •

Wall racks for units and additional parts Few metal racks for drills and hand tools Hanging on shelves for tools Wall racks for garden equipment and tools (rakes, shovels, barrels) Metal bracket wall/shelves, full bins everywhere Concrete flooring – all hard surfaces Okay lighting, worked but could be better and more direct areas, No windows Air quality could be better, very dusty, not dirty Noise was loud! 1 utility sink, small in corner Volunteers work on projects, help with maintenance, and cleaning, storage and instruction Sometimes 5-6 people working at one time Mostly stool seating (4) 2 worktables for woodworking and other projects Tools along wall, machines along walls

DONATIONS • DONATION STORAGE AND COLLECTION, HOW TO KEEP ITEMS/WHERE • WHAT TO SELL VS KEEP • SORTING AND TESTING AREA BEFORE LOG AND STORE • WHAT ISN’T KEPT DONATED TO OTHER ORGS, SOLD, ETC.

KIDS CORNER DESIGN RESEARCH BOOK |

S I T E O BS E RVAT I O N

o better understand space requirements, amenities, staffing, and visitors, I went to a small local art gallery, SOO Visual Art Center in Minneapolis. They are open a few nights a week and over the weekend. I took public transportation and was pleasantly surprised by how easy it was to find the gallery, even though it was not on the main road or found from street view. There was lots of parking, which is great for a low-transit city and helps inform how the majority of visitors get there. The gallery was open from 6 pm to 9 pm, and I arrived at 6:30 and I was the only visitor with two staff members. A few additional folks came in but were redirected to an event in another building. The gallery space was relatively small, but perfect size for its clientele and artists. The current exhibits were all on white walls, although from these images there are a variety of ways an artist can change the allotted space to best feature their work. What I saw, was one film, two photography displays, an art piece (paint or drawing), and an

CREATE - SUSTAIN - SHARE

embedded installation in the wall along with 12 notes/pages and a book on the stand. It was a simple collection with a lot of deep meaning tied to the U.S. immigration and constitution. It was difficult for me to understand space for the users while I was the only one there, but it was great to be able to see the size, scale, and placement with lighting, audio, video, and space divisions. Notes: • 2 people working • Low acoustics, very loud when people are talking and empty. • Good sounds, not absorbent • Plugs/sockets everywhere White walls, hard floors • One place to sit • Light art/video • One or two art stands • Exposed ceiling = height, old beams, dropdown vents, lights, and sound • 15 min – bored, short visit

M I N N E A PO L I S , M N

SOO V I S UA L A RT

s siment. Ipideni hiligen issecatem harchil lisincitaest expero coremol orrumqu oditis il ipsam nullam, a sapiend elenderro eos evelleceri atur, et lit qui dollige ndigenditis qui dellitisque escimostrunt qui aspellecum alitatur, occae non nat volut harias eum quias rectatatur, as alit aditati sciistet aut auta simporpost, sam qui duciis nihiciusam fugite exerumq uundam fuga. Ferore voluptiusam, totae doloristi corestiusti utas que sani dit, nonsequ aepelluptam excescimin nam et ex enihilitas apicipicto is verem qui volorum, corpos quis dolorporia quam auta volor moluptas maio eum harum auda parchilit que ex et, odis qui in nust, te pere volore exceped maximil laborpo rectis am fugit exeritas comnis magni con cone porera vitiustrum volorerum natempo rrorepe rehent pel etus et quam quod ut autet et quiatium sunt es modigent laboratus ate volores equaeritis utatum quiandus natasit fugiaestium dolesequam, volor aspic tem deste volorio reniet resectatur, imil moluptatetum invelique nis ut lant licidit, teturehenis res eatem. Ut quo expliqu iatiost endaectus adit pos sequatus eribea et laborum voluptia volorem res doluptatis vel inte si dis nullut inim aut quid milibus dolo blacculpa dolum quatius sequate volupta tibusciuscim et et ut acernam aditatem fugias quo excepudae et voluptus accum utas ratur? Cienti unda porem laborecab ipsunde biscia vendigene recti incit ad magnat magnihi lisitiae nobis adis ab ipsam evelestibero to doluptae. Nemporatet audio. Itas quia solent omnis est odigenim aut ullorep edigenis diae verit, quamus rempor sim idus et venim harchilis ea nis que adi doluptas sequatiae pa quam aspedis impelic idelia que perrum resti dolectemque sedic tem quametur? Quisto omnit etur, con ne nonsequ atisitae porion rem. Lentinu mquunde lendus sa dendebit officiende veliqui atiate porem et eveliqui nis sum utam facepra que culpa ilit qui corum sequo quibearis et ommodit volectiae sum quassit la simi, quatur autem del ipid quam enimusa accum accus ellut pratis a que por mi, officidus verio. Pos maxnonseque

DESIGN RESEARCH BOOK |

CREATE - SUSTAIN - SHARE

W IDE SPACE SPACE: Roughly 1968 sqft. 8’10’ wide walking path, 12’x24’ gallery space Front desk seating and two staff members 10’+ ceiling height

CHANGE WALLS: The walls are easy to change, paint, etc. to best feature the artwork or become the artwork.

HIGH CEILINGS CEILINGS: Open, unfinished Reflected the original building, warehouse vibes Exposed ceiling, old beams, drop-down vents, lights, and sound

W HITE WALLS WHITE: Adaptable Bright Open Focus

LIGHTING LIGHTING: Bright Dim-able, directional Consistent, even spread Video opportunity Color options

DESIGN RESEARCH BOOK |

GALLERY CONSIDERATIONS Accommodating a small gallery with a variety of potential artwork sizes and display types, I looked at various gallery floor-plan options, sizes, dimensions, and flow to better understand square footage requirements and needs. DISPLAY ROOM AND DISPLAY DIMENSIONS From MICA Gallery Display room; 20’ Wide x 36’ Long x 12’ High - High ceilings and excellent lighting - Two additional large display areas; 9’ Tall x 31’ Wide on opposing walls. - The two large displays are approximately 2’ from the floor and are accompanied by 12’ high ceilings. - Additional display 7’ Wide, and the other, 5’ Wide.

MICA Gallery

ART GALLERY FOR EXHIBITIONS, SMALL-SCALE PERFORMANCES, RECEPTIONS AND MEETINGS From The Burnie Regional Art Gallery The Burnie Regional Art Gallery has 3 main galleries with 115 running meters of wall space for temporary exhibitions, and one Foyer Gallery which exhibits works from the permanent collection. The gallery is suitable for small scale receptions, performances and meetings. Main Gallery - 52 running meters of wall space; floor area: 326 sqM Middle Gallery - Walls: 41 running meters; floor area: 195 sqM Learning Space Gallery - Walls: 31 running meters; floor area: 54 sqM Other technical details - The gallery has constant environmental (humidity and temperature) control - Security systems include surveillance cameras and afterhours security system - No equipment or technical staff for performances. - No cooking facilities. Hot or fried foods are not allowed in exhibitions spaces. - Several trestle tables and stackable chairs are available

Burnie Regional Art Gallery

CREATE - SUSTAIN - SHARE

DESIGN RESEARCH BOOK |

LOCAL ART W ITH FOUND MATERIALS

CREATE - SUSTAIN - SHARE

O L D W IN D OW FR AM ES CABIN E T RY CO L L ECTION PRIN T AN D STAM P M IX -M ED I A C H IC K E N W IRE SC U L PT URE PAIN T E D D EC KIN G LAM P M IX M E TAL PARTS FO U N D D RAGO N FL IES PAIN T IN G O N R ECYC L E -A B LES G LAS S VAS E C H AN D E L I ERS T W IST E D WOO L BR E AK FAST O N T H E WA LL

DESIGN RESEARCH BOOK |

FOUND OR REUSE MATERIAL ART

CREATE - SUSTAIN - SHARE

RECYCLED PARACHUTES

DESIGN AGENCY LAYER AND RÃ&#x2020;BURN COLLABORATED ON A COLLECTION OF FURNITURE PIECES THAT USE RECYCLED PARACHUTE MATERIAL AND WELDED STEEL FRAMES.

GARBAGE SCULPTURES

ECO-ARTIST SEAN CONNAUGHTY CONTINUES HIS LAKE HIAWATHA TRASH CRUSADE WITH GARBAGE SCULPTURES AT MCAD [IN MINNEAPOLIS].

W ILDHOMES FOR W ILDLIF E ARCHITECTS SASH SCOTT AND TAMSIN HANKE CREATED THE FREESTANDING HACHI BEE HOUSE FROM INDUSTRIAL AND VERBEROD BENCHES.

ART INSTALLATION MADE OF SCRAP FABRIC IKEA UP-CYCLES FURNITURE INTO COLORFUL WILD HOMES FOR WILDLIFE . ARCHITECTURAL FIRM BEHIN HA DESIGNED A TEMPORARY INSTALLATION MADE WITH SCRAP FABRIC MATERIAL FROM A COATED MESH FABRIC MANUFACTURER.

FASHION F ROM TENTS LONDON COLLEGE OF FASHION GRADUATE CHLOE BAINES HAS DESIGNED A COLLECTION OF CLOTHING AND JEWELERY FROM THE UP-CYCLED TENTS AND METAL PEGS LEFT AFTER MUSIC FESTIVALS. THE COLLECTION, CALLED IN TENTS: THE AFTER PARTY.

DESIGN RESEARCH BOOK |

“There is no power for change greater than a community discovering what it cares about.”

CREATE - SUSTAIN - SHARE

- Margaret J. Wheatley

INQUIRE Questionnaires

Ta c o m a To o l L i b r a r y M e g & M os Resale Second Use BLBR Architects B e s t Bu y Te e n Te c h C e n t e r Ear thwise

Surveys

M ate r i al L i brar y Resou rce Questions for Creatives I Questions for Creatives II

DESIGN RESEARCH BOOK |

QU EST I O N N A I R E 68

CREATE - SUSTAIN - SHARE

When thinking about researching Tacoma and it’s local businesses, opportunities, and culture I was hoping to connect with locals and learn from individuals their thoughts about material reuse, Tacoma culture around reuse, and what business opportunities are availible to best apply to my project focus and design solution. With this in mind, I did a quick study on business types on Google maps, learning about different reuse stores, material salvage and collection sites, tool libraries, makerspaces, art studios, manufacturing businesses, and architecture and design firms. From the list I found, I started to reach out to employees and individuals from an online contact. I sent out a short brief about this project, the research topic I was looking into and if they would be open to answering a few questions about their business and goals. The following question and answer responses are from a few of the individuals who had responded to my emails and provided information about their store/business that was most relevant to the project. The responses came from Interior Designers, retail store owners, volunteers, and part-time staff. • • • • • •

Tacoma Tool Library Meg & Mos Resale Second Use BLBR Architects Best Buy Teen Tech Center Earthwise

DESIGN RESEARCH BOOK |

TACO M A , WA

TACO M A TO O L L I B R A RY L I B R A RY

The Tacoma Tool Library is a “just like a regular library, but with tools instead of books.” With low cost access to shared tools and other durable goods, the library encourages re-use, repair, and reduced consumption. There are over available tools that members can borrow for a week at no charge, “Use the tools, clean them, and return them to the library when you’re done.” As contextual and design research an email questionnaire was sent to the Tool Library to better understand donation storage and collection, user needs and visitation. Tori, from the Steering Committee at the Tool Library provided the answers below.

QUESTIONS: SHOSHANA YARDLEY: DOES THE LIBRARY HAVE A WORKING SPACE? OR IS IT MAINLY A LIBRARY “STORAGE” ? TORI: We currently only have library/storage space, and members use the tools elsewhere. WOULD THE LIBRARY BE INTERESTED IN PARTNERING WITH A CREATIVE STUDIO TO CONNECT PROFESSIONAL ARTISTS WITH THE AVAILABLE TOOLS? Definitely! And we have done so in the past for special one time projects and workshops. WHO ARE YOUR TYPICAL MEMBERS? Average homeowners using the tool library for personal projects. Location: The majority of our current members live in the same zip code as the shop, so I would guess an average travel time of 10 minutes- though we did have someone Saturday who traveled 45 minutes.

CREATE - SUSTAIN - SHARE

to inventory, we either save it for selling at our bi annual rummage sales, or we have a partnership with Habitat for Humanity and they can recycle tools we cannot use. HOW OFTEN DO YOU RECEIVE TOOLS? Once a week, every day, etc- We encourage people to bring them on our inventory management days, which are the 2nd and 4th Sundays of each month- but we will accept donations any time during open hours. WHERE DO YOU STORE THE ITEMS? Do you have a separate storage location or area and circulate the items on the shelf or are all things donated/ purchased on the shelf for immediate purchase? We have a small back storage room for new tools and for tools needing maintenance. We check that the tools are in good working order before opening them to use by the public. We also will store some tools that we are planning to

“100% A R E D O N AT E D BY T H E CO M M U N I T Y. ”

TACO M A G R E E N L I V I N G L I ST FO R

M AT E R I A L M A N AG E M E N T

ARE THERE REGULAR MEMBERS OR MOSTLY ONE TIME VISITORS? Its a mix- primarily its people who only need a few things, and then a core of members who are in for a lot of projects. ON AVERAGE, HOW MANY PEOPLE ARE VISITING AT ONE TIME? HOW MANY PEOPLE IN A DAY/WEEK? We are currently open two days a week. On Saturdays, we might have 40-50 people interact with the shop- either visiting, or calling/emailing to renew an item they have checked out. On a weeknight, I would say 15-20? It will be much slower in the winter months and much, much busier in the Spring/Summer. WHERE DO YOUR TOOLS COME FROM? 100% are donated by the community. WHAT IS THE DONATION AND COLLECTION PROCESS FOR THE TOOL? We have inventory maintenance work days twice a monthnewly donated tools are evaluated at that point to see if we can use them, if they are safe, etc. If so, they get a number and get added to our inventory. If we aren’t going to add it

sell at our bi annual rummage sales off site at steering committee members homes. DO YOU SORT ITEMS BEFORE THEY CAN BE DROPPED OFF, OR DOES THE SORTING HAPPEN AT YOUR LOCATION? Sorting happens at our location- it’s a pretty small space (a large table top, basically). The Tacoma tool library idea resonates well with the research for this project and the user needs. It provided great information about spacial needs and storage, the need and want within Tacoma for spaces public sharing, and how they can collaborate together within the artist community. In addition to space, I was curious in the tool library because it is on the green living list in Tacoma for material management. The Tacoma green living guide is a website developed by The Tacoma Office of Environmental Policy and Sustainability. This office develops, promotes and implements sustainable practices through education, community partnerships and performance management. It is on the list because, “Tacoma Tool Library lowers barriers to beginning projects. The library provides access to shared household, yard and specialty tools. It is a community space where neighbors can share tools and knowledge and support each other. It encourages re-use and repair by Tacoma residents.”

TACO M A TO O L L I B R A RY Tori | Steering Committee

DESIGN RESEARCH BOOK |

TACO M A , WA

M EG S & M O R ESA L E U PSCA L E CO N S I G N M E N T S H O P

QUESTIONS: SHOSHANA YARDLEY: WHAT WERE YOUR GOALS IN CREATING THE STORE? DONNA MATHEWS: I actually purchased the business from the original owner. I believe the initial idea came from cleaning out her teenage daughters closets and realizing that there was barely worn clothing that could be recycled to others. HAVE YOU BEEN SURPRISED BY YOUR TYPICAL VISITOR? Again, it has definitely transformed from the original idea to a bit older demographic and more upscale clothing. We want it to be an “experience” to come into shop.

WHO ARE YOUR TYPICAL VISITORS/SHOPPERS? Regular customers probably up to 20 miles. We also have many visitors to our neighborhood as a destination shopping/eating area. Customers are all across the board - stay at home moms, professional women - Lawyers, Teachers, Doctors, College Students. ON AVERAGE, HOW MANY PEOPLE IN A DAY/WEEK? I’m guessing 200 people a week. Saturday’s are our busiest day. WHERE DO YOUR INVENTORY COME FROM? Our inventory comes from the surrounding community. We are a consignment store. WHERE DO YOU STORE THE ITEMS? Shortly after drop-off and the items have been sorted and priced we put them out on the sales floor. We don’t have a storage, or back stock.

M EG S A N D M O U PSCA L E R ESA L E

Donna Mathews | Owner

TACO M A , WA

E A RT H W I S E CO N ST RU CT I O N SA LVAG E

QUESTIONS VIA EMAIL: IN A FEW WORDS, WHAT ARE YOUR GOALS IN CREATING THIS STORE? To help reduce construction waste. Save the vintage, historic items. And provide the building materials for a reasonable price. The owner, Kurt, was a demo contractor and struggled with demoing and throwing away unique architectural pieces so he started to salvage and store the reusable items before we demoed the buildings. Eventually his garage became too full to store more items so he held a “yard sale” of sorts, these sales became more and more frequent and before you know it Earthwise was born.

remodeled, or otherwise altered. HOW DO YOU ACQUIRE THE ITEMS? PICK UP SERVICE/DROP OFF LOCATION? Our salvage crew goes out to the job site and removes 7585% of all of our materials. The rest of the materials are brought into our store by customers, contractors, and demo crews. HOW OFTEN DO YOU RECEIVE SUPPLIES? ONCE A WEEK, EVERY DAY, ETC.? Daily! Our crew works Monday-Friday and people bring stuff in daily. WHERE DO YOU STORE THE ITEMS? We have three giant warehouses with yards that serve as our storage AND retail spaces. 95% of all of our materials are available to purchase within 24 hours of arriving at the store. We do have a storage space for some overflow items but typically we try to store as little as possible.

WHAT ARE THINGS THAT YOU HAVE DONE SUCCESSFULLY? Helping to save historic pieces from Seattle and Tacoma, help the community with reusable building materials. Helped change local building code laws to be more salvage conscious.

DO YOU SORT ITEMS BEFORE THEY CAN BE DROPPED OFF? At the store level we only buy materials that we want to sell. For the salvage crew we have one acquisitions manager who previews job sites before we remove items so the homeowner/contractors and our crew know what we are pulling before we get there. We have around 20 staff members including the owner spanning 3 stores, we all help with sorting, processing, and putting items away.

WHO ARE YOUR TYPICAL SHOPPERS? Location: Typically its local (within 75 miles).

HOW DO YOU STORE AND KEEP YOUR ITEMS AND MATERIALS? In our retail warehouses.

WHERE DO YOUR SUPPLIES COME FROM? Seattle, Tacoma, and Grays Harbor Areas. We salvage them from the homes and buildings that are being torn down,

LACY K A B R I C H

CREATE - SUSTAIN - SHARE

Marketing and Sales Director “respect the past. sustain the future.”

“ W E SA LVAG E M AT E R I A L S A N D T H E I R STO R I ES , F RO M T H E CO M M U N I T Y, TO T H E CO M M U N I T Y. ”

QUESTIONS: SHOSHANA YARDLEY: WHAT WERE YOUR GOALS IN CREATING THE STORE? MARY ANNE: We created our stores to make building materials salvage and reuse more intuitive, accessible and fun. WHEN YOU SET OUT TO CREATE THIS SPACE, WHO DID YOU ENVISION OR CREATE THE SPACE FOR? Mostly for DIY homeowners, but also contractors and small business owners looking to remodel. These groups are a significant fraction of our visitors, but we also see artists and makers increasingly. WHAT ARE THINGS THAT YOU HAVE DONE SUCCESSFULLY AND/OR THINGS THAT HAVEN’T BEEN AS SUCCESSFUL? That’s perhaps too broad of a question to give a short answer to. Successful: Online inventory, merchandise mostly on rolling carts, community events. Unsuccessful: shipping of items.

