23 ARCH 713
23 PLAN 707
NIEHOFF STUDIO
WINTER 2005
STUDIO THEME: CULTURAL EDUCATION, PLAY, & COMMUNITY DEVELOPMENT IN OVER-THE-RHINE, CINCINNATI
INSTRUCTORS:
Nnamdi Elleh, PhD, SAID
Frank Russell, M. Arch, SOP, Director, CommunityDesignCenter
COLLABORATING INSTRUCTORS FROM THE UNIVERSITY AND THE COMMUNITY:
Professor Steven Cahn, School of Music, CCM
Professor David Kuschner, School of Ed., Early Childhood Education
Professor Darwin Henderson, School of Ed., Early Childhood Education
Professor John Bracket, Chair, African American & African Studies Dept
Mr. Ed Sherman, Cincinnati Black Theatre Company
Introduction: The Theme of the Studio
23 Arch 713, and 23 Plan 707, Niehoff Studio, Winter 2005, is an interdisciplinary project that aims to investigate the relationships between theatre performances (play), cultural education, and urban renewal in a selected site at Over The Rhine (OTR), Cincinnati. There will be two assignments (parts-projects) in this studio andall students are expected to participate in order to meet the requirements of the course.
LEARNING OBJECTIVES
- Awareness and appreciation of a complex and diverse urban community, such as OTR
- Understand the social, economic and political implications of neighborhood revitalization, design (and design policy)
- Develop an understanding of the urban design framework of the selected area (OTR) and methods for making positive urban design interventions.
- Understand the thematic and programmatic elements of theater design relative to architectural design issues.
- Apply an understanding of design reflective of African and African-American cultures to a specific architectural problem.
- Develop design and representation skills
Part I: The First Assignment: Monday, 3 January – Friday, 11 February 2005:
The primary task will be the design of the Cincinnati Black Theatre Company Art Complex to be located at 1721 Vine street with the hope of realizing a design that will contribute to the revitalization of the immediate neighborhood. This case study is ideal for graduate students who wish to pursue urban revitalization in their masters' thesis projects. Planning students who are registered in the class will be required to focus on their areas of interest with specificity in using the Theatre design as a catalyst for urban revitalization on Vine Street. Therefore, the student(s) may chose to focus on a select planning intervention(s) for the immediate surroundings around the Theatre with the view of showing how the project might help in the overall growth of the OTR. We are provided with a design and program description by the Cincinnati Black TheatreCompany for the purpose of realizing the project. Please study the design overview carefully and follow it as closely as possible in your design/planning proposal.
Final Review for the Theatre Design Project:
The date for the final reviews depends on the availability of the collaborating faculty (jurors) and their students. For now, the following dates is expected: Wednesday,9February. Reviews will be held during studio hours (usually 1 – 5pm) or at an agreed time when all jurors will be available. Students are also required to attend a public open house following the studio.Also, reviews will be held at the Niehoff Studio, 110 East Central Parkway, Cincinnati. Arrangements can be made to hold the reviews in the DAAP building for the convenience of the jurors who cannot make it downtown.
Method of Teaching: There will be hourly seminars on select studio dates depending on the availability of the collaborating faculty. Generally desk critiques and pin-ups will be held afterwards (Mondays and Wednesdays), while Fridays will be reserved for the students to catch up with their readings, designs, pin-ups and desk critiques for the following week.
DESIGN OVERVIEW FOR THE CINCINNATI BLACK THEATRE COMPANY
Thedesign concept for the new facility to be located at 1721 Vine, for the Cincinnati Black Theatre Company (CBTC) emerges from a notion of art as a dynamic interdependent transaction between the individual artist and the community. This notion of artistic production sets the artistic process within, rather than separate from, communal life. It calls for a building where artistic production is, in itself, a form of theatre. For this reason the proposed building design attempts to disclose CBTC’s productions as part of the fabric of Cincinnati urban street experience from an African and African-American artistic vantage point. Our essential feeling is to create a prominent and intriguing presence in the neighborhood without being intimidating and out of context. This center will be an important cultural link in a community development effort that already includes revitalized commercial, residential and educational sectors. This structure will become a 103,000 square foot multi-purpose ArtCenter with a 20-30,000 square foot parking facility.
