Capstone Project

ARTSKATE EXPRESSION.

Spring 2024

Allyson Campagna

Capstone Studio

Kendra Ordia

RESEARCH + PROGRAMMING. 3

STATEMENT. 6

GOALS + OBJECTIVES. 7

QUESTIONS. 8

RESEARCH. 9

DESIGNING FOR INCLUSION. 9

TRAUMA-INFORMED DESIGN. 11

HISTORY OF NORTH OMAHA. 13

NORTH OMAHA TRAIL. 15

SKATE CULTURE + DESIGN. 17

BLACK ARTS + CREATIVE CULTURE IN OMAHA. 19

PRECEDENTS. 21

ZAGREB DANCE CENTER. 21

SANDI SIMON CENTER FOR DANCE. 23

CONTINENTAL HEADQUARTERS. 25

EXISTING SITE. 27

BUILDING + TENANT SPACE ANALYSIS. 29

PROGRAM + ADJACENCIES. 31

SPATIAL CONSIDERATIONS. 31

ADJACENCY MATRIX. 33

BUBBLE DIAGRAM. 34

USER PROFILES + NEEDS. 35

USER ONE. 35

USER TWO. 36

USER THREE. 37

USER FOUR. 38

USER CIRCULATION MAPPING. 39

DESIGN DEVELOPMENT. 41

PROCESS DIAGRAMS. 43

DESIGN PRINCIPLES. 43

BLOCKING DIAGRAM. 45

RITUAL JOURNEY MAP. 47

PRAGMATIC JOURNEY MAP. 49

MATERIALS + FURNITURE. 51

SITE PLAN. 53

FIRST FLOOR. 55

FIRST FLOOR PLAN. 57

FIRST FLOOR REFLECTED CEILING PLAN. 59

MAIN ENTRANCE. 61

SKATE PARK. 63

MEZZANINE FLOOR. 65

MEZZANINE FLOOR PLAN. 67

MEZZANINE OVERLOOK. 69

BASEMENT FLOOR. 71

BASEMENT FLOOR PLAN. 73

GALLERY + LOBBY. 75

PERFORMANCE AREA. 77

SECTIONS. 79

SECTION A. 81

SECTION B. 83

TECHNICAL COMPONENT. 85

BIBLIOGRAPHY. 90

RESEARCH + PROGRAMMING.

The project is a conceptual interior design/tenant finish out in an existing building in North Omaha for a collection of non-profits with similar missions to promote and advance the arts, culture, and wellbeing of residents of the surrounding historically black community. With a focus on celebrating BIPOC voices, this space is envisioned as a collective asset for the community to celebrate their art, history, and culture while providing spaces that are safe, diverse, and inclusive supporting creative and athletic activities.

GOALS + OBJECTIVES.

1. Creating a welcoming and safe space to service the BIPOC residents of the surrounding communities and neighborhoods.

2. Providing a unique and sensory experience that will highlight the unique individuals and their stories.

3. Giving the BIPOC community the voice they deserve in the design of this space and making sure to incorperate their wants and needs in every aspect possible, creating opportunities for co-design or cocreation. .

QUESTIONS.

1. How can a truly inclusive interior space promote confidence and overall well-being among the primarily BIPOC users of the space?

2. How can the design blend into and further support the current and future BIPOC community spaces and organazations in North Omaha and the surrounding area?

3. What are the specific elements needed to ensure that this space will be accessible and will fully fulfill the wants and needs of the BIPOC community that will be using the space?

RESEARCH.

The need for reflection and improvement within the architecture and design realm seamlessly extends to the domain of interior design, where a similar acknowledgment of historical inequalities is crucial. The article mentions the importance of shedding preconceived notions about design and adopting a fresh perspective by acknowledging how design discourse is predominantly ruled by the white, male demographic. It’s essential to dismantle entrenched biases and embrace diverse viewpoints, particularly when crafting interior spaces that resonate with the richness of various cultural narratives. Justice, equity, diversity, and inclusion (JEDI) should not merely be ideals but actively integrated into the fundamental principles of interior design.