TACO M A , WA

S ECO N D US E B U I L D I N G M AT E R I A L STO R E “Second Use diverts over 3,000 tons of community-sourced used building materials from landfills each year throughout Seattle and Tacoma.” Second Use is a building material store where the materials are donated and collected from around the Puget Sound community. The company has grown locally, the owners are employees, and the employees shape the businesses future. The store has an environmental and economic focus by salvaging and reusing building materials and increasing use-friendly processes during the construction job, thus reducing waste For additional contextual and design research I emailed a questionnaire was sent to the Second Use to gain better understanding of donation storage and collection, user needs and visitation. Mary Anne, from the Customer Service at the Tacoma store location provided the answers below.

WHO ARE YOUR TYPICAL VISITORS/SHOPPERS? Location (how far do shoppers travel to your shop): Most people come from within a 20 mile radius . Persona: DIY homeowners and small business people, small contractors, artists/makers, designers, antique resellers. Who: Mostly shopping for themselves, some shopping for clients. ARE THERE REGULAR VISITORS OR MOSTLY ONE TIME SHOPPERS? Mix of one-timers and frequent fliers. ON AVERAGE, HOW MANY PEOPLE IN A DAY/WEEK? Tacoma store gets maybe 50/day, Seattle maybe 200/day. WHERE DO YOUR MATERIALS COME FROM? Acquire by drop-off, pickup, or active removal as a demo subcontractor. WHERE DO YOU STORE THE MATERIALS? Part of store dedicated to storage. HOW MANY WORKERS DO YOU HAVE WORKING ON THE DELIVERY/DROP-OFF/SORTING? About 20% of store staff work on incoming materials.

S ECO N D US E M AT E R I A L STO R E Mary Anne | Information Contact

DESIGN RESEARCH BOOK |

THE WAS H I N GTO N S U STA I N A B L E SC H OO L S P ROTOCO L ( WS S P) I S T H E STAT E ’ S B E N C H M A R K FO R D ES I G N A N D CO N ST RU CT I O N O F H I G H P E R FO R M A N C E SC H OO L S . A L L M AJ O R FAC I L I T Y P ROJ ECTS O F P U B L I C SC H OO L D I ST R I CTS R EC E I V I N G A N Y F U N D I N G I N A STAT E CA P I TA L B U D G E T M U ST B E D ES I G N E D A N D CO N ST RU CT E D TO T H E WAS H I N GTO N S U STA I N A B L E SC H OO L D ES I G N P ROTOCO L O R A L E E D S I LV E R STA N DA R D . T H E WS S P I S A S E L F C E RT I F I CAT I O N P RO G R A M .

POSITION THERE? ANGELA BORROWMAN: Yes, Interior Designer. DOES YOUR FIRM HAVE A DESIGN MATERIAL LIBRARY? IF SO, HOW LARGE IS IT? Yes, it’s 60 linear feet. We only keep current color samples, all technical data/specs are accessed online.

TACO M A , WA

B L R B A RC H I T ECTS M AT E R I A L SA M P L E L I B R A RY

To better understand material waste understanding and target where the most reclaimable material waste is steaming from, I reflected on my personal experiences and knowledge of architecture and design firm material libraries and the potential all the small samples have if salvaged. This led me to reach out (via email) to a few local A&D firms in the Tacoma area to see how they utilize their material libraries and how they receive, return, or purge their finishes sample materials. BLRB Architects, a Tacoma based firm, responded well to my inquires and an Interior Designer, Angela Borrowman provided some insight on how her team utilizes their material library and what is done with materials no longer needed.

QUESTIONS: SHOSHANA YARDLEY: HAVE YOU WORKED AT OTHER ARCHITECTURE AND DESIGN FIRMS? WHAT WAS YOUR

CREATE - SUSTAIN - SHARE

HOW OFTEN DO YOU USE THE MATERIALS IN YOUR LIBRARY? ARE THERE MATERIALS YOU REFERENCE MORE OFTEN OR NOT AT ALL? Our projects are often a year in development, and with staggered deadlines we access our material/sample library probably once a month, but it’ll be every day for a week. We often use laminate, paint, and carpet samples. We do have some wall covering samples that have never been used. These unfortunately just show up in the mail seemingly randomly from the sales rep. Their hope is, if we have a sample in our library we’ll use it on a project, but they end up collecting dust on the shelf and ultimately end up in the recycle bin. WHERE/HOW DO YOU GET YOUR SAMPLE MATERIALS? The local sales reps keep our materials up to date. They come into our office periodically to update samples as new products are released, or we email them when we need a larger sample, or a sample refilled/replaced. HOW DO YOU DISPOSE OR RETURN YOU MATERIALS? Our office building has recycling, or some reps (like carpet) will come pick up their old samples for recycling. DO YOU HAVE A GREEN/SUSTAINABILITY MATERIAL LIBRARY – WHAT ARE SOME ENVIRONMENTAL/WASTE PREVENTION PROCESSES YOU DO (OR WOULD LIKE TO DO) IN REGARDS TO THE LIBRARY AND MATERIAL SAMPLES? In Washington State we have the WSSP (Washington State Schools Protocol) which is a benchmark for design and construction of schools. It’s similar to a LEED Silver. Since we work on a lot of schools we shoot for this benchmark on all projects. It’s also best practices to use environmentally friendly and sustainable materials on projects. So a lot of our materials in our library fit this standard. We also try to only keep material samples that we use/need.

B L R B A RC H I T ECTS

Angela Borrowman, LEED | Interior Designer

for youth downtown. Youth get to learn about new technology, express themselves and create relationships with caring adults and positive peers.

M I N N E A PO L I S , M N

B EST B U Y T E E N T EC H C E N T E R

UNDERSTANDING THE NEED AND ACCESS TO NEW TECHNOLOGY AND CREATIVE OUTLETS FOR THE PUBLIC YOUTH IS AN IMPORTANT ELEMENT OF THIS DESIGN RESEARCH AND A COMMON FOCUS IN MAKER SPACES AROUND THE WORLD. WHEN LOOKING AT MY LOCAL AFTER SCHOOL PROGRAMS THE BEST BUY TECH CENTER AT THE PUBLIC LIBRARY HAD EXCELLENT REVIEWS. I CONTACTED THE LIBRARY TO LEARN MORE ABOUT THEIR PROGRAMMING, RESOURCES, AND DEMOGRAPHICS. ANNA SCHWINDT DEGROOT, THE SERVICE MANAGER OF YOUTH SERVICES AT THE MINNEAPOLIS CENTRAL LIBRARY RECEIVED MY EMAIL AND PROVIDED GREAT INFORMATION ON THE PROGRAM’S GOAL AND PARTICIPATION.

QUESTIONS: SHOSHANA YARDLEY: WHAT WERE YOUR GOALS IN CREATING THIS STORE? ANNA SCHWINDT DEGROOT: The goals of our program are to provide access to cutting edge technology and mentor-ship to youth for free. More info here: https://www.supporthclib. org/best-buy-teen-tech-center WHEN YOU SET OUT TO CREATE THIS SPACE OR PROGRAM, WHO DID YOU ENVISION WHO WOULD BE THE TYPICAL VISITOR/ PARTICIPANT? Teens in Minneapolis, especially those who hang out or live close to downtown.

WHO ARE YOUR TYPICAL PARTICIPANTS? Age: Youth age 16-19 Education: High School students Location/Travel Distance: Minneapolis Public School students use Metro Transit to get to school so many youth come by bus from all over the city. Who: Diverse, urban youth ARE THERE REGULAR MEMBERS OR MOSTLY ONE TIME PARTICIPANTS? 300 active members (Once in the last 3 months) 100 members come 2+ times per month 25 members come more than once per week ON AVERAGE, HOW MANY PEOPLE IN A DAY/WEEK? Average 30 youth per day. WHERE DOES YOUR SUPPLY COME FROM? HOW OFTEN DO YOU RECEIVE SUPPLIES? Online and big box stores. Specialty vendors. On average we receive supplies once per week. WHERE DO YOU STORE THE ITEMS? We try to do a big order monthly and we store some of those supplies in a closet. We also purchase items for popular projects as needed for immediate use. WHEN AND WHERE ARE THE ITEMS SORTED? We sort items after they arrive in our office/work space. HOW DO YOU STORE AND KEEP YOUR ITEMS AND MATERIALS? We keep them in our offices, closet and available for youth to “help themselves” directly in the space. We sort items after they arrive in our office/ work space.

M I N N E A PO L I S C E N T R A L L I B R A RY YO U T H S E RV I C ES Anna Schwindt DeGroot, Service Manager

WAS YOUR ORIGINAL DEMOGRAPHIC CORRECT? IS THAT DEMOGRAPHIC YOUR MAIN PARTICIPANT/VISITOR, OR HAVE YOU BEEN SURPRISED BY YOUR TYPICAL PARTICIPANT / VISITOR? Yes. Although we were surprised that we have more older teens 16-19 rather than younger 12-16. WHAT ARE SOME THINGS THAT HAVE BEEN SUCCESSFUL AND/OR UNSUCCESSFUL? We have successfully built a positive community space

“ TO P ROV I D E ACC ES S TO C U T T I N G E D G E T EC H N O LO GY A N D M E N TO R - S H I P TO YO U T H , FO R F R E E . ”

DESIGN RESEARCH BOOK |

QU EST I O N S FO R C R E AT I V ES S U RV E Y - I , I I , I I I

As a part of the artist and maker demographic research as well as Makerspace user needs and wants, I created three different surveys that I sent out to a variety of people, both local to Minneapolis to Tacoma and other cities; students, artists, makers, and more. The first survey I sent out was title Material Resource Library and it was a more narrow scope of questions regarding Makerspaces, artist studios, demographic information (age, gender, education), and their environmental habits. This survey was sent out to mostly Dunwoody College of Technology students and a few artists. After sending this first survey out, I wanted to expand my survey participant demographic in order to get a wider user needs and wants. Dunwoody students were a great first round because of the diversity within the school, both in age, skill set, background, and creative wants and professions. (Survey I: 44 responses) Survey II titled Questions for creatives was roughly a 30 question survey sent out to local artists and makers as well as students across the county and to a few Makerspace groups and employees. This survey had a stronger, more specific questions about Makerspace users and what tools and materials they currently use, what are things that enjoy or dislike within the space, what improvements could be make, what types of materials could be reused or salvaged, storage needs, equipment needs, workpieces sizes, and understanding and/ or openness of recycling habits. Survey II was sent out again, to Makerspace and FabLab groups on Facebook, art and design collegeâ&#x20AC;&#x2122;s groups, in artist newsletters and individually sent to many artists from the Minneapolis Craft/Makers Market, the Northeast Minneapolis Arts Association, MNArtists, and other artists and maker contacts. (Survey II: 61 responses) Survey III titled Question for Creative Part II was sent out about three weeks after Part I, and only to those who noted that they would be interested in participating in part two. I took a couple weeks inbetween while collecting data to develop a third survey to gain the most information from those participating. (Survey III: 26 responses) With the compilation of the three surveys I was able to gather a ton of valuable information about workspaces, amenities, materials, storage, users, productivity and work quality, community involvement, and more.

CREATE - SUSTAIN - SHARE

S U RV E Y DATA 26% CONSIDER THEMSELVES A MAKER, 13% AN ARTIST, 22% STUDENT. Material Resource Library Survey (44)

80% OF PARTICIPANTS ARE INTERESTED IN LEARNING MORE ABOUT TOOLS THEY ARENâ&#x20AC;&#x2122;T FAMILIAR WITH. 47.9% THINK A PUBLIC TOOL AND MATERIAL RESOURCE LIBRARY WOULD BE USEFUL. 37.5% OF PARTICIPANTS ARE ABLE TO USE SCRAP MATERIALS FOR THEIR PROJECT WORK. 50% SAY IT DEPENDS ON THE PROJECT AND MATERIAL. Question for Creatives Survey Part II (61)

DESIGN RESEARCH BOOK |

R ES PO N S ES

These three questions and survey responses will help inform the space planning and requirements of the makerspace, storage facility, and amenities. When thinking about studio amenities, storage is important for workshops, personal storage, and studios. The participants noted that a material and tool library would be a beneficial center which will inform my objective solution and design solution.

YES

72% of the survey participants answered that a public storage and donation area would be a useful amenity. When considering space requirements and planning of storage size, proximity, and use Iâ&#x20AC;&#x2122;m able to reflect on the information provided from the survey users below; racks, shelves, and cubbies are preferred for materials while lockers, drawers and handing options are preferred for tool storage. How useful would a public tool and material resource library be to you?

MATERIALS

MAYBE SOMETIMES

If public storage (donation area) was available at your studio/lab, would that be a useful amenity?

TOOLS

What type of storage would work best for your materials?

CREATE - SUSTAIN - SHARE

In developing the program report for high-level spaces all the way down to storage needs in each workshop, these survey responses helped inform what is needed, wanted, an amenity, and how much space would be practical for each space. The participants answered that necessary amenities in a public creative space would be a coffee house, artist shop, personal studios, quiet zones(s), photography/video studies and a green space. Others provided alternative creative spaces include member kitchenette, workroom, library/den, a lounge, event space(s), and a public green space.

To better understand the sustainable attitudes of the creative using a public studio and how a material resource and collection would be beneficial to their work, I prompted a few questions about project materials and recycling/reuse habits. The responses about reuse and disposal of materials will be taken into account when designing the storage and collection space.

WHAT ARE SOME AMENITIES THAT YOU HAVE OR WOULD BE NECESSARY TO HAVE AT YOUR STUDIO/MAKER SPACE? (14 RESPONSES)

WHAT ARE SOME ALTERNATIVE CREATIVE SPACES YOU WOULD USE OR WOULD LIKE TO SEE AT A COMMUNITY CREATIVE SPACE? (25 RESPONSES)

HOW DO YOU DISPOSE OF OR RESUSE YOUR SCRAP MATERIALS? (26 RESPONSES)

DESIGN RESEARCH BOOK |

Your age 44 responses

Material Resource Library 44 responses

16-24

20.5%

33-45

Your age 44 responses

25-32 11.4%

46-59 60+

31.8%

34.1%

16-24

20.5%

25-32 33-45 11.4%

46-59 60+

31.8%

34.1%

Your education level 44 responses

High school College

Your education level 44 responses

75%

Masters

9.1%

Mentor-ship AA degree Air Force tech echool

9.1%

some college High school College Masters

9.1%

Mentor-ship AA degree

75%

Air Force tech echool

9.1%

some college

A little about you...

Do you consider yourself a 44 responses

A littleMaker about you...

26 (59.1%) 13 (29.5%)

Artist Crafter

10 (22.7%) 22 (50%)

Designer

Do you consider Amateur yourself a 7 (15.9%) 44 responses Student

22 (50%) 0 (0%)

None of the above. engineer

1 (2.3%)

Architect

1 (2.3%) 0

CREATE - SUSTAIN - SHARE

Where do you create-work? Do you belong to a Studio, Makerspace, or Other? 44 responses

Makerspace (Public or Membership)

20.5% 11.4%

Shared Studio

9.1%

Personal / Home Studio Job site Classroom / On Campus

11.4%

None of the above. Classroom

40.9%

Office has makerspace

How often are you in a studio, lab or workshop? 43 responses

Less than Part-time (20-Hrs) Part-time (20+Hrs)

20.9%

Full-time (40Hrs) I never leave (40+ Hours)

69.8%

In the last 6 months have you visited/participated in a:

Yes

Regularly

Public Library

Community Center

Art Museum

Commmuniy event

Fair or local festival

Volunte

DESIGN RESEARCH BOOK |

Where and to whom do you sell your work? 38 responses

Yes Sometimes

42.5% Private clients Friends and Family Businesses Galleries Local markets and fairs Online (Personal, Etsy) None NA N/A I do not sell Don't sell Don't sell anything

16 (42.1%)

15%

20 (52.6% 10 (26.3%)

5 (13.2%)

10 (26.3%)

7 (18.4%) 12 (31.6%)

42.5% 2 (5.3%) 1 (2.6%) 1 (2.6%) 1 (2.6%) 1 (2.6%) 1 (2.6%) 1 (2.6%)

When youâ&#x20AC;&#x2122;re buying new materials, what are the top two things you generally consider? (Check two boxes.) 40 responses

Materials Price

28 (70%) 3 (7.5%)

Brand Innovation

1 (2.5%)

Quality Do you recycle or reuse your project materials?

40 responses

27 (67.5%)

9 (22.5%)

Value

Size/Quantity

7 (17.5%) 10 (25%)

Availability return on investment 1 (2.5%) 42.5% 1 (2.5%) Local Sources 0

Yes Sometimes No

15%

42.5%

Are you able to use used or scrap materials for your projects? 40 responses

Yes

When youâ&#x20AC;&#x2122;re buying new materials, what areNothe top two things 37.5% you generally consider? (Check two boxes.)Depends on the project Depends on the material

12.5%

40 responses 12.5% Price Brand Innovation

28 (70%) 337.5% (7.5%) 1 (2.5%) 27 (67.5%)

Quality

CREATE - SUSTAIN - SHARE Value

Size/Quantity

9 (22.5%) 7 (17.5%)

When youâ&#x20AC;&#x2122;re buying new materials, what are the top two things you generally consider? (Check two boxes.) 40 responses

Price

28 (70%) 3 (7.5%)

Brand Innovation

1 (2.5%) 27 (67.5%)

Quality 9 (22.5%)

Value Size/Quantity

7 (17.5%) 10 (25%)

Availability return on investment

1 (2.5%)

Local Sources

1 (2.5%) 0

When working in the studio, how many hours is a typical session?