In designing the CBTC Art Center facility, the activities of artistic production should be set at the perimeter of the building, exposed to the street through sheets of glass that work to “close the distances” between the art, the artistic process, and the public. The entrance must be inviting to the passing public curiosity. The form of the building should reflect the dynamic, creative tensions between the individual artist’s motivation and the collective expectations and values of the community.
We will showcase African and African-American theatre in an array of genres and styles. Therefore intentional in the architectural concept is the vision of a building that is Afro-centric. The CBTCArtCenter design should celebrate the fascinating tapestry of African culture, wildlife, architecture and its cuisine. The building’s outside image is to be reflective of the legendary boma (African grass hut) house and the top of the 1864 historical façade will cast a western lighting scheme over the entrance giving it a welcoming presence. The inside will be decorated in African design styles with vivid Kentle cloths and sculptured taps and basins. A generous lobby should provide for formal and informal gatherings. Please see the detailed program attached.
The Site and Environs
Any successful building and urban design project must take its environment into consideration. As such, you are required to begin with the following studies in order to truly familiarize yourself with the site and the community.
1. Economics, Socio-Political Concerns, & Urban Studies
The key to our project is teamwork and interdisciplinary examination of how the design of an African and African-American inspired Theatre Company in OTR can help in cultural education and economic revival of the district.
(1)What are the constraints to the economic growth of OTR?
(2)How can this project serve as cultural and economic catalyst that can help the development of the neighborhood, and OTR?
(3)What are the merits/demerits of following up with a project that envisions culture, theatre and play as integral parts of vibrant communities?
(4)What is/are the most important considerations for the design of a Theatre?
You are to take advantage of the expertise of the collaborating colleagues in this project to address these questions in your research projects.
2. History, Context, Preservation Concerns, and Existing Site Uses:
Please take an inventory of the site, 1721 Vine Street, and tell us the history, urban context(s), and existing conditions. A map and existing information of OTR can be obtained from Mapquest, USGS, Landsat and the OTR-Master Plan. Your task will include an analysis of existing buildings within the block (site) and its immediate vicinity. Are the existing buildings suitable for the envisioned Theatre project? What buildings present opportunities in the vicinity for residential, community, and commercial uses? Are there opportunities for parks, urban furniture, etc? Investigate existing or potential for pedestrian and bicycle corridors to connect to open spaces, recreational, residential, and commercial areas. Investigate orientation, size and accessibility of nearby major and minor arterial and collection streets (note problems, amount of traffic, noise, congestion, sight distances). Identify access to public transportation.
- Views, Site Ecology, Open Space:
Slope: Identify high and low points, significant and obvious landforms, slope studies (delineate zones for 0 – 4.9%, 5-8%, 8.3 -15%, 16-20%, steeper than 21%), concave or convex slopes, warm and cold slopes (June 21 and December 21), spatial quality defined by landforms.
Drainage: Identification of existing drainage patterns on the site and in the immediate area, including potential problems. Identify alignment and gradients of natural and human-made ridgelines; alignment and gradients of natural and human-made channels; year-round or seasonal running or standing points, flooding; water quantity, runoff/outfall, watershed zones; depth to water table.
Topography: Show topographic contour lines at one foot interval; existing topo shown as dashed lines. Identify significant landforms, slopes, and spot elevations in plan and section views, extending to nearest buildings and/or roads adjacent to the buildable area. Clearly label contour lines and spot elevations, high points, low points, the elevation of significant features.
Views and Open Space: Location and quality of significant open spaces, views into and out of the proposed project area, and notes that relate a descriptive character. Identify major foci and vantage points and their sequential relationships within, into, and out of site.