Community engagement assumes a heightened significance in interior design, emphasizing the creation of spaces that reflect individual projects and align with the collective needs, histories, and identities of the communities they serve. This entails fostering open dialogues and workshops to empower community members to actively shape the spaces they inhabit.

When equity becomes an integral part of interior design discourse, it becomes a catalyst for transformation. This paradigm shift goes beyond physical appearances, encouraging

DESIGNING FOR INCLUSION.

designers to explore the personal and historical dimensions that contribute to enduring disparities within the design world. By embracing this multifaceted approach, the interior design profession can catalyze positive change, creating environments that reflect diverse cultures and contribute to a more equitable and enriched human experience. Designers must infuse their intentions and designs with a personal commitment to inclusion to ensure that their creations are truly accessible and inclusive.

Inclusivity in the design field is viewed as an important element but still not adopted as it should be. Inclusivity is something that should be not only adopted but understood. Spaces should be usable by as many people as possible, especially considering and optimizing the design for “extreme users.”

Participants from varying professions were collected and questioned for research interviews. Four groupings of people include; designers, design directors/managers, access consultants, private/public clients, and finally academic experts involved in research, standards, and guidelines. Questions were fairly structured and clustered in five areas. The answers and results which were gathered consisted of thoughtful insight and perspectives towards inclusive design.

The main takeaway from each interview was the need to go the extra mile. Instead of simply reaching minimum requirements for inclusive design, designers should maintain high standards for accessibility and inclusion. Another note made was the need for further communication with the client and users. Many design projects get built and then immediately abandoned, but post-occupancy user feedback can address inclusivity concerns and lead to a more accommodating space. The conclusions of the research highlighted that inclusivity should be maintained for the entire lifetime of the building, and prioritized within a variety of responsible roles. These core roles are; the design team, the facility managers, the maintenance staff, and the occupants. All of these positions are tasked with thinking inclusively and addressing any inaccessible concerns which may arise.

Research and imagery completed by Zeinab Albusharif & Shy Strahm

Trauma, affecting 61% of adults in the U.S., stems from adverse childhood experiences, encompassing neglect, abuse, familial substance abuse, mental health issues, economic hardships, and parental divorce or separation. This trauma can have toxic effects on brain development and physiological systems, increasing the risk of addiction, obesity, and chronic health problems like asthma and diabetes, while also triggering flight, fight, or freeze responses. Few architects and designers have embraced trauma-informed design, exemplified by projects like Colorado’s Sanderson Apartments, designed by Davis Partnership Architects, which opened in 2017 to provide supportive housing for individuals and couples experiencing chronic homelessness. Rooted in core values such as hope, dignity, connection, joy, peace of mind, empowerment, safety, and privacy, such initiatives hold promise for reducing trauma-related costs and breaking the cycle of intergenerational trauma. Research by entities like Shopworks Architecture, Group 14 Engineering, and the University of Denver Center for Housing and Homelessness highlights the importance of designing affordable housing that caters to the needs and preferences of residents. Many of these residents have experienced homelessness and expressed the feeling of relaxation and socialization within their own apartments for safety and comfort, while voicing concerns over noise and a desire for control over lighting. Recognizing the significance of context, including cultural, environmental, and lived experiences, is crucial in designing spaces that foster healing and resilience for individuals and communities affected by trauma.

Healing from trauma is a multifaceted journey that encompasses both individual efforts and efforts from the environment surrounding them. While spending time outdoors is often recommended to victims of trauam for its restorative qualities, it becomes imperative to explore how interior spaces can also facilitate healing considering that we spend approximately 90% of our time indoors. Trauma-informed design, although still evolving without a unified definition, can be understood as a design approach for the built environment rooted in principles of trauma-informed care. This involves considering psychology, neuroscience, physiology, and cultural factors in all design decisions to create spaces where users can experience safety, respect, community, connection, control, joy, and dignity.

TRAUMA-INFORMED DESIGN.