0-2 Hours

2-4 Hours

4-6 Hours

6+ Hours

Are30you able to use used or scrap materials for your projects? 40 responses 20 Yes 10

37.5%

Depends on the project Depends on the material

12.5% Computer / Development 12.5%

Prep-time

Working

Clean-up

37.5%

How/Where do you store your supplies? 39 responses

Personal storage unit In the Studio 64.1% 7.7%

Rent-able lockers at the studio location At home I don't keep any supplies

25.6%

DESIGN RESEARCH BOOK |

Large XL, S, M

What are your main building/project materials? s 36 responses S, M, L, XL like koolhaas :) Metal Wood Plywood jewelry, small pieces Glass Plastic XXXL Fabric Cardboard 12”x4”x6” Clay/Ceramics

15 (41.7%

small

I’m30"x30"x48" a graphic designer & I draw so I us… paper, canvas Felted wool

12 (33.3%) 5 (13.9%) 5 (13.9%) 6 (16.7%)

12 (33.3%)

3 (8.3%) 2 (5.6%) 1 (2.8%) 1 (2.8%) 1 (2.8%) 1 (2.8%) 1 (2 8%)

Of the list below, what items(s) do you most often participate in? Tools 40 responses 3D Printing Woodwork

What is the typical size of your project work? 7 (17.5%)

Sewing 38 responses Leather work Photography Printing S Electronics / Robotics Codeing M Laser Engraving Ceramics Small

1 (2.5%)

2 (5%)

12 (30%) 11 (27.5%)

6 (15%)

5 (12.5%) 5 (12.5%) 5 (12.5%) 5 (12.5%)

8 (20%)

6 (15%) Mosaics 0 (0%) S-M 1 (2.5%) None of the above. 1 (2.5%) Laser Machine 8x11, 14x18 1 (2.5%) Printer Camera Small --Digital usually pocketable 1 (2.5%) 1 (2.5%) Traditional art (graphite, 1 (2.5%) L ink, alcohol… 1 (2.5%) 1 (2.5%) painting my products are small, a 16 ounce glass jar is the largest. most are less than 2 ounces in either a glass 1 (2.5%) Feltedor wool sculpture bottle metal tin 1 (2.5%) epoxy 1 (2.5%) would t inMetal a 6x6work cube 1 (2.5%) Laser cut, cnc 1 (2.5%) enameling 8" x 10" 1 (2.5%) Brewing Mead XL (1-3 yards long) 0 5 10 15 Hard to explain... I make wooden goblets. Small ( 21” L dainty chain) various Small, under 1 ft^3

S,XS,L CREATE - SUSTAIN - SHARE 4'x5'

Tools

What is the typical size of your project work? 38 responses

S M Small S-M 8x11, 14x18 Small -- usually pocketable L my products are small, a 16 ounce glass jar is the largest. most are less than 2 ounces in either a glass bottle or metal tin would t in a 6x6 cube 8" x 10" XL (1-3 yards long) Hard to explain... I make wooden goblets. Small ( 21” L dainty chain) various Small, under 1 ft^3 S,XS,L 4'x5' Small projects, no bigger than 3×3ft. Large S XL, S, M s S, M, L, XL like koolhaas :) small jewelry, small pieces XXXL 12”x4”x6” 30"x30"x48"

DESIGN RESEARCH BOOK |

Would you be interested in participating in Part Two of this survey based on your answers provided? 40 responses

Would you be interested in participating in Part Two of this survey based on your answers provided? Yes!

40 responses

No. 20%

Maybe later. Maybe. Yes! No.

20%

Maybe later. Maybe.

72.5%

Sustainable Habits Sustainable Habits Which of these factors are important to you when you make the decision about which brands to purchase? 39 responses

Which of these factors are important to you when you make the decision about which brands to purchase? 18 (46.2%) Familiarity with the brand

39 responses

31 (79.5%)

Price Comfort

10 (25.6%) 18 (46.2%) 24 (61.5%)

Familiarity with the brand Materials Price Convenience Comfort Environmental Story

10 (25.6%) 12 (30.8%)

Materials Reviews and Ratings

1 (2.6%)

Convenience Reliability

1 (2.6%)

Environmental Story Reviews and Ratings

31 (79.5%)

13 (33.3%)

24 (61.5%) 13 (33.3%) 10

12 (30.8%) 20

1 (2.6%)

Reliability 1 (2.6%) Do you typically buy new items? (Clothing, Electronics, Books, 0 10 20 30 40 Decor, Cars, etc.)

39 responses

Yes 41%

No Little bit of both I buy new and unused fabric and yarn but use them to make my own clothing inst… never new cars. Sometimes new electronics. Mostly ne…

48.7%

CREATE - SUSTAIN - SHARE

Depends on application. Generally a mix of new and…

Where do you typically shop for; Clothing, electronics, books, decor, etc.?

Frequently (First-stop)

Sometimes

Never

20 Yes 10

48.7%

Seasonally Shop and Sell

10.3% 0

…

-ha

d on

A…

n nli

…

s ine

rg Ta

sto

all

Do you believe that you are environmentally friendly? 39 responses

Do you attend and shop at your local boutiques, makers markets, Yes and art fairs? 39 responses

51.3%

A little I don't know

7.7%

38.5%

Hello environmentally friendly!

What environmentally friendly activities do you partake in? (Choose 1 or more) 38 responses Recycle (aware & practice)

37 (97.4%) 32 (84.2%)

Drive less, walk more Eat locally grow foods (groceries, at r…

10 (26.3%) 19 (50%) 29 (76.3%)

Bike over driving when

DESIGN RESEARCH BOOK |

Questions for Creatives 61 responses

Your Age 60 responses

16-24

21.7%

25-32 33-45

10%

15%

46-59 60+

8.3%

45%

Education Level 61 responses

27.9%

High school graduate or the equivalent Some college trade/techinical/vocational tâ&#x20AC;Ś

27.9%

Associate degree Bachelor's degree Master's degree Mentor-ship / Self trained 31.1%

Depends on area of focus. PhD

Art Discipline

Do you consider yourself a 61 responses 88

CREATE - SUSTAIN - SHARE

Maker Artist Crafter Designer Architect Engineer Amateur Student Dancers Choreographers Theater Arts Musicians Filmmakers educator Instructor Artistically-inclined civilian Photographer

15 (24.6%) 47 (77%) 4 (6.6%) 32 (52.5%) 5 (8.2%) 1 (1.6%) 4 (6.6%) 21 (34.4%) 0 (0%) 0 (0%) 1 (1.6%) 0 (0%) 0 (0%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%)

Is your art your main source of income? 61 responses

Yes No Not yet Sales of art and teaching

75.4%

I work in a semi-creative role for an organization. 18%

Internship

Work Space

Do you belong to a Studio, Makerspace, or Other? 61 responses

DESIGN RESEARCH BOOK |

When working in the studio, how many hours is a typical session?

0-2 Hours

2-4 Hours

4-6 Hours

6+ Hours

Computer / Development

Prep-time

Working

Clean-up

Tools

Of the list below, what items(s) do you most often participate in? 61 responses

3D Printing Woodwork Sewing Leather work Photography Printing Electronics / Robotics Codeing Laser Engraving Ceramics Mosaics None of the above. Painting Drawing, Writing drawing Drawing Drawing and Painting Drafting Rendering Painting, drawing Painting/drawing Drawing and painting. Animation

CREATE - SUSTAIN - SHARE

4 (6.6%) 8 (13.1%) 3 (4.9%) 3 (4.9%) 5 (8.2%) 1 (1.6%) 6 (9.8%) 7 (11.5%) 0 (0%) 6 (9.8%) 2 (3.3%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1 6%)

13 (21.3%) 15 (24.6%) 14 (23%)

18 (29.5%)

How often do you use the tools listed below? How often do you use the tools listed below? 40

Required

Never

Want to Learn

Required

Never

Want to Learn

40 20

20 0

3D Printing

CNC Laser Cutting

CNC Shopbot Router

MIG Welding 101

Woodworking

Sew

3D Printing

CNC Laser Cutting

CNC Shopbot Router

MIG Welding 101

Woodworking

Sew

How useful would a public tool and material resource library be to you? 61 responses How useful would a public tool and material resource library be to you? Extremely useful

Somewhat useful

23%

Neutral Not at all useful

34.4%

37.7%

Which of these factors are important to you when you make the decision about which brands to purchase? Materials 61 responses

39 (63.9%)

Familiarity with the brand

What is theMaterials typical size of your project work? Price

25 (41%) 25 (41%)

Convenience 61 responses

Environmental Story Relatively

Does it suit my specific M needs?

sNo cheap shitty plastic

products...

50 (82%) 43 (70.5%)

1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 1 (1.6%) 20

18â&#x20AC;?x24â&#x20AC;? S Every project is different. Some are small, some are large

DESIGN RESEARCH BOOK |

What is the typical size of your project work? 61 responses

M s L 18”x24”

Medium to large Industrial design so every size Anywhere from m to xl

medium/large

Every project is different. Some are small, some are large

Public art and outdoor so ranging from 3' x 3' x 3' to 8' x 3'

All sorts of sizes

Small, 12" x 24"

Small

S,M,L

18x24 or 11x14

Installation projects - XL

11 x17

Small - 11x17 or 14x17 bond/marker paper

18x24" Medium-sized

11”x17”, 22”x34”, 36”x48”

14 x 17

Small, Medium and Very Large

I'm sorry, this question doesn't really make sense to me. Small I guess?

Mostly multiple pages of 11x17 paper and some physical

18’x24’

36” x 48”

11x17 process pages, 24x36 presentation

mobile responsive websites

36"X48" Posters, 6'X4' Model

21" x 40" x 3/8"

3 feet by 3 feet, or tabloid or letter sized

20x30" 30x40" large

Medium sized

11" x 14"

3 panels of 18” x 24”

8” x 6” x 20”

Medium to large

Various sized paintings, from small To large

Industrial design so every size Anywhere from m to xl

6” x 6” c 6” Human scale

medium/large

4 x 4” 6 x 6” 12 x 12” 8 x 14”

Public art and outdoor so ranging from 3' x 3' x 3' to 8' x 3' x 4'

Enough to ll a 24' truck

Small, 12" x 24"

Under 24 inches usually, sometimes 36"

S,M,L

Very Large. Monumental. Last three all well beyond 30 ft in

Installation projects - XL

Large

Small - 11x17 or 14x17 bond/marker paper

48 x 48 inches

11”x17”, 22”x34”, 36”x48”

XS 2.5 x 3.5 M 10 x 10

Small, Medium and Very Large

Paintings ranging from 8x10 to 36 x 40"

CREATE - SUSTAIN - SHARE Mostly multiple pages of 11x17 paper and some physical models, M sized project

Which of these factors are important to you when you make the decision about which brands to purchase? 61 responses 39 (63.9%)

Familiarity with the brand

50 (82%)

Price Materials Price

Convenience

25 (41%) 25 (41%)

6 (9.8%)

EnvironmentalBrand Story

(70.5%) 4143 (67.2%)

1 (1.6%) 4 (6.6%) 1 (1.6%)

Relatively Innovation Does it suit my specific Q lit needs?

45 (73 8%)

1 (1.6%) 1 (1.6%)

No cheap shitty plastic products...

1 (1.6%) 1 (1.6%)

What are your main building/project materials? 61 responses

Do you recycle or reuse your project materials? Metal 61 responses

Wood

23%

Plywood Glass Yes Plastic No Fabric

24.6%

19.7%

Depends on the project

Cardboard

Depends on the material

Clay/Ceramics

9.8%

1/4 52.5%

How/Where do you store your supplies? 61 responses

When youâ&#x20AC;&#x2122;re buying new materials, what are the top two things you generally consider? (Check two boxes.) Personal storage unit

61 responses

36.1%

In the Studio Rent-able lockers at the studio location At home I don't keep any supplies

50.8%

DESIGN RESEARCH BOOK |

If storage was available at your studio, would that be a useful

If storage was available at your studio, would that be a useful amenity? 61 responses

Yes! No 16.4%

Maybe

78.7%

Community Involvement

In the last 6 months have you visited/participated in a: 57 responses

Public Library

21.1%

Community Center Art Museum 15.8%

15.8%

Community event Fair or local festival

8.8%

Volunteering

35.1%

Where and to whom do you sell your work? 61 responses

Friends and Family 11.5%

Businesses 26.2%

Galleries Local markets and fairs Online (Personal, Etsy)

14.8%

None 18%

14.8%

CREATE - SUSTAIN - SHARE

8.2%

I do not sell

Environmental

Do you think of yourself as environmentally friendly? 61 responses

Yes No

36.1%

A little I don't know

57.4%

What environmentally friendly activities do you partake in? (Choose 1 or more) 60 responses Recycle and/or Compost (aware & practic…

50 (83.3%) 55 (91.7%)

Drive less, walk more Donate reuseable items (clothing, decor… i don’t purchase fast fashion Volunteer with wildlife/ wilderness reusable coffee mug and water bottle ev… use Drywall for an art material 0

32 (53.3%) 25 (41.7%)

51 (85%)

24 (40%) 1 (1.7%) 1 (1.7%) 1 (1.7%) 1 (1.7%) 1 (1.7%) 1 (1.7%) 1 (1.7%) 1 (1.7%) 1 (1.7%) 20

DESIGN RESEARCH BOOK |

Do you typically buy new items? (Clothing, Electronics, Books, Decor, etc.)

Do you typically buy new items? (Clothing, Electronics, Books, Decor, etc.) 61 responses

Yes No 32.8%

Depends on the item Sometimes Depending on the item I would say I equally thrift aâ&#x20AC;Ś For personal yes, for art no Depends on the item. Somâ&#x20AC;Ś 47.5%

1/2

Would you be interested in participating in Part Two of this survey based on your answers provided? 61 responses

Yes! No. 27.9%

72.1%

Thank you for your interest in Part Two.

Email 40 responses

steph.guidera@gmail.com alonso.sierralta@gmail.com jlongo071@yahoo.com 96

CREATE dllawton@umn.edu - SUSTAIN - SHARE

Questions for Creatives: Part II

QUESTIONS

RESPONSES

26 responses Not accepting responses Message for respondents

This form is no longer accepting responses

SUMMARY

INDIVIDUAL

Do you belong to a Studio, Makerspace, or Other? 26 responses

Makerspace (Public or Membership) 15.4% 11.5% 38.5%

11.5%

Shared Studio Personal / Home Studio Job site Classroom / On Campus None of the above.

15.4%

Where you work.

What are the reason(s) you chose to work in a studio/maker space vs. at home? 16 responses

DESIGN RESEARCH BOOK |

Convenience of working at home All tools and materials in one place

12.5%

Space Like working around others (sense…

25%

Membership expense Craft is a hobby, not a constant pra… Location and/or availability

12 5%

What are some amenities that you have or would be necessary to have at your studio/maker space? 16 responses Coffee House Gallery Artist Shop (sell your work) Personal Studio Quiet-zone Chef Kitchen Yoga / Dance Studio Photography/Video Studio Music/Sound Studio Café Material/Supplies store Material storage Event space - Open to public Shared Studio Space Workroom

Storage for materials so they can be ea…

6 (37.5%)

3 (18.8%)

1 (6.3%)

8 (50%) 8 (50%)

3 (18.8%) 2 (12.5%)

4 (25%)

1 (6.3%) 1 (6.3%) 1 (6.3%) 1 (6.3%) 1 (6.3%) 1 (6.3%) 1 (6.3%) 1 (6.3%)

5 (31.3%)

7 (43.8%) 11 (68.8%)

Does your studio or maker space have staff? 16 responses

Full-time staff

staff What are some important business amenities in a Part-time studio/maker space?

16 responses

18.8%

25%

Volunteers Teachers Both No staff

31.3%

12.5%

| CREATE - SUSTAIN Where you work.- SHARE (Personal/Home Studio)

Where you work. (Personal/Home Studio)

What are the reason(s) you chose to work at home vs. a studio/ maker space? 24 responses

Convenience of working at home 12.5%

All tools and materials in one place Space Like working around others (sense… Membership expense Craft is a hobby, not a constant pra…

25%

Location and/or availability Past experiences

33.3%

1/2

What are some alternative creative spaces you would use or would like to see at a community creative space? 25 responses Lounge Library/Den Workroom Kitchenette (for members) Chef kitchen Yoga Studio Dance/Fitness Studio Photography/Video Studio Music Studio Meditation Space Event space Exhibition site and spaces. Library with craft material references … 0

10 (40%) 11 (44%) 9 (36%)

1 (4%) 2 (8%) 1 (4%) 3 (12%) 4 (16%) 3 (12%)

13 (52%)

12 (48%) 11 (44%)

1 (4%) 1 (4%) 1 (4%) 5

Work Space

When working in the studio, how many hours is a typical session? DESIGN RESEARCH BOOK | 0-2 Hours

2-4 Hours

4-6 Hours

6+ Hours

Work Space

When working in the studio, how many hours is a typical session?

0-2 Hours

2-4 Hours

4-6 Hours

6+ Hours

Computer / Development

Prep-time

Working

Clean-up

Where are you working? Home

Coffee Shop

Shared Studio

Private Studio

Do you agree or identify with the following statement? 25 responses

Yes 40%

No Maybe

56%

100

CREATE - SUSTAIN - SHARE

Fabrication Lab

Office/Classroom

26 responses

What is a comfortable/productive number of people? 1-3 26 responses

34.6%

3-5 6+

34.6%

Depends on the project being worked on, geberally the small number the 1-3 better 3-5 6+

57.7%

Depends on the project being worked on, geberally the small number the better

57.7%

Is there a time when you feel more or less comfortable with the other people working in the studio? 23 2responses

IsI there time when more or less comfortable with the other people working inisthe feel moreacomfortable whenyou there feel are others, regardless of gender or skill level, that are engaging in their practice and when there assistance available. I feel less comfortable in a makerspace by myself. I think I might also feel a little vulnerable being the only person of studio? one gender in a maker space that has many people of another gender. 23 responses Respecting cigarette/coffee breaks for chatting. Not when I'm concentrated

I hate working with loud narcissists, nowitalls, megalomaniacs, republicans and snobs. I would prefer smart, intellectually creative, harmonious, adoptable and �exible individuals. Most comfortable with others in the same craft/skill. Less comfortable when more males than females in any space (not just a makerspace) I don't care who, what, how other people are. But I feel good when people are kind and engaged in the act of creation. It creates good, driving energy. If someone is hostile or negatively disconnected from their art, it sends shockwaves of negative energy through the whole group. This is why I like working alone or with a few people -- it's easier to monitor the energy. And, I do have to admit, while I'm open to all kinds of people, working alongside other women, other people who identify as "she", is really important to me -- I love connecting to and growing the divine feminine. When I was part of a shared space I had the most di�culty with the inequities in what individuals contributed to the community. While we were all expected to put time in to making the space work, there were those who did not contribute, and others then were put in a position of putting in extra time to keep the community running. This was a artists co-op with a public “gift shop/vendor” area. Sometimes there are people that don't have people skills and they are annoying. Also the know it all people are especially annoying especially when they talk over everyone else in the room. Makerspaces attract people with limited social skills, that is also annoying. Other members of the same craft/skill are there I prefer higher skilled people around me. Both to learn from and to strive to match I feel more comfortable when I've regularly worked in the same space. I work alone by preference Being youngest in group I can understand why some people may have an issue, but Speaking for myself, I have no issue working with others of differing abilities. And having spent some time in a retail environment, I make no assumptions. Having been a "hands on" learner, and having worked in various industries, a machine that may seem intimidating to some due to the complexities, especially as more CNC equipment moves into home workshops, many times the actual machine is not as complicated to operate as it may seem. Manual machines may have many adjustments, but once set up for a particular task, the operations are quite simple. Those under 40 typically have to �gure out how to read a vernier dial since there is no digital readout, and that in itself can be very intimidating to people. General acceptance of new people, new ideas, overall comfortable atmosphere Unskilled/dangerous and distracting people slow or stop the creative process

DESIGN RESEARCH BOOK |

101

adjustments, but once set up for a particular task, the operations are quite simple. Those under 40 typically have to ďż˝gure out how to read a vernier dial since there is no digital readout, and that in itself can be very intimidating to people. General acceptance of new people, new ideas, overall comfortable atmosphere Unskilled/dangerous and distracting people slow or stop the creative process Respectful of space Yes due to personality clashes. Understanding the proper use of a tool/machine, is much more comfortable than someone just "winging it" I am most comfortable working with others around- doesn't matter who. Skill level. Some new makers need constant supervision. i've not worked in a shared studio doing this type of work, so I don't know.