Vegetation: Types/species distribution (evergreen, deciduous, grasses and turf, barren, canopy, understory, groundcover, pasture, cropland); Spatial quality (enclosures, windbreaks, sunpockets, buffers). Soils and Geology: Soil capacities for buildings, agriculture, site improvements; Basis type and condition (sand, clay, silt, rock, shale, gravel, loam, limestone); Sewage disposal (city infrastructure or on-site potential)
- Typology:
Typology and Precedent: Develop text and annotated diagrams or photos that describe a typology for Theatres, and pay particular attention to design concepts that will help you realize an African and African-American inspired structure. Your building should anticipate the combination of businesses and performance within communities.
Part II: The Second Assignment: Monday, 14 February – Friday, 11 March 2005:
During the second half of the quarter, the students will select a project of their choice, prepare detailed program such as the one above, and commence the design on the project. The project must be urban design work that is related to the economic and cultural revitalization of the OTR. The student is in control of this part of the assignment but he/she must prepare a detailed design overview and a detailed design program such as the one above. The programs are due on Monday, 14 February, 2005 and it must be approved by the instructors before you will proceed with your final design project. Please study the design overview and program requirements for the CBTC carefully and use it as an example for preparing the program and the design overview for your project. Please note: Since this is a continuation of an earlier project, the time allotted to its completion is slightly shorter than the time allotted to the first assignment.
Final Review for the Second Design Project:
The date for the final reviews depends on the availability of the collaborating faculty (jurors) and their students if possible. For now, the following date is suggested: Friday, 11 March 2005. Reviews will be held during studio hours (usually 1 – 5pm) or at an agreed time when all jurors will be available. Also, reviews will be held at the Niehoff Studio, 110 East Central Parkway, Cincinnati. Arrangement can be made to hold the reviews in the DAAP building for the convenience of the jurors who cannot make it to downtown.
COURSE REQUIREMENTS
Students will make presentations for the first two phases of the studio in the form of powerpoint presentations, drawings, models, and posters as appropriate to the work content.
Students will make submissions for phase 1 as follows:
136” x 54 " Posters summarizing your key themes and ideas. This poster will include:
a. Diagrams, plans, perspectives that describe the proposed urban design framework
b. Diagrams, plans, sections, elevations, details that represent the architectural proposal.
c. Four detailed character drawings, two interior and two exterior spaces
d. Photos of completed physical models
All drawings and models should be accompanied by text clarifying reasoning, intentions, and results.
2Physical Models
- A 1/4" = 1' scale, cut-away model of the theater showing main structures and detail
Students will make submissions for phase 2 as follows:
336” x 54 " Posters summarizing your key themes and ideas. This poster will include:
a. Diagrams, plans, elevations that describe the proposed urban design framework
c. Two detailed character drawings
Data Files: Each student group and/or each individual student is responsible for maintaining an inclusive database of all individual text and images utilized in all posters powerpoints, or presentations and complete poster (adobe illustrator pdf) files. Submission of these organized files and all physical models is a requisite for course completion.Due Date: Data files are due no later than 14 March. Students will receive an incomplete grade for failure to submit organized and complete data files.
Posters: Establish design guidelines and poster layout for each poster presentation, coordinating the appearance and format of each poster to represent the work of the quarter long studio as a whole, single presentation. Establish format, conventions, and lettering sizes and font or type faces, produce common titles and particular titles in accordance with the Niehoff Studio poster template (and powerpoint template) at Due Date: Poster files are due as indicated on the attached class schedule.
GRADING CRITERIA
Evaluation of your work involves both criticism and grades. Criticism should be understood by students andfaculty as a positive means for learning. In all
cases, criticism is directed at a project or a process, not at the student who has produced theproject. Specific criteria for each project will bedetermined independently, general criteria forevaluation will always apply as follows:
1.Process: Did the student evaluate a range of possible choices before settling on a particularsolution? Did the student test various aspects of thesolution? Did the student make enough effort to improve/strengthen the solution?