The core principle of trauma-informed design is to prioritize healing over harm. Trauma, which surpasses one’s ability to cope, can leave lasting adverse effects on physical, social, emotional, and spiritual well-being. It can manifest on individual levels through experiences like emotional abuse, accidents, or natural disasters, as well as on institutional levels through systems of racism, sexism, or homophobia. Chronic and enduring trauma, such as homelessness, and cultural or historical traumas like colonization and genocide, further emphasize the need for sensitivity in design. Our initial relationship is with our physical environment, making the spaces we inhabit crucial. Architecture has the potential to either intensify or alleviate the body’s response to stressors, offering the first point of contact to foster safety and connection. Recognizing common triggers such as disruptive sounds or lack of security, trauma-informed design seeks to create spaces that not only avoid triggering experiences but also aid in recovery and promote thriving rather than mere survival. Achieving this involves integrating and balancing three key concepts: sensory boundaries, nested layers, and identity anchors. Sensory boundaries can be established through techniques like permeable membranes, which modulate sensory information while maintaining coherence. Nested layers provide individuals with choices over time, allowing for varying levels of engagement. Identity anchors deepen connections to self, community, landscape, and history, enriching the overall experience of space. In essence, traumainformed design seeks to create environments that prioritize well-being, empowerment, and resilience.

Research and imagery completed by Abigail Miller & Lily Pinkall

North Omaha is one of the most densely populated neighborhoods in the state of Nebraska. In 2020, the census tracts for North Omaha included over 68,000 residents or 4% of the total state population. The total population count declined over a 10 year span from 2010 to 2020.

North Omaha is a relatively young community. The median age is 32 years old, which is below the median age of the state (37).

The neighborhood is much more diverse compared to the whole of Omaha/state. The percent of the population that is a person of color is 68%. The high concentration of POC is largely due to racial segregation.

There is a lower rate of those who have completed higher education. Only 14% of those in North Omaha have completed a bachelor’s degree. There is higher percentage of the population with only a high school degree (30%). Some college with no degree is 22%, and an associates degree is 8%.

Those that live in North Omaha and move within the county are likely to stay in North Omaha. Notably, most move as a result of housing costs or challenges.

There are racial and ethnic disparities in poverty within North O. Among the black community poverty is 33%, while white poverty is only 26%. This disparity in poverty rates goes back to systemic inequalities. This makes breaking the cycle of poverty much more difficult.

Neighborhood strengths: population density, young and diverse population; migration pattern shows people tend to stay in North Omaha; lively immigrant community; engaged labor force

Neighborhood weaknesses: diverse population is still largely segregated; disparity in poverty rates between people of color and non; population decrease since 2010; high percentage of “working poor”

HISTORY OF NORTH OMAHA.

Omaha’s North Freeway has had a long and controversial relationship with the city. The idea for the freeway came about when in 1944 the U.S. Congress passed the Federal Highway Act which provided funding to build freeways. The structure was proposed as an “economic development project” with the intention of quickly transporting cattle to the Omaha Stockyard. However, the proposed freeway was planned to cut through significant portions of North Omaha, in some instances even requiring the demolition of schools and churches. Opposition was strongly voiced within the North Omaha community; however, state authorities rejected the criticism- making final decisions without the consideration of those arguing against.

The freeway was eventually completed in 1988. Many see it as a demonstration of how the proposal and construction was solely done by choice of the city and regional power-brokers. Ultimately, the freeway does not serve its intended purpose and is underused.

Garret Hoie, an urban planning grad student and Omaha native

stated, “It’s a legacy of racial discrimination in Omaha. As Nebraskans and Northerners, we like to think that racism was just a southern thing, when very much so you can see it in our cities. Looking at it as a chance to right previous wrongs with redeveloping the North Freeway into something the community itself can use as opposed to something that gets people out of North Omaha, I think is definitely something that’s important.”

Research and imagery completed by Kara Morgia & Katie Williams

This project’s mission is to help profoundly transform disinvested neighborhoods into thriving and prosperous communities. Spark promotes Holistic Community Development. This applies rigorous real estate development methods while considering all the foundational assets: social, political, economic, and physical, that are necessary for communities to thrive and prosper. Our role is to support and supplement the work of existing organizations, build upon existing community assets, provide funding, leverage resources to close financing gaps, and to help educate and minimize the risk for developers who would otherwise not invest in these neighborhoods.