When thinking about your level of comfort/belonging in a makers-space, does gender No come into thought? What about age? 25 responses

When thinking about your level of comfort/belonging in a makers-space, does gender come into thought? What about age? Age 25 responses

Gender

68%

Both! Neither Age

68%

12%

Gender Both! Neither

20% 12% 20%

Do you nd the community created within the creative studio/space in an important factor in your membership? 21 responses

Do you nd the community created within the creative studio/space in an important factor in your membership? Yes, for sure. I want to want to go back to be with my people. 21 responses I like to brainstorm with intelligent people Yes. I don't want to be brought down or lessen the quality of my artwork or career due to homogeneity of the group think Yes, for sure. I want to want to go back to be with my people. Yes - it helps build con dence and comfort in a space & in personal craft I like to brainstorm with intelligent people If I were part of a creative space, yes, community would matter. Yes. I don't want to be brought down or lessen the quality of my artwork or career due to homogeneity of the group think Not sure- membershipni. What? Yes - it helps build con dence and comfort in a space & in personal craft That is the main reason that I have membership. I want to interact with adults. My job is working with kids and adults, as a teacher. I needed If I were part of a creative space, yes, community would matter. a space to be with people that are creative and fun. I also love that I am hanging out with people who are smart. That is another reason I remain a member of a makerspace. Not sure- membershipni. What? yes That is the main reason that I have membership. I want to interact with adults. My job is working with kids and adults, as a teacher. I needed a space to be with people that are creative and fun. I also love that I am hanging out with people who are smart. That is another reason I I nd it's important to make friends while working, as they make it more enjoyable. remain a member of a makerspace. 102 | CREATE - SUSTAIN - SHARE Community unimportant in my lone experience yes

yes I nd it's important to make friends while working, as they make it more enjoyable. Community unimportant in my lone experience Somewhat Usually they are there for the equipment that is available. Therefore overlapping interests using those machines and hand tools lead to common goals. I think too much focus on "community", can actually be detrimental at times. Yes, I enjoy talking with the regulars , and we help each other out when we can. However most of my time there is alone, which makes it Not to expand my community just to be welcomed. easier for me to concentrate on my work. Critical 3rd party eyes are wonderful Very, if you will be working along side people they should be close like family Yes Yes, Iit's more interesting to work with, and other's around. It'sother helpful havewe input othersmost if youofneed it. It there gives is you morewhich energy to produce Yes, enjoy talking with the regulars we help each outtowhen can.from However my time alone, makes it work. easier for me to concentrate on my work. Yes. Collaboration has beenalong quiteside lucrative forthey me.should be close like family Very, if you will be working people that would probably be a to factor i wasother's considering a shared studio Yes, it's more interesting workifwith around.joining It's helpful to have input from others if you need it. It gives you more energy to produce work. Yes Yes. Collaboration has been quite lucrative for me. that would probably be a factor if i was considering joining a shared studio Yes

Tools

WhatTools are 2-3 tools and/or machines you use regularly for your project work? 25 responses

laptopare computer, dryer,and/or mat cuttermachines you use regularly for your project work? What 2-3 hair tools 25 Laser, responses 3d, diy tools Impact drills. Professional lights. Extension ladder. laptop computer, hair dryer, mat cutter Laptop, printer, drafting supplies Laser, 3d, diy tools Much simpler: Paper, pen, brushes. Impact drills. Professional lights. Extension ladder. Power drill, hand tools, butane torch Laptop, printer, drafting supplies Computer Much simpler: Paper, pen, brushes. CNC Laser, sewing machine, table saw Power drill, hand tools, butane torch computer,printer Computer Drill press, Angle grinder, hand drill CNC Laser, sewing machine, table saw 3D-printer, milling machine, lathe machine computer,printer glass cutter, running pliers, grinder Drill press, Angle grinder, hand drill Hand tools power tools 3D-printer, milling machine, lathe machine Cameras, hand drills, screwdrivers, circular saw, table saw, belt sanders, lighting, mat cutters, backdrops, computers, scanners, printers, and numerous other items that so not come to mind. glass cutter, running pliers, grinder DESIGN metalworking RESEARCH BOOK Cordless power tools, tools. | Hand tools power toolshand tools, power saws of multiple types, general woodworking tools, welder, mill, general

103

Welder, table saw, anvil, saw horses,circular miter saw, Cameras, hand drills, screwdrivers, saw,panel table cart, saw, drill belt press sanders, lighting, mat cutters, backdrops, computers, scanners, printers, and

Pottery wheel, kiln, wedging table. Hand tools, home made machines to do the project (jiggs) Pottery wheel, kiln, wedging table. Oven and ventilation system, Hand drill, wire cutters, shipping department Hand tools, home made machines to do the project (jiggs) Metal saw(s), welders, grinders. Oven and ventilation system, Hand drill, wire cutters, shipping department electric burner, computer, camera Metal saw(s), welders, grinders. Pottery wheel, kiln electric burner, computer, camera Computers and light box Pottery wheel, kiln Computers and light box

What is a tools and/or machine that you use infrequently, but is great to have around for those necessary projects? What is a tools and/or machine that you use infrequently, but is great to have around for those 22 responses necessary projects? 22 responses Photography/lighting equipment Vinyl plotter, 3d scan, soldering.. Photography/lighting equipment Forklift. Scissors lift. Generator. Chop saws. Vinyl plotter, 3d scan, soldering.. Lightbox for tracing Forklift. Scissors lift. Generator. Chop saws. A good paper cutter. Lightbox for tracing Printing equipment A good paper cutter. Welder, bandsaw, drill press Printing equipment laser, yes it is. Welder, bandsaw, drill press Grinding wheel, chop saw, les laser, yes it is. CNC machine Grinding wheel, chop saw, les Light box CNC machine Drill press Light box Wood Lathe, router duplicator, oscilloscope Drill press biscuit jointer and router Wood Lathe, router duplicator, oscilloscope tubing bender biscuit jointer and router Light box tubing bender Pug mill, clay waste bin, laser cutter to make customized stamps. Light box Metal sheer Pug mill, clay waste bin, laser cutter to make customized stamps. Photo back drop, printer, texture stamps, cookie cutters, Metal sheer Table saw Photo back drop, printer, texture stamps, cookie cutters, Table saw 104 | CREATE - SUSTAIN - SHARE

When working in the studio, do you bring or use a computer or digital program? 26 responses

When working in the studio, do you bring or use a computer or digital program? Yes

26 responses

19.2%

Maybe Yes

7.7%

19.2% 73.1%

Maybe 7.7%

73.1%

Would it be useful to have a public computer at the studio? What about a print shop? 22 responses

Would it be useful to have a public computer at the studio? What about a print shop? Computer(s)

22 responses

Computer with programs Computer monitors (connect person…

22.7%

Workstation Computer(s) Print shop Computer with programs All of the above Computer monitors (connect person… Printshp ok but do not want to shar… Workstation If I were part of a studio or creative… Print shop

22.7% 40.9%

All of the above 1/2 Printshp ok but do not want to shar… If I were part of a studio or creative…

40.9%

1/2

Materials Materials What is the typical size of your project work? 26 responses 3 (11.5%) XS -typical Pocket sizesize of your project What is the work? 7 (26.9%)

S - Laptop size or 12"x12" 26 responses M - Dining chair size or 2'-4' Large - Kayak size or 4'-8'

9 (34.6%) 1 (3.8%)

XL - Large furniture or 8'+

3 (11.5%) 7 (26.9%)

Changes often Varies I make ceramics, so the size varies fro… 0

1 (3.8%) 1 (3.8%) 2

DESIGN RESEARCH BOOK |

105

25 responses

Do you work on prototyping, or mostly personal projects? Prototyping 25 responses

Personal 76% Prototyping Personal 76%

24%

What 3 materials do you use most often, or the most of? 23 responses

What N/A 3 materials do you use most often, or the most of? 23 responses What are you referring to? What 3 what? Material?? Plywood, pmma, pla N/A Your question is confusing: 3 what? What are you referring to? What 3 what? Unsure of the question. Material?? Plywood, pmma, pla 3 what? Your question is confusing: 3 what? ? I don't understand the question. Unsure of the question. Metal, wood, bone 3 what? sheet glass, solder, zinc came Plastic and metal ? I don't understand the question. Aluminum steel cooper Metal, wood, bone Depends on the project. Finishing materials vary, but are needed for almost everything. Wood, solder and wire may be the most generic of an answer, butmetal everything needs fasteners or fastening of some sort; be it adheisve, mechanical fastener, or welding. Plastic and wood (various types), Metal (various types) Steel, wood, plywood paper Computer Clay, glaze, wood. Mild steel, stainless steel, wood. Polymer Clay, found objects, wire Steel, wood, aluminum. oils, herbs, beeswax clay & glaze 106

| CREATE - SUSTAIN - SHARE Fabrics, Flooring, and Tiles

Which material be the best to have available at the studio? Which material be the best to have available at the studio? Sold New Shared Donated Free None 10 Sold New

Shared

Donated

Free

None

105

Metal

Wood

Plywood

Glass

Plastic / Acrylic

Metal

Wood

Plywood

Glass

Plastic / Acrylic

Which are you most likely to use second-hand or from scrap materials? 24 responses

Which are you most likely to use second-hand or from scrap materials? Metal

24 responses

Wood Plywood Glass Plastic Fabric

33.3%

Cardboard 29.2%

None of the above. 1/2

Would your project materials or supplies need a docking / drop off area? 25 responses

Yes

44%

No Maybe

28% 28%

DESIGN RESEARCH BOOK |

107

Storage

If public storage (donation area) was available at your studio/lab, would that be a useful amenity? 25 responses

Yes!

12%

No Maybe

16%

72%

What type of storage would best work for your materials?

What typeMaterials of storageTools would best work for your materials? 15

Materials

Tools

15 5 10 0

Lockers

Drawers

Closet

Cubbies

Shelves

Handing storage, wall space

Racks

Lockers

Drawers

Closet

Cubbies

Shelves

Handing storage, wall space

Racks

In the studio, how are you working?

20 studio, Standing Sitting Both In the how are you working? 15 20 10

Standing

Sitting

Both

15 5 10 0

Standard height table

Machine

Computer

Painting

Lounge/Sofa

Other

Machine

Computer

Painting

Lounge/Sofa

Other

108

CREATE - SUSTAIN - SHARE Standard height table

Indoor Environment

levels/quality] In regards to your studio/maker space, what is theAcoustics most [sound important feature for a Lighting 32% productive space? Air Quality / Ventilation

25 responses 12%

56%

32%

Acoustics [sound levels/quality] Lighting Air Quality / Ventilation

12%

56%

What type of lighting do you prefer while working? 25 responses

What type of lighting do24% you prefer while working? 25 responses

16%

28%

Daylight / Windows Some daylight but mostly adjustable lights Some adjustable lights but mostly daylight Controlled, all adjustable light fixtures Daylight / Windows

24% 32% 16%

Some daylight but mostly adjustable lights Some adjustable lights but mostly daylight Controlled, all adjustable light fixtures

28% 32%

When working in your studio, how often do you adjust the audio (music) or light (dimmer, color, off)? 25 responses

When working in your studio, how often do you adjust the audio (music) or light (dimmer, Often color, off)? Sometimes 25 responses

16%

36%

Rarely 8%

Never / Not an option Often Sometimes

16% 36%

Rarely

40% 8%

Never / Not an option

DESIGN RESEARCH BOOK |

109

In the workshop, are their things you do or change to the environment to make it more productive or comfortable for your work? 20 responses

Sound mitigation is important, as well as good lighting and ventilation. Nice to have steady clean air ow. Better noise separation Yes. Air quality is extremely important. Noise level is second. Then light. And then smell. More customizable air ventilation/temperature In my home studio, I wish I could have soundproof walls to cut out the noise of the TV. I prefer quiet s music. noise and air quality no Sort my materials befor a project There isn't anything I would change. Better lighting None Having my own space allows me to set things where I want. Not so easy in a shared space. ventilation Bathroom nearby Better heat, it tends to be freezing cold due to poor insulation. Better audio quality I have some areas that are not as well lit. Sometimes I have air conditioning issues because the other artists want a colder space. Blast Irish folk music. noise of everyone or if people are playing music aloud

Waste Habits

How do you dispose of or reuse your scrap materials? 26 responses

110

CREATE - SUSTAIN - SHARE

Waste Habits

How do you dispose of or reuse your scrap materials? 26 responses

6 (23.1%)

Garbage Recycle what I can

20 (76.9%) 8 (30.8%)

Keep at studio storage 5 (19.2%)

Take home Donate

8 (30.8%) 7 (26.9%)

Leave at the studio – free area Scrap can have intrinsic value, however

1 (3.8%) 1 (3.8%)

If a studio didn’t have a trash/recycling system, how would that affect your studio work habits? 26 responses

15.4% 30.8%

11.5%

Sounds awesome! I’d bring my excess materials home I would sell or donate the materials I would toss them elsewhere I wouldn’t join that studio

42.3%

DESIGN RESEARCH BOOK |

111

S U RV E Y PA RT I C I PA N TS F E E D BAC K - E M A I L I have included here a few responses I received from my survey participants. These two artist responded with wonderful feedback and information that I’m able to use to better set up and collect my research as well as inform element of my design process and planning. From: To: Subject: Date:

Louisa Podlich Yardley, Shoshana Re: Questions for Creatives Part II Monday, November 18, 2019 9:00:55 AM

This message is from an external sender. Please use caution when clicking on links or attachments.

Hi Shoshana, I've filled out your survey but wanted to let you know the questions were a little vague in some places and a little specific in others. It seemed that the questions were directed towards private studios or shared workspaces for the most part. My studio, and many others like me, are in private studios in a public building (I'm in the Northrup King Building), meaning we all have our own private work spaces in a larger communal building, but without shared amenities. I had a hard time answering some questions as a result. This is not a critique on your survey, but rather I wanted to share that my (and/or other artists in my situation) answers to your questions might skew your results because we don't fit into the boxes very well. Something to take into account as you move forward with your thesis. All the best, Louisa On Mon, Nov 11, 2019 at 1:02 PM Yardley, Shoshana <yarsho@dunwoody.edu> wrote: Hello!

Thank you very much for taking part in my Questions for Creatives Survey. I’ve started to explore the collected data and develop my thesis narrative with this information. In my last survey, you answered that you would be open to taking Part II of the survey. I’ve been a bit delayed in replying, but am excited to be emailing Part II this week and would love your participation if you are still able. I’ve include the link below. For a short reminder of my project, the information gathered from the survey will only be used for my thesis project and will not be publicly published or shared with any outside sources. Participation is anonymous. The survey reflects my project objectives including sustainability, how makers and creatives work, types of tools and workspaces, material reuse and consumer habits. Link to survey: https://forms.gle/GopkRymcY5kAeqHS6 As always, please reach out with any questions! Much thanks!

Shoshana Yardley Interior Design Student Dunwoody College of Technology 112

CREATE - SUSTAIN - SHARE

From: To: Subject: Date:

blspen@jetup.net Yardley, Shoshana Re: Questions for Creatives Part II Monday, November 11, 2019 11:15:15 PM

Hi, This is from an left external sender. I did themessage second part and was with some questions. It does seem you aiming at a “one size fits all” kind of outline, but from my Please use caution whenofclicking on maybe links or attachments. own experiences, these types spaces are best compared to moss, (maybe not the best allegory, but perhaps the best to convey the concept,). The spaces tend to form around an area where some people with common interests are pooling resources to develop a siteHi, that works for them.

I did the second part and was left with some questions. It does seem you

You might look up on Facebook: “CocreateX Catalyst”. Started initially by some tech oriented people, some from 3M. Their space aiming at a "one size fits all" kind of outline, but from my own experiences, is in some ways technically oriented, which can be intimidating to many these days, but they are trying to reach out and teach people these types of spaces are maybe compared to moss, notbethe some CAD/Rendering programs, and tobest program their CNC table (maybe which can set up with either a router or a laser. Now their fundallegory, the best to initial convey the concept,). spaces ingbest is largely frombut the perhaps membership, but the backing was from aThe number of the principals who were well off financially. tend form around annon-profit area where someMinnesota.” people withPart common interests They aretoaffiliated with the “Invent of the “issue” I seeare with them, (if you can even call it that) is that their outreach efforts have not been as effective as they could be. They had some grand plans for their location at “the house”, but pooling resources to develop a site that works for them. practical considerations of traffic flow in the area are sometimes overlooked as it is on older neighborhood in St Paul near Sheppard Road, manylook ideasupget but"CocreateX not executedCatalyst". due to people traveling, or some Youand might onconceived, Facebook: Started initially by not being immediately close to the location, so some efforts have lost direction. But with that said, they are helpful, they are trying to shoehorn a lot of equipment into a small space, some tech oriented people, some from 3M. Their space is in some ways Their advantage is they are adequately funded, but not well utilized in some ways in their efforts for production spaces for example.

technically oriented, which can be intimidating to many these days, but they are spaces tryingare to reach andAnd teach people some CAD/Rendering programs, Other not so out lucky.. it costs a fair chunk of money to create a “501C3”. So relying on donations of materials or and to program CNC candobenotsetgetupthat with router And or a up where I am, there once was a creative equipment or moneytheir are hard to table come which by if they taxeither exempta status. space, which was a 501C3, but some of the people handling the money took off with laser. Now their funding is largely from the membership, but the initial about 50,000 dollars, which in effect doomed the entire enterprise. This was in Princeton. But the space waswere not well for moneymaking ventures, for had it been, they might backing was from a number of the principals who wellplanned off financially. have been able to weather that financial crisis. I have been in contact with a couple They are affilliated with the non-profit "Invent Minnesota." Part of the of people in NorthEast Minneapolis area who were looking to set up a space themselves, more oriented to wood/plastic projects, but they had not taken into consideration the needs "issue" I see with them, (if you can even call it that) is that their outreach for the space before they even move in. Power for machinery, HVAC considerations, liability insurance, etc. Not to mention machinhave not been as effective as they could be. They had some grand eryefforts acquisition. plans for their location at "the house", but practical considerations of trafic in the are sometimes overlooked as it is on older Asflow a result, likearea moss, these grow where they can survive. They alsoneighborhood tend to developinalong the needs of those who use it the most, so those kinds of tools relating to the initial goals ;and machinery show up St Paul near Sheppard Road, and many ideas get concieved, butthere. not Now having worked in sometravelling, different industries, wood oriented endeavor often executed due to people or someanot being immediately closeneeds to metalworking, either in house or contracted. (cost versus benefit and need determine which is the cost effective approach.). Metal the location, so some efforts have lost direction. But with that said, they work needs finishing, wood products need finishing. So some overlaps do happen. Some commonalities regardless of endeavor do happen as well. are helpful, they are trying to shoehorn a lot of equipment into a small advantage is they aredevelop adequately funded,they but actually not welldevelop utilizedwhere there are enough people who see a need, Sospace, as muchTheir as it may seem these spaces in a vacuum, some ways in their from efforts for And production spaces for example. andinthey grow organically there. if there are not enough people, some go it alone. A lot of machinery is out there for not terribly much money, in part because knowledge has shrunk, has been shrinking about 1970, Otherthat spaces are notbase so lucky.. Andand it costs a fair chunksince of money to yet the web has been underutilized as there is so much information out there if people show the initiative to find it. However some create a "501C3". So relying on donations of materials or equipment orof the details and tips may get lost.

money are hard to come by if they do not get that tax exempt status. And

Such as that of “Radial Arm Saw” safety. They must be anchored to a wall, and to reduce the chance of “kickback”, they should be up where I am, there once was a creative space, which was a 501C3, but using what is called a “Reverse Angle” blade. This may be something you know, but the chances are greater that you do not. Radial some ofcan thebepeople handling the are money tookuseful, off with 50,000 Arm Saws dangerous, but they also very andabout safer and moredollars, accurate than trying to cut a 4x8 sheet of plywood on whichcontractor in effect sized doomed entire enterprise. This wasofinthePrinceton. But the same accuracy in regards to that 4x8 sheet a typical tablethe saw. A panel saw can do much same with almost spaceaswas not well planned forit moneymaking ventures, forwall hadspace it been, of the plywood the Radial Arm Saw, but also occupies more floor and as a dedicated machine, whereas an extension table forthey a Radial Arm sawbeen can also a simple that chopfinancial saw and other machinery utilizing might have ablehave to weather crisis. I have been in and incorporated into that table space, not to mention storage, contact with aunderneath. couple of people in NorthEast Minneapolis area who were

looking to set up a space themselves, more oriented to wood/plastic

Yes, this is lengthy, and I apologize for that, but there is often far more underlying a simply seeming concept which should be given projects, but they had not taken into consideration the needs for the space some consideration for a more complete answer. theyany even move in. Power forfuture machinery, HVAC Sobefore if you have questions, now or in the if you decide to considerations, try set up a space, even for just limited manufacture of “Arts and liability etc. Not to mention machinery acquisition. Crafts” typesinsurance, of furniture, or bookcases, or custom furniture, go ahead and ask them. If I do not have an answer, I know people who do.