2.Presentation: Did the student produce all required drawings and models? Are the ideas correctly andthoroughly communicated? Has the student crafted thedrawings and models with care and precision?
Letter grades should be interpreted as follows:
A: Exceptional work. Exceeds all criteria. Exhibits insights indicating that the experiences from onephase to the next are cumulative and transferable. Constructively challenges design issues brought forth during the quarter. Demonstrates exceptional enthusiasm and intensity for learning. Demonstrates capacity to be self-critical.
B: Above average work. Meets all criteria. Good understanding of concepts. Constructively challengesdesign issues brought forth during the quarter. Showsability in basic critical thinking.
C: Average work. Meets minimum requirements. Indicates some difficulty in understanding the concepts.Exhibits need for improvement in work habits and
critical thinking skills. Insufficient participation.
D: Below average work. Does not meet minimum requirements. Indicates serious difficulty inunderstanding concepts. Probable indication of a lackof commitment to the course.
F: Late, incomplete, failing, or work not submitted.
Attendance is a critical component of the final grade. The importance of in-class lectures and individual"desk crits" with the instructors cannot beoverstated. Being accessible to the instructors by working in each class period is mandatory. Missing studio on due dates without being excused will diminish your final grade by one whole letter each time.Non-completion of design and presentation graphics by presentation dates may result in failure. Missing studio on assigned desk crit dates more than one time will result in the reduction of one whole letter grade.
The application of the above criteria can be avoided as long as the student has very clear and complete communication with me about work completed and excused absences requested. To communicate outside of studio the student should always call me directly (do not leave messages with my staff) at 403-2973 or email
The Grading Policy for the Two Projects are as follows:
Project One:
Clarity of Idea/Theme10%
Design Parti10%
Oral Presentation20%
Graphic presentation10%
Studio attendance5%
Studioparticipation5%
Subtotal60%
Project Two:
Clarity of Idea/Theme5%
Design Parti5%
Oral Presentation15%
Graphic presentation5%
Studio attendance5%
Studio participation5%
Subtotal40%
Total Points100%
Cincinnati Black Theatre Company Spatial Requirement Summary
FIRST FLOOR
Public Spaces & Gallery ≈1000 sf.
Main Theatre ≈7000 sf.
Stage Space ≈2000 sf.
Tenant Rental Spaces ≈5000 sf.
Reception Hall ≈2000 sf.
Ticket Office ≈0500 sf.
Concession Stand ≈0500 sf.
Dressing Room Area ≈2000 sf.
Restrooms: Male and Female ≈1500 sf.
Ramps/Stairs/ Hallways & Elevator ≈2000 sf.
SECOND FLOOR
Rehearsal/Black Box Theatre “A” & “B” ≈5000 sf.
Education studio Spaces “A” & “B” ≈5000 sf.
Administrative Offices Spaces ≈5000 sf.
Conference Rooms “A” & “B” ≈1500 sf.
Restrooms: Male and Female ≈1500 sf.
Ramps/Stairs/ Hallways & Elevator ≈2000 sf.
THIRD FLOOR
Dance Program Spaces “A”, “B”, “C”, “D” & “E” ≈8500 sf.
Digital Recording Studio ≈0800 sf.
Music Program Spaces “A”, “B”, “C”, “D” & “E” ≈8500 sf.
Restrooms: Male and Female ≈0200 sf.
Ramps/Stairs/ Hallways & Elevator ≈2000 sf.
BASEMENT
Sewing Studio Space ≈6000 sf.
Woodshop Space ≈6000 sf.
Workshop Space ≈6000 sf.
Ramps/Stairs/ Hallways & Elevator ≈2000 sf.
SUB-BASEMENT
Prop Storage Space ≈6000 sf.
Stage furniture Storage ≈6000 sf.
General Storage Space ≈6000 sf.
Ramps/Stairs/ Hallways & Elevator ≈2000 sf.