Strengthens the cultural and social landscape of our community by using the arts as a vehicle to inspire positive social change.

The Union uses the term “social change” as a broad umbrella to encompass a range of social and civic outcomes from increased awareness and understanding, to attitudinal change and increased civic participation. Recognizing that change on the individual level is directly linked to the building of public will and the development of policy that corrects injustice, The Union embraces the opportunity to foster social change every day through our programs,

NORTH OMAHA TRAIL.

partnerships, and commitment to North Omaha.

Urban Institute studied four creative placemaking efforts, examining their design, implementation, challenges, and successes. This synthesis piece discusses findings from the four cases, presenting cross-cutting themes that illustrate how creative placemaking techniques can improve community safety by promoting empathy and understanding, influencing law and policy, providing career opportunities, supporting well-being, and advancing the quality of place. The report also discusses implementation challenges and presents evaluative techniques of particular relevance for stakeholders working to understand these programs’ effects.

Research and imagery completed by Jordan Hummel & Katlyn Jenkins

Originating in 1950s California and known as “sidewalk surfing”, skateboarding first rose in popularity as an alternative to surfing when no real waves were available. It quickly became a great option for physical activity or simply as a mode of transportation. Skateboards started being produced by brands Makaha and Hobie, which made them more accessible to people. Magazines like Skateboarder and Surfer also emerged, and competitions and events started to take place, promoting the sport and famous riders.

In 1976 the first skatepark was built in Florida, which was when riders started skating in empty pools, practicing tricks, and exploring vertical potential, giving birth to the “half pipe”. As the culture continued to develop over the 80s and 90s, skating in urban and street environments became popular, as well as the fashion aspect of the culture. Baggy clothes and video documentary of tricks and maneuvers in public over stairs, handrails, and ledges found a big audience with the youth. The 1995 X Games gave the sport mainstream exposure and commercial legitimacy, and skate video games became extremely popular. Today, skate culture remains just as prevalent as ever, especially in other avenues of creativity such as fashion.

Over time, skate culture has significantly influenced and shaped fashion, music, art, and youth culture. It has encouraged diversity, resilience, and community. At its core, skate culture is about self-expression, creativity, and shared passions and connections with other liked-minded people.

There are a variety of considerations that need to be addressed when looking to build a skatepark that will determine its safety and success. There are some opinions on the variety of “terrain” that is created with a skateparkincluding a terrain more reflecting street skating with its geometric forms, and one with more curvilinear forms, but most suggest a mixture of both styles. There are agreed upon basics that should be included in every skatepark, including a mini ramp, flat bar, ledges, manual pad, launch, bowl corners, and pyramids.

Some other considerations in skatepark design that are seen as non-negotiables are the capacity, the materials, and the flow/visibility. A good rule of thumb is to allot around 1500 square feet per 10 skaters, but only

SKATE CULTURE + DESIGN.

one of these skaters will be using the space at a time; the others will be waiting to use this space. Many skaters and skate park designers see concrete as the only acceptable material to apply in skateparks. The prefab that once existed is not sustainable, and can crack and lead to injury. Concrete is long lasting and requires little to no maintenance. The flow and visibility is another important consideration when ensuring the safety of the users. With multiple skaters using the space at once, it needs to be clear where their path is so they do not collide with other users. Some refer to this concept as creating different “rooms” within the skatepark.

Skateparks are complex spaces to design, with all considerations being very important to its overall success. Recognizing these elements of good skatepark design is essential to ensuring the safety and ease of use for the skaters and all members of the community.

Research and imagery completed by Angela Le & Ella Rawlings

The North Omaha community used to feel like one big, close-knit family, enrobed in vibrant and lively neighborhoods. North 24th Street, otherwise known as “The Street of Dreams”, used to be a bustling, energetic street that centers rich culture and arts, such as jazz clubs back in the 60s, in North Omaha. One such historical club is Love’s Jazz and Art Center, named after Preston Love, who highlighted African American culture in North Omaha. It was historically significant and gave Black musicians and artists a boost and a safe space to share their stories. Although it closed in 2020, it has reopened with a new name: North Omaha Music and Arts. There used to be plenty of opportunities for black business owners, musicians, and other creatives in North Omaha, but it now lacks that spark it once had. To honor the past, new and emerging Black businesses need to share the rich history that North Omaha has. With local organizarions such as Fabric Lab attempting to stitch together wounds of the history and reinforcing their shared heritage, bringing the city back to their historical and community driven past may not be far out of reach.