As a result, like moss, these grow where they can survive. They also tend

John to McPherson develop along the needs of those who use it the most, so those kinds of

tools relating to the initial goals ;and machinery show up there.

Now having worked in some different industries, a wood oriented endeavor often needs metalworking, either in house or contracted.(cost versus

DESIGN RESEARCH BOOK |

113

“Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They’re not of rules. And they have no respect for the status quo. You can quote them, disagree with them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things.” JOHN APPLESEED, AMERICAN PIONEER NURSERYMAN

114

CREATE - SUSTAIN - SHARE

S U S TA I N Sustainable Effor ts

Bu z z w o r d s Circu lar Economy Zero Waste M ate r i al Trans p are ncy Green Design Indoor Air Quality

Human Factor

Wor kb e nch Erg onom i cs Standard Dimensions

DESIGN RESEARCH BOOK |

115

BUZZWORDS S U S TA I N A B I L I T Y noun

â&#x20AC;˘ the ability to be maintained at a certain rate or level. â&#x20AC;˘ avoidance of the depletion of natural resources in order to maintain an ecological balance. Sustainability means living within the resources of the planet without damaging the environment now or in the future. And creating an economic system that provides for quality of life while renewing the environment and its resources.

116

CREATE - SUSTAIN - SHARE

CI RCU LAR ECONOMY A circular economy is based on the principles of designing out waste and pollution, keeping products and materials in use, and regenerating natural systems. “It’s a new way to design, make, and use things within planetary boundaries.” Shifting the system involves everyone and everything: businesses, governments, and individuals; our cities, our products, and our jobs. By designing out waste and pollution, keeping products and materials in use, and regenerating natural systems we can reinvent everything. In a circular economy used resources are brought back into the production life-cycle without creating dumps. Its major criteria are restoration and recycling. Using the concept of circular economy. Circular economy is an alternative to todays consumer attitude, “take, make and dispose”.

ZE RO WA S T E Zero Waste means designing and managing products and processes to reduce the volume and toxicity of waste and materials, conserve and recover all resources, and not burn or bury them. This is a challenge for all of us, but it definitely nurtures our creativity and the environment.

S U S TA I N A B L E D E S I G N

We need to be thinking about sustainability in everything we design and engineer, no matter who we are or at what scale our projects exist. Sustainable design requires a keen understanding of a product’s end users and context. Sustainable design uses greener materials and consumes resources responsibly. It considers the lifetime of what is being made and designs it to be repairable or recyclable. Its results should be energy efficient during use, and designed for disassembly and component reuse/ recycling at the end of their lives.

OPEN SOURCE The term “Open Source“ started as a technical definition for sharing software code, but has evolved into a belief that everybody should benefit from the sum of human innovation. In recent years it has migrated from applying to code, to physical products (open source hardware) and even culture (Creative Commons). Everything is being documented and put online to increase the impact of the tools created. With Open Source practices, the hope is to build a more responsible, innovative and equal society. DESIGN RESEARCH BOOK |

117

LINEAR ECONOMY

Wasteful LOSE VALUE

118

CREATE - SUSTAIN - SHARE

CIRCULAR ECONOMY

Regenerative RETAIN VALUE

C I RC U L A R INFLUENCE T

he circular economy has become a major component in many business plans to lower carbon emissions including many governments, institutions, companies, and environmental organizations. The goal of a circular economy is to have resources continually re-used thus reducing (eliminating) mining activity and waste production. By keeping resources in use for as long as possible and then recovering and regenerating at the end of their service life, this circular plan aims to redefine growth, focusing on positive society-wide benefits. The focus is on recycling, not just materials but entire products – the recycling process would increase by designing products so that they can easily be taken apart and recycled or reused without creating new materials or breaking down the material to be remade again. The second focus in the circular economy approach is developing alternative consumer culture. A culture where consumers would no longer own products, but would loan them from the manufacturers. A product then becomes a service, “which is believed to encourage businesses to improve the lifespan and recyclability of their products.” When things are too complex to recycle, then what? Our idealistic views on our current materials and their potential to be recycling and recirculated into the waste stream is far from 100% efficient. What used to be a circular path, when our clothes were decomposable and our food waste was used as animal food and new buildings were made from old buildings was long ago and our resources now have changed and there are major differences between them. Modern products are made from a wider diversity of (new) materials, and most are not decomposable or easily recycled. For example, a recent study on the development of a “recyclable” modular smart-phone the Fairphone 2 shows this goal is nearly impossible with the use of certain synthetic materials and batteries. “Only 30% of the materials used in the Fairphone 2 can be recuperated. A study of LED lights had a similar result.”

With the circular economy plan, 20% of the total resources used worldwide are fossil fuels and more than 98% of that energy used as a source of energy and can’t be reused or recycled. When thinking about the accumulation of resources, a considerable portion of all resources – about 1/3 – are neither recycled, nor incinerated or dumped: they are accumulated in buildings, infrastructure, and consumer goods. When we continue to accumulate raw materials, we continue the illusion of closing the material life cycle – even for the recyclable products. For example, “recycled metals can only supply 36% of the yearly demand for new metal, even if the metal has relatively high recycling capacity, at about 70%. We still use more raw materials in the system than can be made available through recycling – and so there are simply not enough recyclable raw materials to put a stop to the continuously expanding extractive economy.” While there are many studies and research done that criticize the circular economy model and doubt it’s practical and beneficial change, the core sustainable ideas inspired me to think differently about the materials we consume and those materials life-span and how we as individuals and as a community can re-think our attitudes and see the potential and re-use of our everyday products and work materials. The following sections relate to the research and understanding of sustainable materials, green buildings, environmental behavior. To best frame these ideas and project research, I begin and end each topic with a question. What is ___? and How can I implement this into design? Topics include; ZERO WASTE GREEN ARCHITECTURE - RESILIENCE MATERIAL TRANSPARENCY AND OTHER CONSIDERATIONS

WALKABILITY, PUBLIC TRANSPORTATION,

DESIGN RESEARCH BOOK |

119

Zero Waste Beginning with our current understanding of the natural materials and the waste stream, our production system goes one way—from the earth to the dump: 1. 2. 3. 4.

Natural resources are extracted. Manufactured. Often through polluting, toxic and wasteful practices. Distributed. Often shipping them long distances, from manufacturing to sale. Products are purchased and used, then pitched into the landfill or an incinerator and the value of those resources are destroyed.

When new products are needed, they are pulled from the natural resources, as if we have an infinite supply. On a similar note to a circular economy (and relatively interchangeable), a zero waste system is cyclical, like in nature, and does two fundamental things: “It redesigns our systems and resource use—from product design to disposal—to prevent wasteful and polluting practices. It then captures, discards and uses them, instead of natural resources, to make new products, creating far less pollution and feeding the local economy.” A typical zero waste system has a rigid approach with lots of

120

CREATE - SUSTAIN - SHARE

new systems and behaviors to be implemented for optimal success and an empowered community. New rules and polices that will approach using and conserving natural resources, new manufacturing processes and a smarter design concept where the manufacturers are responsible for full life-cycle products and the incentive to design for the environment. New programs that shift our current culture away from wasting and towards a strong, clear sense of responsibility for our planet and our future, and new resource recovery infrastructure that will replace landfills and incinerators and recover 90% or more of our discards. The system of zero waste intrigued me and I wondered how we can apply elements of this system into building construction, consumption, and user function. Although I do not think a zero-waste maker-space is practical for this project scope, I hope to implement parts of this systematic thinking to the building construction and maintenances such as water, energy, and air. Part of my design hypothesis is to combine how the project’s users will utilize the buildings spaces and multi-use amenities to tighten the waste cycle within the building. The opportunity of reuse and sharing the materials by reducing and limiting the waste produced and discarded within one space.

“More energy is expended during the manufacture, delivery, and assembly of building materials than at any other point during a building’s life-cycle.” - Gensler, Impact By Design

m a te ri a l impact In 2018, Gensler published Impact By Design, a collection of Strategies for Positive Impact in six major areas. The areas are thought to have the greatest potential for positive climate impact in the coming years. The six include, but not limited to: Form, Materials, Adaption, Energy, Water, and Intelligence. In this section I’ll be referencing the materials strategies and will briefly include some of the other strategies with green architecture. “Materials, we must focus on understanding materials from a life-cycle perspective to truly understand our impact.” This quote reiterates the urgent need of minimizing embodied carbon, which is the amount of CO2 emitted during the manufacture, delivery, and assembly of materials, plus end of life emissions. There are many ways to begin minimizing these embodied carbons in the materials we specify everyday, starting with selecting low-impact materials for the buildings architecture and interior. By raising awareness of the benefits of alternative building materials such as wood (that absorbs carbon) or concrete mixes that emit lower levels of CO2 during manufacturing. It means focusing on external and internal materials with minimal carbon impact - extraction, production, transportation - as well as it’s durability and resilience in order to build to last and increase life-space.

th e sh if t “Re-using or refurbishing materials can dramatically reduce a project’s embodied energy by avoiding emissions from extraction, production, and transportation.” • • • •

Specify materials that minimize carbon production, Locally sourced materials that don’t require much energy to transport, Use resilient materials with longer lifespans, Consider each material’s life beyond present use,

Then we can significantly lessen the environmental impact our buildings have before occupancy even begins.

Shifting our focus towards a longer lifecycle in all aspects of design meaning every material, furniture, and fixture, and understanding the energy and carbon expended in the beginning of the products life and at the end (creation to demolition/reuse).

DESIGN RESEARCH BOOK |

121

Transparency from Perkins + Will What is Transparency? As an industry, we are learning more and more about the materials we make and use, our understanding of their ramifications on the health of the ecosystems and the health of individual users. Perkins + Will architecture and design firm saw a lack of transparency and understanding of the implications that our construction specifications have on our buildings and cities. The firm developed an online database of building materials that contain substances that are suspected to be harmful to health, called Transparency. The firms goal is to “encourage the building product marketplace to become more transparent from extraction to end of life for all points of contact, from manufacturers to de-constructors, so that people are further empowered to make informed decisions about specifying, maintaining and disposing of the products in their buildings.”

The chemical’s affect on our health depends on many factors: • Duration of exposure • Extent of exposure • Timing of exposure • Vector of exposure • Number of exposures • An individual’s metabolic rate • An individual’s genetics

How can I implement this into design? Understanding the ingredients of materials specified in the building construction is a way to help improve the interior environment, the overall design ecosystem, and how the users will interact and feel within the space. Taking the information and utilizing the transparency database, I’ll be able to better specify and design this project to not only facilitate an environmentally healthy building, but a building that is healthy (or more conscious) of it’s end users.

“Every transformation begins by recognizing the need for change.” Our bodies are able to process a large range of substances. Bioaccumulation - substance build up in the body - can have negative effects when the substances accumulated can’t be metabolized or eliminated. This is where architects and interior designers have the ability to improve public health by specifying and influencing the building materials we surround ourselves with everyday. When a chemical enters our body if can affect us directly or after initial contact by interacting with other substances in the bloodstream. The complex processing with the individuals health can change the health outcome drastically. Chemicals are able to enter out bodies through different routes: • Inhalation (through the lungs) • Ingestion (through the mouth) • Absorption (through the skin)

122

CREATE - SUSTAIN - SHARE

PRECAUTIONARY LIST The Precautionary list is to be used hand-in-hand with the material lists provided by the product manufacturers to best compare the ingredient to chemicals and materials that should be avoided, contain questionable substances, or should find an alternative product. WATCH LIST • • • • •

Alkylphenols Grouping Bisphenols Grouping (Including Bisphenol S & F) Diethanolamine and Triethanolamine Formaldehyde Grouping expansion: Phenol and/or Melamine Methacrylate & Acrylate Grouping

Mindful Materials Mindful materials is another database that I looked into when researching material knowledge and specification mindfulness. What is Mindful Materials?

“MindfulMATERIALS is a design industry initiative that provides a common platform to clearly communicate building product transparency and optimization information.” The official platform of mindfulMaterials is a free online information website that holds information on products and materials that better inform specifiers choices regarding human health, environmental impacts within the design and construction industry. It’s a collaborative sustainable product platform, by the industry, for the industry.

and product selection for this project, I will begin to reference, document, and better understand the materials I’m specifying to best provide quality of materials for user’s health and to limit the amount of harmful materials used in construction. Materials that first come to mind are flooring opportunities, ceilings and acoustical elements, paint and wall finishes, air circulation and ventilation, plastics and other materials in furniture and equipment, etc.

This database (online library) provides a source list and product information regarding HPDs, Declare labels, Cradle2Cradle certifications and many other specific product documentation. How can I implement this into design? When thinking about the material

DESIGN RESEARCH BOOK |

123

In Gensler’s publication 2018 Impact By Design they categorize multiple strategies for positive impact through design and architecture, all of which fall under the broader concept of sustainable design.

G R E E N D ES I G N

FORM

At the beginning of this research book, green building design was briefly noted in reference the Interior Eco-System Design theory as the designed environment. In this section, Green Design will be more thoroughly defined and explained through architectural elements and opportunities for mindful, sustainable design. Green building (green construction or sustainable buildings) refers to both a structure and the using of processes that are environmental responsible and resourceefficient throughout a buildings life-cycle: from sitting to design, construction, operation, maintenance, renovation, and demolition. Green Design Principles Social Responsibility - Creating comfortable, healthy, sustainable buildings and environment’s Environmental Stewardship (Green Design) - Reduce energy consumption, greenhouse gas emissions, water consumption, and solid waste generation. Economic Profitability - Reduce costs and liability; increase value; and achieve more predictable results in design, construction, and continued building operations and maintenance.

“As designers, the greatest impact we can have on a building’s overall performance comes via the design of the building itself.” The decisions we make when designing and building a building are crucial to the performance and impact it has on it’s surroundings, and how we create experiences with minimal environmental impact. These ideals can be achieved, but require both new building forms openness to aesthetics, ability to experiment and a trial and error testing period in the early phases of design. Often, achieving true resilience the buildings and designers need to think outside of their typical routine. Urban form has a significant influence when determining the buildings strategies. An example is the streets layout determines building’s solar orientation, wind exposure, and other environmental factors. To consider re-use and adaptation, whenever possible, will guide building design for a future with limitless potential. Human behavior, technology, and use of physical space continue to evolve - how are we designing for these changes. Are our buildings easily deconstructed and reconstructed while reusing materials? Are we creating flexible and reconfigurable spaces that adapt? These are the questions of resilience; these are the questions of green design. ADAPTATION Adaptation in buildings coincides with zero waste concepts and the notion that the greatest decision to minimize our impact on the environment is to re-use buildings, spaces, and materials that already exist. Optimizing the performance and operational impact of a building is one (large) part of the overall carbon and climate impact. This is why developing ways to improve the performance of existing buildings without dismantling them, especially in large cities, where a huge sum of energy is used to tear down and rebuild buildings. When thinking

about just the energy usage of a new building, “it takes approximately 20-30 years of a typical building’s operations to equate the same amount of energy usage required to create the building from a materials and construction perspective.” Net zero often focuses on two strategies; energy reduction and energy creation - but by minimizing the energy a building needs is a important first step and the greatest potential for impact. ENERGY Energy is typically thought about in terms of reducing usage, while an equally important plan is working to offset energy needs with renewable sources. The tag line of the green building movement is often said as reducing energy and achieving “net zero.” When working to reduce a buildings energy, the more viable option it to take advantage of the location and forms, minimize material usage, and optimize performance. Pairing these strategies with sustainable technologies such as high performance facades and efficient systems, significantly reduces operational energy usage. WATER When designing for the long-term, a requirement is to think about water, and specifically water mitigation and minimizing water risks. All over the globe, coastal cities continue to need effective water management and resiliency to natural changes such as rising sea levels and frequent storm. “Cities are the economic engines driving growth in the 21st century,” and more and more cities are vulnerable to water and adopting progressive strategies towards designing with water is needed. INTELLIGENCE New sensor and network technologies continue to permeate our world. Our spaces, buildings, and cities will learn to leverage real-time data of occupant behavior and air quality/ temperature to dynamically optimize space performance and experience. Strategies that include breathable facades, automatically dimming windows or shades, demanddimming lights based on natural light levels, etc. are all parts that connect together into a larger orchestrated building energy management systems.

DESIGN RESEARCH BOOK |

125

E L E M E N TS O F G R E E N D ES I G N From the Bu l li t t Cen te r case s tu d y, I was ab le to pi ck ou t bu i ld i ng e lemen ts th at I ho pe to focus on du r i ng the d eve lo pmen t of th is projec t. These i nc lu d e , wal k a bi li ty and bi ke se r v i ces , i r resis ti b le s ta i rs a nd re g ene rati ve e levator, so lar p a ne l s , w i nd ows a nd s h ad es , and s t ru c tu ral m ate r i al s .