Historically, while arts and community have been richly incorporated into North Omaha, the bigger organizations that could really have a positive impact in supporting and backing the Black owned arts organizations seemingly ignore them. They have lacked support and funding, while White owned organizations continue to get that over and over again. Arts Omaha specifically has ignored Black owned organization, The Union, and not allowed them to join, while simultaneously inviting smaller, White owned organizations to join. When called out on their actions, they denied it and then increased the requirements to join to be able to use that as an excuse for The Union not being allowed in. Instead of working towards equity by adding BIPOC leadership and including Black organizations in the group, they work harder to change the rules in their favor to maintain segregation and white supremacy. While they have made public statements supporting BIPOC voices and stories, behind closed doors they are not addressing the issue or working to resolve it within their organization. The community needs to stand up and speak out against organizations doing such discrimination to see change happen. They need to hold their community leaders and organizations to a standard of equity and inclusion, not just in public but in private too, and work towards the common

BLACK

ARTS + CREATIVE CULTURE IN OMAHA.

goal of inclusion to promote the previously diverse and bustling culture-rich arts in North Omaha.

The Black arts and culture scene in Omaha boasts a rich history marked by resilience and community. Despite facing systemic barriers, Black artists have persevered, carving out spaces for self-expression and collective celebration. Today, Black creativity is showcased through festivals, performances, exhibitions, and community gatherings.

Several nonprofits and organizations in Omaha champion marginalized voices and contribute significantly to this cultural landscape. Culxr House serves as a cultural community center, offering Black and BIPOC creatives a safe space for expression and engagement. Hosting events like the Annual Black Artist Expo and Art Battles, Culxr House provides opportunities for artists to showcase their work and connect with their community. Additionally, during the Black Lives Matter protests of 2020, Culxr House served as a hub for protesters.

The Union for Contemporary Arts focuses on social change through art, notably hosting the Undesign the Redline Exhibit from July 2019 to May 2022. This interactive exhibit explored the foundations of structural racism and the effects of redlining, essential for inclusive design solutions in North Omaha.

The North Omaha Trail, stretching from 24th and Ohio to 36th and Sprague, addresses the impact of the North Freeway on the community. Displacement and social disruptions caused by the freeway are countered by the trail, providing a safe route for transportation and incorporating art installations along its path.

In summary, Omaha’s Black arts and culture scene thrives due to the resilience and creativity of its artists, supported by dedicated community organizations. These initiatives enrich the city’s social fabric and foster

Research and imagery completed by Allyson Campagna & Eden Bigelow connections across communities, embodying a legacy of strength and creativity in the face of adversity.

TYPE: dance hall

LOCATION: Zagreb, Croatia

TEAM: 3LHD

DATE: 2008

SQUARE FOOTAGE: 14,639 sq. ft.

PRECEDENTS.

way to divide the spaces, over the typical general area heirarchies.

Going along with the pops of color, the main spaces remaining a darker material and color is successful in taking away distractions in the spaces and keeping things more simple. As the spaces are used as dance rehersal and performance rooms, it is nice to make sure the full focus is on the performers and their art.

The use of color in this project is something that really stuck out. Using color as not only a pop of livliness, but also as a circulation element, is a nice way to integrate it in multiple significant ways. Leading the guests through the space by using color as a natural progression between spaces is efficient in not requiring as much wayfinding signage.

The volumetric progression in section is also very successful in this project. Having a big, open main dance space followed by smaller rehersal studios and even shorter hallways and circulation provides a heirarchy of spaces and created a dynamic ceiling condition in each individual space. Giving the spaces height heirarchy is a very unique

ZAGREB DANCE CENTER.

The diverse use of materials is also a visually enjoyable experience. From just painted gypboard walls to reflective mirrored bar to a mesh screen to filter natural light in, there is a lot of visual variation and keep the eyes entertained and enriched throughout the building.