I N D O O R A I R QUA L I T Y The i nd oor a i r qu ali ty of th is s p ace is an i mpor tan t safe ty fe atu re , fu nc ti on al e lemen t, and h i g h pr i or i ty of i t â&#x20AC;&#x2122;s use rs . Whe the r you r craf t is woo dwor ki ng , g lass b low i ng , b ook bi nd i ng , ce ra m i cs , u pho l s te r y, fa br i cati on , we ld i ng or mech an i cs , e tc , a n a i r qu ali ty mon i tor i ng sys tem a nd a i r ci rc u lati on are cru ci al to the pro du c ti v i ty of a wor ks ho p. Re th i nki ng the p as t i d e a th at low ene rg y consu mpti on equ al s low i nd oor ai r qu ali ty, the cor rec t re g u lati ons a nd pro p e r d es i g n al low for both g o o d i nd o or a i r qu ali ty a nd ene rg y e f fi ci ency. The re are m a ny s t rate g i es for ven ti lati on i nc lu d i ng ; pro p e r targ e t and d esi g n valu es of i nd oor a i r qu ali ty and c li m ate , sou rce con t ro l , the e f fi ci en t removal of con ta m i n a n ts , pro p e r lo cati on of f res h ai r i n ta kes , c le a n i ng of i n ta ke ai r, e f fi ci en t a i r d is t r i bu ti on i n rooms by means of i mprove d ven ti lati on e f fi ci ency, heat recove r y f rom exh aus t a i r, con t ro l of ven ti lati on rates by a i r qu ali ty, cor rec t b alanci ng of a i r f lows , con t ro l li ng of i nd o or c li m ate local ly a nd usi ng ven ti lati on for n i g h t coo li ng .

126

CREATE - SUSTAIN - SHARE

Crucial to the working environment, is an air filtration system plays a major role in enhancing the quality of air within your environment, enabling the occupants to breath fresh air with ease, and minimize the accumulation of dust. One of the most critical air filtering system is the true HEPA filter, a high-efficiency particulate air filter, which is a specific mechanical air filter that works by forcing air through a fine mesh that traps harmful particles. When working in a workshop air control and ventilation is top on the list, this means controlling dust, temperature, other chemicals, particles, etc. Capturing and filtering these will ensure that the building and the users are healthy and productive. The best way of doing this is by having a good quality air purifier. Below are some common air filtration systems; • Standalone Anti-Static Cyclone Separator • Bosch GAS18V-3N 18V 2.6 gallon Vacuum Bare Tool • XPOWER P-430 1/3 HP Air Mover, Carpet Dryer, Floor Fan, Utility Blower • DEWALT DCV517B Baretool 20V MAX • 4″ Dust Separator Cyclone Kit for Barrels

DESIGN RESEARCH BOOK |

127

E RGO N O M I C S A N D H U M A N FACTO R

A R E YO U WO R K I N G AT T H E R I G H T H E I G H T ?

128

Every person and task within a workshop has different needs for their workstation to best suit their work style. This ergonomic and human factor information is important to consider when thinking about a variety of users, and a variety of different physical (wood shop and welding) and digital tasks (3D design and robotics). Getting the right proportions for standing at a workbench, circulation around the machine, tools at a reachable height, correct seating at desks, etc. are all elements of a workshop that if not considered will disrupt the productivity, flow, and safety of its users.

WORKSTATIONS When addressing workstation, an important aspect to think about is the degree of flexibility in height adjustment, “Incorrect working height is often responsible for extreme postures and motions at the workstation.” Working height and work surface height are often noted as the same, but it’s important to differentiate since the two are almost always different. The height of the work surface should be determined in relation to the height of the object being worked on and the task being performed. Here are some rules of thumb for working height:

Health ramifications regarding the workstation include multiple muscles in the arms, abdomen, legs and feet that are needed to perform activities. For example, good foot traction is important to exert force - and a high workbench may restrict this ability. Recent interest and research in the benefits of standing at work, it is important to remember the set backs of standing all day... when blood pressure and stability is diminished, leading to discomfort, fatigue and worse.

• Six inches above elbow height for fine work such as proofing documents or inspecting small parts. • Four inches above elbow height for precision work such as mechanical assembly. • Same height as elbow for writing or light assembly, • Four inches below elbow for coarse or medium work such as packaging.

CREATE - SUSTAIN - SHARE

S U RV E Y I I I General Recommendations: • Analyze requirements for work surface size and shape, adjustability, storage, component management, and so on. • Analyze your requirements for workstation height adjustment. Remember that height adjustment includes the chair, footrest, work surface, fixtures and product. There are several ways to manipulate the height of the workpiece: • Adjust the chair’s height. • Adjust the work surface height by cutting off the workbench legs, putting blocks under the legs, or using adjustment capabilities provided by the workbench manufacturer. For standing workstations, is the hand working height for normal assembly tasks between 36” and 48” (optimal fixed height = 42”)? For standing workstations, is the hand working height for smaller precision assembly tasks between 40” and 52” (optimal fixed height = 46”)? • Is there proper lighting for the task? Is task lighting provided where needed? • Is the space adequate for the smallest and largest worker for reach and clearance? ERGONOMIC VISUAL DISPLAYS For standing workstations, is the top line of the screen within the acceptable range of 58” – 71” above the standing surface? For seated workstations, is the top line of the screen within the acceptable range of 35 – 46” above the floor surface? • The viewing distance between 18” – 30” ERGONOMIC WORKSHOP • WORKSHOP CHAIRS - Many of today’s workshop chairs have ergonomically designed backs and seats that offer excellent support and relief to the lumbar region. A good chair has an adjustable seat angle, so you can adjust your sitting position.

to a traditional workshop chair and is suitable for tasks where you need to squat or bend down. The stool spares your back, knees and ankles. The stools are often equipped with shelves for tools, nuts and bolts, so you always have what you need at your fingertips. • WORKING LIGHTS - Poor lighting is a common cause of headaches and eyestrain. Invest in good working lights with adjustable arms that allow workers to shine light exactly where they need it. • TOOL PANELS –With tool panels, wall rails and mounting brackets, you get a good overview of your tools. You won’t have to rummage through boxes or bend down and look in drawers to find what you’re looking for. ENVIRONMENTAL FACTORS: • TEMPERATURE - extremes within the working environment that are either cold or too hot causing reduced circulation to muscles (in cold environments) or increased fatigue (in hot environments). • LIGHTING - Common lighting problems include: shadows that hide details, glare that shines in your eyes or off work surfaces and light that creates a poor contrast between work and the background. Lighting should enhance and not obscure details of work. PHYSICAL INFRASTRUCTURE CONSIDERATIONS: Size Safety, e.g. determine if OSHA approval is needed Soundproofing for loud equipment Wiring: Electricity, Internet Power, e.g. may need dedicated power lines for equipment with high power needs (3D printer, laser cutter) • Dust control, exhaust, air circulation • Need exhaust hoods and filters for some types of equipment, (laser cutters need exhaust because cutting acrylic is toxic) • Useful to have a separate dirt room and clean room • • • • •

• WORKSHOP STOOLS -Industrial stools are a great alternative

DESIGN RESEARCH BOOK |

129

S U RV E Y I I I 130

CREATE - SUSTAIN - SHARE

DESIGN RESEARCH BOOK |

131

132

CREATE - SUSTAIN - SHARE

FUNCTION S i te Lo c ati on

251 5 S . Ho lg ate S t ree t

Bu i l d i n g N e e d s

Base Plan Functional Needs

Prog ra m Re p or t Square-footage Occupancy

Inventory

To o l & E q u i p m e n t L i s t S p ace Layou ts Adj ace ncy P lans DESIGN RESEARCH BOOK |

133

makers, large mix-use developments and new housing plans. “The City of Tacoma has identified the Brewery District as one of the six “Opportunity Zones”.” Nearby is the University of Washington Tacoma campus with a large student and faculty population. On-campus, there is a large amount of retail and resultant revenue generated. Downtown Tacoma has a variety of entertainment venues, museums, and a growing nightlife, restaurants, and breweries. This proximity to the university and ever-growing retail and restaurant location made this location optimal for the maker space. Property Information: + Building size: 28,800 SF + Land size: 19,200 SF + Offering price: $3,895,000 + Flexible office/warehouse combinations + Classic brick building with high ceilings + Zoning: Warehouse Residential (WR) which allows for residential, office, retail and industrial uses + Located in the heart of downtown Tacoma near the The University of Washington Tacoma, Port of Tacoma and The Tacoma Dome + Close to I-5 and I-705 interchange AREA DEMOGRAPHICS: 1 Mile: Population 14,936, Average HH Income $58,26, Daytime Population 34,795 5 Miles: Population 267,637, Average HH Income $74,763, Daytime Population 309,526

251 5 S . H O LGAT E ST R E E T On the south side of Downtown Tacoma, 2515 South Holgate Street, is a large industrial building that is an icon to Tacomans as the Pacific Brewery Building, a large local brewing, and Malting Company since the 1900s. Building history: In 1900, the Pacific Brewing & Malting Co. was considered the best brewhouse on the North Coast. The company was in continuous building mode from 1891 through 1916 with a stock house, cooling plant, stable and warehouse as some of the additions. They manufactured Tacoma and Pacific beer brands and by 1909 was the second-largest brewing company in the state. It then closed in 1916 during the Prohibition and has since been converted to a multi-tenant building. It was added to the City and National Historic Register in 1978. The building is in the historic brewing District of Downtown Tacoma, a part of town that is currently revitalizing itself with new craft beer

134

CREATE - SUSTAIN - SHARE

From the information gathered in my surveys, precedent studies, and site visits I have considered a variety of programs, space requirements, and amenities to best address the space structural and spacial needs of the developing maker-space. By diving up the needs into three categories, I was able to best cluster needs, amount, and proportions to the spaces within this multi-use, multi-user space; create, sustain, share.

34%

â&#x20AC;&#x153; O F M A K E RS N OT E D T H AT A P U B L I C TOO L A N D M AT E R I A L L I B R A RY WO U L D B E E X T R E M E LY US E F U L . â&#x20AC;?

Create includes the functional elements of creation including the maker-space, fabrication labs, workshops, art studios, finishing rooms, private studios, etc. Sustain encompasses the green-design centered building, as well as the material collection and storage, the tool storage, and the connection to outdoors, such as an atrium and or green space. Share is the gallery and art shop within this space. These two are important elements in this space that support the members businesses. As well as a public area for the community to engage and participate in the art; create, support, and interact with the CoLAB initiative about rethinking materials with art.

FUNCTIONAL NEEDS CREATE - Maker-space - Artist Studios - Private Studios - Storage - Business Area - Classrooms - Administration Offices SUSTAIN - Material Collection - Material Storage - Material Store - Tool Storage SHARE - Entry - Art Shop - Gallery - Green space - Cafe

Base plan drafted by: Smoter, Devyn Lee Received: November, 2019

DESIGN RESEARCH BOOK |

137

F LO O R P LA N : L E V E L O N E

138

CREATE - SUSTAIN - SHARE

F LO O R P LA N : L E V E L T WO

DESIGN RESEARCH BOOK |

139

F LOO R P LA N : L E V E L T H R E E

P ROG R A M R E PO RT M A K E RS PAC E

AREA Gallery

SPACE

Storage

Makerspace

Art

Private Studio

Business

Misc.

Other

REQUIRED SQFT

OCCUPANCY

FURNITURE

EQUIPMENT

RECEPTION RESTROOMS ADMIN OFFICES LARGE GALLERY /EVENT SPACE SMALL GALLERY RETAIL (ARTIST WORK) STORAGE (SMALL)

220 500 200 1315 670 400 100

15 DESK, CHAIR 2 DESK, CHAIR, TABLE, STORAGE 44 STANDS, FLEXIBLE WALLS, SMALL SEATING, STACKABLE TABLES AND CHAIRS 22 STANDS, SMALL SEATING SHELVING, HANGING ART, CHECK OUT DESK SHELVING

COMPUTER COMPUTER AUDIO, PROJECTOR, LIGHTS AUDIO, PROJECTOR, LIGHTS COMPUTER -

LOADING AREA SORTING ROOM MATERIAL STORAGE (EXTERNAL) MATERIAL STORAGE (INTERNAL) TOOL STORAGE MATERIAL STORE (NEW, DONATION) ADMIN AREA DONATIONS DESK CHECK OUT / PURCHASE DESK RESTROOMS

760 500 2,000 600 1500 600 200 200 200 350

26 2 7 2 5 2 14 14 14

SHELVING, TABLES, CHAIR, DESK SHELVING SHELVING SHLEVING SHELVING DESK, CHAIR DESK, CHAIR, SHELVING DESK, CHAIR, SHELVING -

COMPUTER -

MACHINE SHOP WOOD SHOP WOODWORKING - FABRICATION LAB RAPID PROTOTYPING (LASER) 3D PRINTING AND ROBOTICS CNC SHOP ELECTRONIC SHOP METAL SHOP WELDING LAB FINISHING/ PAINTING ROOM WATER-JETT CUTTING ROOM

990 1743 1600 300 300 1098 450 1250 1433 350 450

5 9 8 1.5 1.5 6 3 7 8 2 3

WORKBENCHES, TABLES, CHAIRS WORKBENCHES, TABLES, CHAIRS WORKBENCHES, TABLES, CHAIRS WORKBENCHES, TABLES, CHAIRS WORKBENCHES, TABLES, CHAIRS WORKBENCHES, TABLES, CHAIRS WORKBENCHES, TABLES, CHAIRS

SEE INVENTORY SEE INVENTORY SEE INVENTORY SEE INVENTORY SEE INVENTORY SEE INVENTORY SEE INVENTORY SEE INVENTORY SEE INVENTORY SEE INVENTORY SEE INVENTORY

ART STUDIO (PAINTING) VIDEO/PHOTO STUDIO JEWLERY SHOP CERAMIC STUDIO TEXTILE WORKSHOP (SEWING, LEATHERWORK) PRINTMAKING

1500 300 450 1500 900 300

8 2 3 8 5 2

WORKBENCHES, TABLES, CHAIRS WORKBENCHES, TABLES, CHAIRS WORKBENCHES, TABLES, CHAIRS WORKBENCHES, TABLES, CHAIRS

SEE INVENTORY

STUDIO (PERSONAL) PERSONAL STORAGE

200 500 157.5

2 2

CLASSROOM / TRAINNING ROOM CO-WORKING ROOM COMPUTER LAB AND PRINT SHOP

580 800 500

RESTROOMS CAFÃ&#x2030; LOUNGE MEMBER KITCHENETTE GREEN SPACE (INDOOR/OUTDOOR)

880 900 900 500

STAFF SPACE OFFICE - MANAGER CUSTODIAN STORAGE CLOSET ELECTRICAL CLOSET, HVAC MECHANICAL ROOM

400 300 200 1,000 2,000 35796.5

29 TRAINING TABLES, TV, SMALL STORAGE, CHAIRS 54 LARGE OPEN SPACE 34 STORAGE, SHELVING, TABLES, CHAIRS

TOTAL SQFTG

COMPUTER COMPUTER COMPUTER -

SEE INVENTORY SEE INVENTORY SEE INVENTORY SEE INVENTORY

AUDIO COMPUTERS, PRINT EQ.

5 SMALL KITCHEN, COFFEE AREA 129 TABLES, CHAIRS, WORK AREAS 3 KITCHENETTE, SMALL DINING TABLE, CHAIRS, SHELVING OUTDOOR FURNITURE (PUBLIC ART)

27 WORK AREA, DESK, CHAIR, MEETING AREA 20 DESK, CHAIR, STORAGE 7 SHELVING

576

30% CIRCULATION

35796.5 10738.95 46535.45

140

CREATE - SUSTAIN - SHARE

I N V E N TO RY TOO L S & EQU I P M E N T M A K E RS PAC E

The right tool and equipment list is an individual process, based on the projects, users, and accumulation of the space, but there are some typical tools and equipment to help get each workshop started. The perfect combination takes time to add and adjust with time and use, but the following pages includes a suggested starting point of necessary equipment for each work shop. “Equipment always begets more equipment.” With equipment comes accessories, maintenance, storage, safety, and circulation. KEY TIPS: - Hand tools need toolboxes or cabinets to organize them. - Battery-powered tools need charging stations. - A vacuum is needed wherever there are cutting tools. - Safety considerations; as fire extinguishers, air filters, eye shields, first-aid. - Maintenance: Filters get dirty - Welders use wire and/or gas - A laser cutter’s tube will need to be recharged - 3D printers need filament.

S U RV E Y DATA 37% OF MAKERS THINK A PUBLIC TOOL RESOURCE TO BE EXTREMELY USEFUL. Question for Creatives Survey Part I

TOOLS REQUIRED: 10% CNC LASER CUTTING 29% WOODWORKING 42% WOOD SHOP TOOLS 13% MIG WELDING 22% METAL SHOP TOOLS 26% SEWING MACHINE 08% POTTERY WHEEL 81% COMPUTER 26% LARGE FORMAT PRINTING 40% ELECTRONICS

Question for Creatives Survey Part I

Tool images are retrieved from Makerspace. DESIGN RESEARCH BOOK |

141

SPOT WELDERS

R A P I D P ROTOT Y P I N G

Contacting metal surfaces are joined by the heat obtained from resistance to electric current.

WELDING & CNC 3D PRINTER

HAND-HELD PLASMA CUTTER

RAPID PROTOTYPING

WELDING & CNC

LASER CUTTER

OXY-ACETYLENE RIG

RAPID PROTOTYPING

WELDING & CNC

VINYL CUTTER

CUT-0FF SAW

RAPID PROTOTYPING

WELDING & CNC

CAD/CAM/DESIGN SOFTWARE

BENCH GRINDER

RAPID PROTOTYPING

WELDING & CNC

A machine for making a physical object from a 3D digital model, typically by laying down many successive thin layers of a material.

A machine that uses a laser to cut materials with a motion control system following a G-code of the pattern to be cut onto the material.

A computer-controlled plotting device with a blade instead of a pen used to cut shapes out of sheets of vinyl.

Computer-aided design and computer-aided manufacturing that is used to both design and manufacture products.

A tool for quickly cutting though sheet metal, metal plates, straps, bolts, pipes, etc.

A welding process in which coalescence is produced by a flame of oxygen and acetylene gases mixed together at the point of ignition.

An abrasive saw, typically used to cut hard materials, such as metal or ceramics.

A type of machining using an abrasive wheel as the cutting tool.

SANDERS

A power tool used to smooth surfaces by abrasion.

WELDING & CNC WELDING & CNC TIG WELDERS

SAND BLASTER

WELDING & CNC

MIG WELDERS

CNC ROUTER

WELDING & CNC

Tungsten inert gas welding: welding process that uses a non-consumable tungsten electrode to produce the weld.

Metal inert gas welding: a welding process where the filler metal wire supplies the electric current, which is shielded from the access of air by an inert gas.

142

CREATE - SUSTAIN - SHARE

A blast of air or steam carrying sand at high velocity to clean metal surfaces.

A computer-controlled cutting machine used for cutting various hard materials. The machine follows a G-code created from CAD/CAM software.

CNC WATER JET

METAL SHEAR

WELDING & CNC

MACHINE SHOP

PLASMA CUTTER

DRILL PRESS

An industrial-strength tool that has the capability to cut various materials by using an extremely high-pressure jet of water.

Plasma cutters work by sending an electric arc through a gas that is passing through a constricted opening. The gas can be shop air, nitrogen, argon, oxygen. etc.

WELDING & CNC

M AC H I N E S H O P

A machine used for cutting rough shapes out of medium-sized pieces of sheet metal, but can not do delicate work.