TYPE: education

LOCATION: Orange, California

TEAM: Lorcan O’Herlihy Architects

CLIENT: Chapman University

DATE: 2023

SQUARE FOOTAGE: 72,000 sq. ft.

This project has very open, tall, exposed ceilings, that are not only good for getting natural light in, but also for making the space itself feel bigger and grander. With the building being more open, however, there is the acoustics issue of too much sound bounching around. Experiementing with it an the specific materials would make for a great way to provide an inclusive, inviting environment.

Along those lines, the stairs being more in the center of the space in the vast opening makes them easily accessble and easy to find, making them a main elemt of the design as they are just out on display. They are easily integrated into the design and put an emphasis on circulation as a whole.

Similar again, having big and open circulation paths again just empasizes circulation and makes the space more accessible and easy to navigate for all.

SANDI SIMON CENTER FOR DANCE.

Also enjoyable in this space is the maximized use of space through custom seating elements. Filling in corners and awkward empty spaces with some custom furniture elements is a great way to maximize space while ensuring there are small spaces to break off into and take a seat or rest if needed. There is even a built in seating area in one of the dance studios shall they use the space as a performance area and need an audience.

Another benefit to this building is transparency. With the railings being vertical bars, there is a pretty good view of the space from the upper levels, which again makes the space feel grander and larger. There are also optional transparency elements in the dance studios, as they can be covered if they are wanting a more private performance or rehersal space, but can also be left open to allow other building occupants to observe their art.

TYPE: office

LOCATION: Hanover, Germany

TEAM: HENN

DATE: 2023

SQUARE FOOTAGE: 495,140 sq. ft.

Something that is very successful in this design is the use of levels and amount of privacy, dividing off more private and intimate spaces from more public and open ones. Having this option gives people more autonomy and creates a more flexible and appealing space to a more broad group of people. The level progression specifically can also give more of a varied and grand feel, especially with the way the stairs overlap the different floors.

Texture and dimension is also appreciated in this space. With the main circulation elements and spaces being a flat white, giving more texture variability in the smaller spaces is important. It gives visual variety and keeps people entertained and intrigued longer, effectively captivating the audience and users.

The subtle biophilia is also very nice, sophisticatedly bringing in nature in very particular and calculated ways to create and build on a certain look, feel, and general environment. Biophilia is important to have in design, as there are many health benefits and it can generally pull a space together nicely as well, giving it a more welcoming feel.

The design of the stairs is just excelent. They are so unique and fun and break up the space a bit more. They are dual purpose, and really catch your eye in the space, especially since it is a dark grey against a mostly white space. Their design is so well throught out and can be perfect for spaces that are needing or wanting multipurpose stair spaces. The location of them in the space is also excelent.

Lighting elements in this project are also very successful. The sky light over the main atrium space provides ample natural light for the building and creating a focal point on the ceiling. The lighting elements that run around the perimeter of the ceiling elements are also very successful in blending in and also emphasising circulation.

Built-in little seating coves are also an excellent way to make more private and intimate spaces without compromising the flow of the floors that contain them.

Smaller flooring change zones are also used here to separate space inadvertantly and to create smaller break out zones, again without building a physical barrier.

EXISTING SITE.

BUILDING + TENANT SPACE ANALYSIS.

PROGRAM + ADJACENCIES.

ADJACENCY MATRIX. BUBBLE DIAGRAM.

USER PROFILES + NEEDS.

NAME: Preston

AGE: 17

ROLE: skateboarder

HOMETOWN: Lincoln, NE

HOBBIES: skateboarding

LIKES: moveable skate obstacles, sense of community, freedom, creativity, skill zones

DISLIKES: wood ramps = splinters, concrete is hard

PAIN POINTS/FRUSTRATIONS: dimensions being just right, material for the ramps, fear of judgement

QUESTION: What is your favorite part of skating?

ANSWER: There are no rules! You can be creative and each person can choose how they skate.

QUESTION: What is the biggest barrier for skating?

ANSWER: Getting over the fear of judgement is key.

USER ONE.