A machine used to drill or enlarge a cylindrical hole in a workpiece or part.

MACHINE SHOP

WOO DWO R K I N G

MILL

BAND SAW

SIZE: MACHINE SHOP

SIZE: WOODWORKING

LATHE

BENCH TOP DRILL PRESS

SIZE: MACHINE SHOP

SIZE: WOODWORKING

HORIZONTAL BANDSAW

BENCH TOP SANDER

SIZE: MACHINE SHOP

SIZE: WOODWORKING

VERTICAL BANDSAW

COMPOUND MITER SAW

SIZE: MACHINE SHOP

SIZE: WOODWORKING

FINGER BRAKE

HAND HELD TOOLS

SIZE: MACHINE SHOP

SIZE: WOODWORKING

a machine tool for rotating a cutter (milling cutter) to produce plane or formed surfaces on a workpiece, usually by moving the work past the cutter.

A machine for shaping wood, metal, or other materials by means of rotating drive that turns the piece being worked on against changeable cutting tools.

An endless saw, consisting of a steel band with a serrated edge running over wheels, which runs horizontally.

An endless saw, consisting of a steel band with a serrated edge running over wheels, which runs vertically.

A metalworking machine that allows the bending of sheet metal.

An endless saw, consisting of a steel band with a serrated edge running over wheels.

A machine used to drill or enlarge a cylindrical hole in a workpiece or part.

A sander used in shaping and finishing wood and other materials.

A specialized tool that lets you make cuts at a variety of angles.

A tool that firmly holds any material together. Include wrenches, pliers, cutters, files, hammered tools, screwdrivers, clamps, snips, saws, drills and knives, and more

DESIGN RESEARCH BOOK |

143

JOINTER

A plane used for preparing a wooden edge for fixing or joining another.

E L ECT RO N I C S & RO BOT I C S

WOODWORKING MITER SAW

A miter saw is a specialized tool that lets you make cuts at a variety of angles.

WOODWORKING PLANER

A tool used to produce flat surfaces by shaving the surface of the wood.

WOODWORKING RADIAL ARM PRESS

A large geared head drill press in which the head can be moved along an arm that radiates from the machine’s column.

WOODWORKING SCROLL SAW

A narrow-bladed saw for cutting decorative spiral lines or patterns.

WOODWORKING

CIRCULAR MAGNIFIER To magnify and provide light.

ELECTRONICS & ROBOTICS DVM

A digital voltmeter used to measure voltage.

ELECTRONICS & ROBOTICS OSCILLOSCOPE

A device for viewing oscillations as of electrical voltage or current, by display on the screen of a cathode ray tube.

ELECTRONICS & ROBOTICS SOLDERING STATION

A device that supplies heat to melt solder so that it can flow into the joint between two workpieces.

ELECTRONICS & ROBOTICS

TABLE SAW

A circular saw mounted under a table or bench so that the blade projects up through a slot.

STEREO MICROSCOPE

Low magnification observation of a sample.

WOODWORKING ELECTRONICS & ROBOTICS WOOD LATHE

A large geared head drill press in which the head can be moved along an arm that radiates from the machine’s column.

WOODWORKING

144

CREATE - SUSTAIN - SHARE

T E X T I L ES & F I B E R A RTS CUTTING TABLE

A long surface with a built-in yardstick on one edge and a long groove for scissors going across the center.

TEXTILES & JEWELRY

SC R E E N P R I N T I N G SCREEN PRINTING PRESS

A mesh used to transfer ink onto a substrate, except in areas made impermeable to the ink by a stencil.

SCREEN PRINTING TOOLS

DIGITIZER EMBROIDERER

DARKROOM DRYING RACKS

TEXTILES & JEWELRY

SCREEN PRINTING TOOLS

LOCKSTICH

POWER WASHER

TEXTILES & JEWELRY

SCREEN PRINTING TOOLS

Embroidery Digitizing is tracing artwork with stitches using software to turn it into embroidery files.

A sewing machines use a lockstitch stitch pattern that threads passing over each other and locking the fabric in between. Usually are very powerful and have very high stitching speeds.

A stand used to air dry screen prints.

A high power mechanical sprayer used to remove paint from printing presses.

OVERLOCK MACHINE

A type of sewing machine used for edging, hemming, or seaming.

J E W E L RY

TEXTILES & JEWELRY PLOTTER

ANNEALING PANS

TEXTILES & JEWELRY

SEWING MACHINE

BENCH PIN WITH HANDLES

TEXTILES & JEWELRY

DURSTON ROLLING MILL

BUFFING STATION

A cutting plotter works like a plotter, except that it moves a knife instead of the pen. Depth of the blade is adjusted to the material.

A handheld tool with a flat steel base that is heated (typically with electricity) to smooth fabrics,

A simple one that shares many traits with a mangle. Traditionally will have steel rollers; this means that when metal is passed between them it becomes compressed, changing the gauge or even shape of the piece.

TEXTILES & JEWELRY

A heat-reflecting sheet-metal pan that rotates on ball bearings.

A customizable multi-tools which can be clamped to any work surface to support small work for precise operations.

A station used to polish jewelry.

TEXTILES & JEWELRY DESIGN RESEARCH BOOK |

145

FORMING TOOLS

WAX INJECTOR

TEXTILES & JEWELRY

HYDRAULIC PRESS

POLISHING MACHINE

A tool so shaped that it imparts a predetermined contour or profile to the work.

A device using a hydraulic cylinder to generate a compressive force.

The centrifugal casting machine is the common mechanic equipment for the melting and casting of various high-melting point alloys.

Used to polish soft metals including copper and brass as well as plastics such as perspex.

TEXTILES & JEWELRY

SOLDERING STATION

METAL SHEAR

A machine used for cutting rough shapes out of medium-sized pieces of sheet metal, but cannot do delicate work.

Soldering (usually pronounced soddering) is the method of joining metal parts together, using another metal that has a lower melting temperature than the parts being joined.

TEXTILES & JEWELRY

TEXTILES & JEWELRY ULTRASONIC CLEANER

Items are submerged in a tank with liquid, which is then hit with high-frequency sound waves. The sound waves create a powerful scrubbing action in the fluid that cleans all surfaces of the objects.

TEXTILES & JEWELRY

VACUUM CASTING MACHINES Vacuum casting is a casting process for elastomers using a vacuum to draw the liquid material into the mold. This process is used when there are intricate details or undercuts, or if the material is fiber or wire reinforced.

TEXTILES & JEWELRY

S H O P LAYO U TS & A DJAC E N CY P LA N S M A K E RS PAC E

To being space planning the makerspace and multiple each workshop within it, there are many considerations to be made. What and where the necessary tools and equipment should be placed for user safety, accessibility, storage needs, and correct function/work, and circulation. Overall adjacencies and workshop sharing is another element to consider when thinking about the layout. To address the inner cycle and Eco-system of the designed space, in relation to the actives within the overall space, the individual spaces, the social areas, the work areas, the public, private, and staff areas, the drop-off and collection site are also aspects to consider when planning. IAQ, ventilation, and lighting are considered with building envelop development and space needs. To help visualize the research and spacial needs, included in this inventory are some shop layouts and existing makerspace floor-plans to best understand adjacencies, amenities, core equipment and circulation. Workshops Included: - Print, Fiber Arts, Machine, Metal, Wood, Prototype, CNC, Electronic and Tech, and Classroom Existing Adjacency Examples: - Artisan Asylum, FABLAB Boston, AUTODesk Build, and Techshop All visual plans and layouts are retrieved from Makerspace. https://issuu.com/neuarchitecture/docs/makerspace 146

CREATE - SUSTAIN - SHARE

WOODWORKING SHOP This room houses an assortment of woodworking tools organized to maximize efficiency and possibility with woodworking. Equipment: • Band saw • table saw • planer • jointer • belt sander • disc sander • gearhead drill press • cnc router • industrial downdraft table • compound sliding miter saw with atheight work bench extensions • wood lathe • radial arm drill press • benchtop drill press • scroll saw • hand-held tools

CNC SHOP This room allows large pieces of wood to be cut with a high performance CNC machine allowing for the cutting drill to move across the X, Y, and Z areas as well as rotate on the A and B axes to approach the workplace from any direction. The water jet cutter room houses the water jet and it’s operational requirements allowing for high precision cuts of steel and other materials. Equipment: • CNC Machine • CNC Plasma-cutter • Shopbot • Multicam

DESIGN RESEARCH BOOK |

147

PRINTMAKING SHOP This shop is for creating and developing screen prints. Equipment: • 4 color press • 1 color press • sink • power washer • darkroom drying racks & storage

FIBER ARTS & JEWELERY SHOP Equipment: • 6 jewelry benches each with a torch, flex shaft, annealing pan and bench pin • 8-inch metal shear • buffing station • forming tools • neck mandrel • hydraulic press • micro pulse arc welder

Equipment: • Sewing Machines • Serger • Overlock machine • Iron • Self-healing cutting mats

148

CREATE - SUSTAIN - SHARE

MACHINE SHOP This area houses unique equipment that allows for complicated and powerful machining. Equipment: • Mill • Mill - 2 axis • Metal Shear • • • • •

mills (CNC & manual) lathes (CNC & manual) horizontal bandsaw vertical bandsaw drill presses

METAL SHOP This room allows for hot work and welding. Equipment: • TIG Welder • MIG Welder • Welding table • Grinder • Band Saw • Drill Press • spot welders • hand-held plasma cutter • oxy-acetylene rigs • cut-off saw • bench grinder • sanders • finger brake • jump shear • Sand blasting cabinet • Smaller tools • kiln and crucibles for investment casting

DESIGN RESEARCH BOOK |

149

ELECTRONICS & TECH SHOP This shop houses equipment needed for creating microelectronics and is available to make adjustments to electronics being prototyped. Any resistor, capacitor, diode, wire, solder, etc. in the electronics area that isn’t tagged by another member can be considered fair game. Equipment: • Soldering Stations • Various DVMs • several oscilloscopes • bench mounted circular magnifier with light • bench mounted stereo microscope • several hand tools The technology lab is used for robotics and additional electronic development.

PROTOTYPE This room houses 3D printers to allow multiple 3D prints simultaneously and the different machines allow for different advantages depending on outcome. Equipment: • 3D printers • Laser Cutter • Vinyl Cutter • Vinyl Printer • CAD/CAM/Design software

150

CREATE - SUSTAIN - SHARE

COMPUTER LAB & CLASSROOM This area is for computer use and classroom training, event, and development. All members are free to use the computer lab freely, and the public can access training in the classrooms. Equipment: • Computers • Printers • Tech assistance • Equipment for training

STORAGE & MATERIAL ENTRY These areas are auxiliary spaces, the member storage is for materials in production as well as storage of tools and personal materials. The material entry allows for vehicles to enter the building, dropping off any material.

DESIGN RESEARCH BOOK |

151

EXAMPLE: AUTODESK BUILD

EXAMPLE: FABLAB BOSTON

152

CREATE - SUSTAIN - SHARE

EXAMPLE: TECH SHOP

EXAMPLE: ARTISAN ASYLUM

DESIGN RESEARCH BOOK |

153

CONSUMABLE MATERIALS LIST ADHESIVES • wood glue • white glue • epoxy • hot glue sticks • super glue (CA) medium + debond • CA glue thin • spray adhesive • PVC cement TAPE • packing tape • paper Kraft tape 2” • electrical tape • duct tape • masking tape • scotch tape • blue painter’s tape ELECTRONICS • conductive thread 2ply, 4ply • breadboarding pins • batteries AA, 9V and snaps • battery holders • heat shrink tubing • breadboards • resistors • switches • buzzers

• motors • photoresistors • jumper wires • wire • crimps • beeswax • LEDs

• plastic mixing cups (medicine) • toothpicks • caliper battery ABRASIVES • sandpaper (80/200/400/600) FASTENERS • fasteners (screws, nails, etc.) • staple gun staples • pop rivets • Mr. McGroovy’s Box Rivets • zip tie assortment • binder clips

WOOD • 2”x4”x96” wood • 4’x8’ 1/4” plywood • balsa wood FLUIDS • small plastic syringe • plastic tubing • Luer connectors • 1-way valve • T-connector HARDWARE • hack saw blades • jig saw blades • jewelers’ saw blades + lubricant • X-acto and utility knife blades • lubricant • acid brushes • popsicle sticks • paper mixing cups (Solo)

TEXTILES • thread • adhesive tape • sewing machine needles • felt • fabric • sewable battery holder • snaps and bobbins • metal, plastic beads FIRST AID KIT • gloves • dust masks • safety glasses

REUSABLE TOOLS LIST CUTTING • hole saw • metal file(s) • file card • chisel/rasp set • tin snips • box knives • X-acto knife • scissors • drill bits • sanding block • hacksaw • wood-saw • block plane • deburring tool • countersink • awl • cutting mat • hand-crank (rotary) craft drill FIXTURING • vise • C-clamps • bar clamps • needlenose • locking pliers • adjustable wrench • binder clips • locking pliers BATTERIES / POWER

• AA NiMH and charger • 9V battery clip • battery holder • alligator clips TEXTILE/SOFT CIRCUIT • Fabric scissors • pinking shears • seam ripper • cloth tape measure • sewing needles • iron • embroidery needles • needle threader • snap setter • Serger JOINING • staple gun • hot glue gun • hot glue gun • pop riveter • box rivets • big sewing needles • paint brushes (1” and 3”) • straight pins • splice set • tap and die (SAE + Metric)

MECHANICAL • screwdriver set (precision) • screwdriver set (big) • allen (SAE + metric) • claw hammer • mallet • combination wrench • ratchet set • joint pliers (channel locks) • miter box • PVC pipe cutter • socket set • driver bits • hollow-shaft nut drivers

• solder • heat gun STORAGE TOOLS • containers • labels • camera • broom • dust pan and broom • Shop Vac POWER TOOLS • jigsaw (electric) • sewing machine • drill • extension cord • Dremel

ELECTRONICS • Arduino • LilyPad • soldering iron • soldering tips • crimper tool • wire cutter • wire stripper • diagonal cutter • solder sucker • digital multimeter • solder tip tinner • 1/2 size breadboard • third hand • tweezers

EXTENSION • circular saw • orbital sander • table saw • hot wire foam cutter • plastic bender ETC • tool box • workbench • saw horses • CNC router

“Makerspaces come in all shapes and sizes, but they all serve as a gathering point for tools, projects, mentors and expertise. A collection of tools does not define a Makerspace. Rather, we define it by what it enables: making.”

Common Makerspace / Workshop Rules The emergency phone number is

Prepare.

9-1-1

•

Safety is your top priority when using the shop. If you are not sure what you are doing, ask.

•

Clean up every time whenever you leave an area, including sweeping the floor.

•

Know all the locations of all first aid, fire, and safety equipment.

•

Clean and return all tools to where you got them.

•

Never use a tool unless you’ve been trained to use it safely.

•

Never work alone when using power tools. Two persons must be present and be able to see one another.

Use compressed air sparingly; never aim it at another person or use it to clean hair or clothes.

•

Shut off and unplug machines when cleaning, repairing, or oiling.

(or describe your emergency procedure here.)

Report all injuries. •

•

Do not attempt to remove foreign objects from the eye or body. If chemicals get in the eye(s), wash eye(s) for 15 minutes in an open flow of water before proceeding for medical treatment.

•

Never use a rag near moving machinery.

•

Do not work in the shop if tired, or in a hurry.

•

Wear eye protection: safety glasses with side shields, goggles, or face shields at all times, whether working or not!!

•

Do not fool around, startle, or distract anyone (not even with a conversation) while either one of you is using a tool.

Use a brush, hook, or a special tool to remove chips, shavings, etc. from the work area. Never use the hands.

•

Do not wear loose-fitting clothing around moving or rotating machinery.

•

Keep fingers clear of the point of operation of machines by using special tools or devices, such as, push sticks, hooks, pliers, etc.

•

Keep the floor around machines clean, dry, and free from trip hazards. Do not allow chips to accumulate.

•

Mop up spills immediately and put a chair or cone over them if they are wet enough to cause someone to slip.

Use protective gear. Dress right. •

•

Remove ties, jewelry, gloves, etc. especially around moving or rotating machinery.

•

Tie back or cover long hair to keep it away from moving machinery.

•

Clean up.

Think through the entire job before starting. Prepare prints or drawings with all dimensions and specifications prior to using machines.

Use tools right. •

Wear only shoes that cover the entire foot, no open-toe shoes or sandals.

Use tools only as they were designed to be used. (A wrench is not a hammer.)

•

Never use a broken tool.

•

Wear suitable gloves when handling hot objects, glass, or sharp-edged items.

Report any broken tools or machines immediately.

•

Do not remove tools from the room.

•

Never walk away from a tool that is still on.

•

A hard hammer should not be used to strike a hardened tool or any machine part. Use a softfaced hammer.

•

Operate machines only with all required guards and shields in place.

Wear appropriate clothing for the job (i.e., do not wear short sleeve shirts or short pants when welding).

Provided from Make: Community DESIGN RESEARCH BOOK |

155

156

CREATE - SUSTAIN - SHARE

IDENTIFY Graphic Branding

Branding Brief Log o D eve lo pme n t

Concept

Concept Story

Visual Direction

M a ke rs p ac e M o o d b o ard Storage Moodboard Gallery Moodboard

DESIGN RESEARCH BOOK |

157

C ROS S - D E PA RT M E N T D ES I G N P ROJ ECT

BRANDING BRIEF Over the course of this semester, the graphic design students and I collaborated to develop the graphic branding from this design thesis project. Starting out with a brief concept and name, ecoCOLLECT, we began to dig into what a creative sustainable focused brand would represent visually, and what the company brand logo, name, and graphic would look like. We drafted options with leaves and more environmentally focused imagery, to abstract geometry, to plain text. Our first logo design began to feel more environmental and scientific rather than creative and diverse. So, we went back to the drawing board to revise the brand name and removed eco all together. The name COLAB resonated as it emphasised a collaborative community the space hopes to facilitate and hints at the fabrication labs that the artists and makers will use. The new name inspired new ideas and imagery that influenced our final design - a name, a tag line and layering colors. Our final design landed on COLAB Create - Sustain - Share. The font chosen is Avenir for its relaxed and humanist characters. The color palette creates a colorful, creative element while staying professional in tone. GRAPHIC DESIGN TEAM Alexander Hall, Casey Johnson, Devin Quast and Michelle Stenzel

158

CREATE - SUSTAIN - SHARE

Logo Usage

Colab_grayscale

Colab_black

Files named as labeled

Colab_color

(ex. Colab_color_cmyk.eps or Colab_horizontal_color.png)

L Without Tagline

_cmyk.eps (for normal printed work)

_rgb.eps

Colab_white

(for extended gamut & RGB printers)

.png

(for web use)

.ai

(to edit in Adobe Illustrator)

COLab_horizontal_color

COLab_horizontal_white

COLab_horizontal_grayscale

COLab_horizontal_black

Horizontal logo should only be used in landscape formats where the normal logo would be too small and the tagline is illegible.

Incorrect Usage

Horizontal logo must include tagline.

Color logo is to not be set on top of color or black.

Parts of logo must not be used individually

Logo must maintain its original orientation or be set with increments of 90Ë&#x161; DESIGN RESEARCH BOOK |

159

Color Palette

Orange

Blue

Yellow

Tan

sRGB: 243, 106, 73 Adobe RGB: 214, 106, 76 CMYK: 0, 73, 75, 0 LAB: 62, 51, 44

sRGB: 0, 71, 87 Adobe RGB: 35, 72, 87 CMYK: 99, 61, 49, 34 LAB: 26, -18, -17

sRGB: 253, 190, 91 Adobe RGB: 237, 189, 98 CMYK: 0, 28, 74, 0 LAB: 82, 15, 57

sRGB: 244, 233, 222 Adobe RGB: 240, 232, 221 CMYK: 4, 7, 11, 0 LAB: 93, 2, 6

Pantone CMYK Coated: P 37-7 C

Type Examples

Display Headline: Jeanne Moderno Geometrique SANS HEADLINE: AVENIR BLACK

Headline and subheads should be set in all caps to be consistent with tagline.

SANS SUBHEAD: AVENIR MEDIUM Sans Body: Avenir Book Ore iusantur aliatia ndaniaerchil eum eat. Ictis dem ipsanti onsequae. Lorepta tiaeperrum quati undit provit eate neceper ferchil enim ate conem. Et doluptium eossin rest repeles endelique et, eres id ut autet quiducipsam voluptat fuga. Neque voloreprae natur? Us eos culparum, sinis rerchil itatect usciminulla volesequi quidi alitibus consed mi, qui omnim doluptas magnihi llessin tiscias cus dolut audae reicit lanimin cusam fugiandi simento et as suntus de natiossi cus, invelit et omnim quaes excest landebi taquam nonsequam hic tora voluptatum ex etur, ulluptas dolorep elisit int aute rersped ma venime necea non consenda nustioreium audamus nulparcim ipit ilisi doloreped

160

CREATE - SUSTAIN - SHARE

Body copy should ideally be 10pt Avenir Book with 15pt leading. Line length should range between 65-85 characters

DESIGN RESEARCH BOOK |

161

C ROS S - D E PA RT M E N T D ES I G N P ROJ ECT

D E S I G N I T E R AT I O N S 1

P H AS E O N E | eco CO L L ECT

P H AS E T WO | A RO U N D T H E O

O 162

CREATE - SUSTAIN - SHARE

CO CO L L O CO C 3 CO O L L O

P H AS E T H R E E | S H I F T I N G G E A R S

Aktiv Gr

Headline

CREATE – SUSTAIN – GALLERY share

Hea

Subhead

Subhe

Body

Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh

Lorem ipsum dolo

euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut

nonummy nibh eu erat volutpat. Ut w

aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in

tation ullamcorpe

vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at

consequat. Duis a

vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.

velit esse molesti sis at vero eros et

praesent luptatum Lorem ipsum dolor sit amet, cons ectetuer adipiscing elit, sed diam nonummy nibh

facilisi.

euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad

Lorem ipsum dolo nonummy nibh eu

minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat.

erat volutpat. Ut w Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad

tation ullamcorpe consequat.

minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut

CO CO CO CO L L CO

Avenir

aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at

Lorem ipsum dolo nonummy nibh eu

vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril

erat volutpat. Ut w

delenit augue duis dolore te feugait nulla facilisi.

tation ullamcorpe consequat. Duis a

Lorem ipsum dolor sit amet, cons ectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad

velit esse molesti

minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut

praesent luptatum facilisi.

aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut

Create – Sustain – Gallery

aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Lorem ipsum dolor sit amet, cons ectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad

Aktiv Grot

Lorem ipsum dolor s nibh euismod tincidu

ad minim veniam, qui aliquip ex ea commo

Lorem ipsum dolor s

euismod tincidunt ut minim veniam, quis n

aliquip ex ea commo vulputate velit esse m vero eros et accums

minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam

sis at vero eros et

delenit augue duis do

Lorem ipsum dolor s

DESIGN RESEARCH BOOK |

163

CO N C E PT 164

CREATE - SUSTAIN - SHARE

CHURN - CHURNED - CHURNING 2 [no object] : to move in a circle : turn The wheels/gears began to slowly churn. SYNTHESIS 1: the process of combing parts into a unified whole

Inspired by the circular economy system and the notions of cyclical processes, reuse, and the relationship between nature, social (users), and the designed environment, the desire for a cyclical component was important for the visual connection and concept for this project. When thinking about commonalities between makerspaces, the users, the construction industries and how they are all interconnected, mechanical gear was a strong representation of those elements. A gear is a mechanical piece that serves to keep the turning or rotation of two axes together, they can increase or decrease the speed of rotation and are essential that they transmit rotational motion to a different axis. Gears churn, to move in a circle: turn. The synthesis of these ideas, circular economy and mechanical gears churning, allow for a strong connection between the inner workings of the makerspace and the surrounding community.

synthesis

Joint sequence

cyclical response

DESIGN RESEARCH BOOK |

165

DESIGN RESEARCH BOOK |

167

MAKERSPACE C R E AT E

DESIGN RESEARCH BOOK |

169

STORAGE

S U S TA I N

DESIGN RESEARCH BOOK |

171

GALLERY

172

CREATE - SUSTAIN - SHARE

DESIGN RESEARCH BOOK |

173

“Design is intelligence made visible.”

174

CREATE - SUSTAIN - SHARE

S K E TC H

DESIGN RESEARCH BOOK |

175

176

CREATE - SUSTAIN - SHARE

DESIGN RESEARCH BOOK |

177

178

CREATE - SUSTAIN - SHARE

DESIGN RESEARCH BOOK |

179

180

CREATE - SUSTAIN - SHARE

DESIGN RESEARCH BOOK |

181

“To give credit where credit is due.”

182

CREATE - SUSTAIN - SHARE

SOURCES

DESIGN RESEARCH BOOK |

183

SO U RC ES CAS E ST U DY & P R EC E D E N T Barr, S. (2007). Factors Influencing Environmental Attitudes and Behaviors. Environment and Behavior, 39(4), 435â&#x20AC;&#x201C;473. doi: 10.1177/0013916505283421 Do, M. S., Hower, E., Oldnyski, E., & Larson, E. L. (2017, January 31). Prototype creates space for feminist makers. Retrieved from https://pittnews.com/article/116389/top-stories/prototype-creates-space-feminist-makers/. Prototype PGH. (n.d.). Prototype PGH. Retrieved November 11, 2019, from https://prototypepgh.com/. Reid, L. (2017, January 5). Feminist Maker Space Levels The Playing Field For Pittsburgh Tinkerers. Retrieved November 11, 2019, from https://www.wesa.fm/post/feminist-maker-space-levels-playing-field-pittsburgh-tinkerers#stream/0. University of Pittsburgh. (n.d.). MAC Makerspace Equipment. Retrieved November 11, 2019, from https://www.engineering.pitt.edu/ Sub-Sites/Centers/MAC/Mac-Makerspace/Use/. FABLAB Tacoma. (n.d.). FABLAB Tacoma: Shops & Labs . Retrieved November 11, 2019, from https://fablabtacoma.com/Equipment. MPLS Make. (2019, October 17). MPLS Make: Tools. Retrieved November 11, 2019, from http://www.mplsmake.com/tools/. Twin Cities Maker. (2019). Twin Cities Maker: A Makerspace for Makers of All Kinds. Retrieved November 11, 2019, from https://tcmaker.org/. TXRX Labs. (2018). Makerspace: United States: TX/RX Labs. Retrieved November 11, 2019, from https://www.txrxlabs.org/. DEI Creative in Seattle, W. A. (2013). Bullitt Center | Vision. Retrieved November 17, 2019, from http://www.bullittcenter.org/vision/.

D ES I G N T H EO RY Cheng, X. (M. (2017, February 5). Interior Design Theory and Criticism. Retrieved November 17, 2019, from http://portfolios.scad.edu/ gallery/48383887/Interior-Design-Theory-and-Criticism. Williams, H. (2017, August 2). Theories & Research. Retrieved November 17, 2019, from https://www.slideshare.net/HeatherWilliams53/heather-williams-interior-design-portfolio. Nussbaumer, L. L. (2009). Evidence-based design for interior designers. New York: Fairchild.

184

CREATE - SUSTAIN - SHARE

E RGO N O M I C S & H U M A N FACTO R AJ Products. (n.d.). How to Furnish an Ergonomic Workshop. Retrieved November 24, 2019, from https://www.ajproducts.co.uk/blog/ how-to-furnish-an-ergonomic-workshop/18596684.wf. California Council on Science and Technology. (2016, May). Promoting Engagement of the California Community Colleges with the Make Movement. Retrieved November 24, 2019, from https://ccst.us/wp-content/uploads/2016makerspace.pdf. Ebben, J. M. (n.d.). How to Bring Ergonomics to the Factory Floor. Retrieved November 24, 2019, from https://www.iacindustries.com/ get-started/ergonomics/how-to-bring-ergonomics-to-the-factory-floor.asp. Grainger Editorial Staff. (2018, May 1). Workbench Height Ergonomics - Are You Working at the Right Height? Retrieved November 24, 2019, from https://www.grainger.com/know-how/business-operations/people-management/kh-workbench-height-ergonomics-are-you-working-at-the-right-height. Middlesworth, M. (2019, February 28). Free Ergonomic Design Checklists for More Ergonomic Workstations. Retrieved November 24, 2019, from https://ergo-plus.com/ergonomic-design-checklists/. Packaging Machinery Manufacturers Institute . (2001, December). PMMI Ergonomics Guide for Packaging Machinery. Retrieved November 24, 2019, from https://www.pmmi.org/sites/default/files/PMMI-Ergonomics-Guide-for-Packaging-Machinery.pdf.

FO U N D & R ECYC L E D M AT E R I A L A RT Material District. (October, 2019) FURNITURE MADE OF STEEL AND RECYCLED PARACHUTES. Retrieved from https://materialdistrict. com/article/furniture-steel-recycled-parachutes/. Material District. (October, 2019) AN INSTALLATION MADE OF SCRAP FABRIC. Retrieved from https://materialdistrict.com/article/installation-scrap-ribbon/. Regan, S. City Pages. (July, 2019) Eco-artist Sean Connaughty continues his Lake Hiawatha trash crusade with garbage sculptures at MCAD. Retrieved from http://www.citypages.com/arts/eco-artist-sean-connaughty-continues-his-lake-hiawatha-trash-crusade-with-garbage-sculptures-at-mcad/512108952. Hitti, N. Dezeen. (August 2019) Chloe Baines makes fashion collection from tents left behind at festivals . Retrieved from https:// www.dezeen.com/2019/08/12/chloe-baines-in-tents-fashion-design/. Rime, A. Dezeen. (March 2019) IKEA upcycles furniture into colourful Wildhomes for Wildlife. Retrieved from https://www.dezeen. com/2019/03/21/wildhomes-for-wildlife-ikea-design/. Frearson, A. Dezeen. (September 2019) Matter of Stuff recycles last yearâ&#x20AC;&#x2122;s London Design Festival exhibition into something new . Retrieved from https://www.dezeen.com/2019/09/20/matter-of-stuff-recycled-materials-second-life-exhibition-ldf-2019/.

G A L L E RY Burnie Arts & Function Centre . (n.d.). Art Gallery Spaces. Retrieved November 11, 2019, from http://www.burniearts.net/Venue-Info/ Art-Gallery-Spaces. MICA Gallery. (n.d.). Gallery Floor Plan & Dimensions. Retrieved November 11, 2019, from http://www.micagallery.org/submissions/ gallery-floor-plan-dimensions. Soo Visual Arts Center. (2019). SOO Visual Art Center. Retrieved November 11, 2019, from https://www.soovac.org/. Images Retrieved from https://www.google.com/search/gallery-spaces-design Images Retrieved from https://www.google.com/search/walker-art-center-gallery Images Retrieved from https://www.google.com/search/minneapolis-orcestra-hall-gallery

DESIGN RESEARCH BOOK |

185

M A K E RS PAC E & LOCAT I O N Makerspaces.com (2017, March 15). What is a Makerspace? Is it a Hackerspace or a Makerspace? Retrieved November 20, 2019, from https://www.makerspaces.com/what-is-a-makerspace/. Martinez, S. (2018, July 27). What is: makerspace, hackerspace, Fab Lab, FabLearn? Retrieved November 20, 2019, from https://sylviamartinez.com/what-is-makerspace-hackerspace-fablab-fablearn/. Move To Tacoma (2019). Retrieved November 20, 2019, from https://movetotacoma.com/ Move To Tacoma (2019). Neighborhoods: Downtown Tacoma. Retrieved November 20, 2019, from https://movetotacoma.com/ neighborhoods/downtown-tacoma/ MakeItTacoma (2019). Make It Tacoma Website. Retrieved November 20, 2019, from https://makeittacoma.com/# Sinclair, L. (2019, February 4). The Best Cities for Artists. Retrieved September 20, 2019, from https://www.workandmoney.com/s/ best-cities-artists-7c16127a3cb44d94. Titus, L. (2019, November 14). 2512 Holgate St, Tacoma, WA, 98402 - Warehouse Property For Sale. Retrieved November 29, 2019, from https://www.loopnet.com/Listing/2512-Holgate-St-Tacoma-WA/15108367/. CBRE. (n.d.). PDF. Tacoma .

T E M P LAT E & D ES I G N Unsplash. Images. Retrieved from https://unsplash.com/s/photos/maker. Pexels. Images. Retrieved from https://www.pexels.com/search/share/. issue. Template Design. Retrieved from https://blog.issuu.com/magazine-and-catalogue-templates/. issue. Inspiration. Retrieved from https://issuu.com/jay2307/docs/design_thesis_project. https://issuu.com/swatikhambhayata/docs/architectural_thesis_swati_khambhay. https://issuu.com/teresaxu5/docs/thesis_book_li_xu_single_pages. https://issuu.com/sustainia/docs/buildings_sector_guide. https://issuu.com/da-magazine/docs/da13. Smith, M.. Ake, J., Amado, J., Evans, M., Guzman, E., Hall, B., Harris, R.,, Hart, K., Scullion, P., Slifer, K. Makerspace (2016) Retrieved from https://issuu.com/neuarchitecture/docs/makerspace Image Retrieved from https://trendland.com/piet-hein-eek-laboratory-workshop/

S I T E O BS E RVAT I O N S The Tacoma Office of Environmental Policy and Sustainability. (2019) Tacoma Green Living Guide. Retrieved from https://wspdsmap.cityoftacoma.org/website/GreenMap/ Tacoma Tool Library. (2019). â&#x20AC;&#x153;Do it yourself, together.â&#x20AC;?. Retrieved November 17, 2019, from https://tacomatoollibrary.org/. Dessart, M. (2018). Collaborative Space | Creators Space . Retrieved November 17, 2019, from https://www.creatorsspace.com/.

S U RV E YS , I N T E RV I E W, QU EST I O N N A I R E Anne, Mary. (2019) Second Use. Retrieved from https://www.seconduse.com/about/ Collaborative for High-Performance School. (n.d.). WSSP in Washington. Retrieved November 11, 2019, from https://chps.net/criteria/ wssp-washington. Edelstein, A. (n.d.). More consumers are opening their wallets for eco-friendly products. Retrieved September 20, 2019, from https:// www.surveymonkey.com/curiosity/more-consumers-are-opening-their-wallets-for-eco-friendly-products/. Emily Odell (2019) Organized Corp. Retrieved from https://www.organizedcorp.com/about-us 186

CREATE - SUSTAIN - SHARE

Megs and Mo Upscale Resale. Retrieved from https://www.showroomfinder.com/us/wa/tacoma/megs-and-mo-upscale-resale/ (2019) Tinkertopia. Retrieved from http://tinkertopia.com/ (2019) Tacoma Tool Library. Retrieved from https://tacomatoollibrary.org/ BLRL Architects. Retrieved from http://www.blrb.com/ Contacts. Retrieved from https://www.mplscraftmarket.com/directory.html https://www.renegadecraft.com/connect#our-team https://mymodernmet.com/best-artisans-2018-handicrafts-makers/ http://www.mnartists.org/ https://www.cityofeagan.com/search-eagan?q=artboard https://mrac.org/staff/

S USTA I N A B I L I T Y Blooming Air. (2019, July 15). Air Filtration for a Large Woodshop. Retrieved November 25, 2019, from https://www.bloomingair.com/ blog/air-filtration-for-woodshop/. Circular Economy Quotes (12 quotes). (n.d.). Retrieved November 24, 2019, from https://www.goodreads.com/quotes/tag/circular-economy. Decker, K. D. (2018, November 12). How Circular is the Circular Economy? Retrieved November 24, 2019, from https://www.resilience. org/stories/2018-11-12/how-circular-is-the-circular-economy/. Dylos Corporation. (n.d.). WOODWORKERS, CRAFTSMEN, AND SHOP AIR QUALITY. Retrieved November 25, 2019, from http://www. dylosproducts.com/wocrandshair.html. Eco-Cycle. (2012). Zero Waste: The Choice for a Sustainable Community. Retrieved November 25, 2019, from https://www.ecocycle. org/zerowaste/overview. Gensler Research Institute. (2018, October 6). Impact by Design - Materials. Retrieved November 25, 2019, from https://www.gensler. com/impact-by-design-materials. Gensler Research Institute. (2018). Research & Insight. Retrieved November 25, 2019, from https://www.gensler.com/research-insight/ sustainability/2018. Mindful Materials. (2019). Mindful Materials About Us Retrieved November 25, 2019, from http://www.mindfulmaterials.com/ Morris, A. (2019, April 12). Guide to creating circular design launches at Davos. Retrieved November 24, 2019, from https://www. dezeen.com/2018/01/31/guide-design-circular-economy-launches-davos-ideo-ellen-macarthur-foundation/?utm_content=buffer87a87&utm_medium=social&utm_source=facebook.com&utm_campaign=buffer Perkins+Will. (2019). Why Material Health? Retrieved November 25, 2019, from https://transparency.perkinswill.com/about POC21. (2015). Buzzwords. Retrieved November 24, 2019, from http://www.poc21.cc/magazine/buzzwords/. Sasse, D., & Cordes, K. (2018). Indoor Air Quality Testing – Manufacturing Facility. Retrieved November 25, 2019, from https://healthybuildingscience.com/healthy-building-case-studies-2/healthy-commercial-building-case-studies/indoor-air-quality-testing-manufacturing-facility/. SeppȨnen, O. (2008). Ventilation Strategies for Good Indoor Air Quality and Energy Efficiency. International Journal of Ventilation, 6(4), 297–306. Retrieved from https://www.tandfonline.com/doi/abs/10.1080/14733315.2008.11683785 The Great Recovery (2019). Retrieved November 24, 2019, from http://www.greatrecovery.org.uk/about-us/ What is the Circular Economy (2019). Retrieved November 24, 2019, from https://www.ellenmacarthurfoundation.org/circular-economy/what-is-the-circular-economy Urban Omnibus. (2012, January 18). What’s Your Building Made Of? Perkins Will’s Transparency. Retrieved November 25, 2019, from https://urbanomnibus.net/2012/01/whats-your-building-made-of-perkinswills-transparency/.

DESIGN RESEARCH BOOK |

187

A D A P T E D T E M P LAT E BY I S S U U