NEEDS: flat space for learning, moveable obstacles, different skill areas, tall ceilings, storage GOALS: good flow, appreciation/ respect for all, accessibility

NAME: Nevaeh

AGE: 23

ROLE: dancer

HOMETOWN: Omaha, NE

HOBBIES: dancing, performing, art

LIKES: preserving historic spaces, community activation, making props, creating immersive experiences through art

DISLIKES: oppression, geometric shapes, fixed performance/rehersal spaces

PAIN POINTS/FRUSTRATIONS: maximizing visibility, ensuring proper accoustics, accessibility in the given space, working with grid structure

QUESTION: Which aspects of the arts are most important to you if we are limited on space?

ANSWER: Visual and performance arts have always been extremely important to me in learning about others and expressing my own journey.

QUESTION: How much visibility into your used spaces is required and/or preferred?

ANSWER: Minimal exterior visibility is preferred. It can be distracting for the people using the spaces.

USER TWO.

NEEDS: engaging the landscape and providing greenery, venue space, laser cutter/CNC router, natural lighting, greenroom, flexible performance/dance studio spaces, privacy, flexible entrances, storage GOALS: bridging communities together, providing unique experiences, playing with organic shapes, honoring and uplifting and promoting Black culture, 50-100 person capacity for performance capacity, accessibility

NAME: Michelle

AGE: 31

ROLE: community coordinator

HOMETOWN: Omaha, NE

HOBBIES: gardening, community involvement, hosting events, biking

LIKES: community, advocacy, involvement, flexible event spaces

DISLIKES: silencing Black voices, oppression, being ignored, fixed and geometric spaces

PAIN POINTS/FRUSTRATIONS: having too small of a space, too much time required to manage, not having the ability to expand/contract the space

QUESTION: What kind of things do you expect and/ or want in an event space?

ANSWER: I would love for it to hold events and activities in the community, and also be rented out to our community members for their needs.

QUESTION: How important is transportation to this building for you?

ANSWER: Very! We are looking to provide more accessible transportation options such as bikes.

USER THREE.

NEEDS: flexible event spaces, moveable furniture, bike storage, co-working office space, private office, print shop w/ screen printing, community garden/food preparation combination, plants and landscaping activated throughout GOALS: placemaking, activation of space, community involvement, bridging communities together, strength in numbers, accessibility

NAME: Jaxon

AGE: 28

ROLE: musician

HOMETOWN: Omaha, NE

HOBBIES: singing, performance, playing instruments

LIKES: hidden technical elements (storage, utilities), extra spaces (green room, recording studio, practice/rehersal room)

DISLIKES: metal ceiling elements, feedback sound, off-sounding music, improper reverberation, hollow stage, fixed stage/performance area

PAIN POINTS/FRUSTRATIONS: columns visually impair, bad acoustics, not hearing self correctly

QUESTION: What is the most important part of a performance space for you?

ANSWER: Acoustics! It is what makes or breaks a performance space and will dictate the whole experience.

QUESTION: What kind of aesthetic are you picturing for a new performance space?

ANSWER: I would like something intimate, with low ceilings, maybe some curves, and some fun lighting elements and/or effects.

USER FOUR.

NEEDS: minimal/adjustable lighting, good acoustics, low ceilings, visual stimulation, equipment easy to access/grab, less stimuli in practice room for focus, recording studio, green room

GOALS: sound exploration, intimate and immersive/sensory experience, implied circulation, up to 500 person performance capacity, speakeasy vibe, accessibility

DESIGN DEVELOPMENT.

PROCESS DIAGRAMS.

DESIGN PRINCIPLES.

C

E

F

FOOD TRUCK PLAZA

GARDEN

INDOOR/OUTDOOR STAGE

SITE PLAN.

FIRST FLOOR.

FIRST FLOOR PLAN.

FIRST FLOOR REFLECTED

PLAN.

MEZZANINE FLOOR.

MEZZANINE FLOOR PLAN.

BASEMENT FLOOR.

PERFORMANCE SPACE LOBBY + GALLERY SPACE STAGE WORKSHOP + STORAGE

BASEMENT FLOOR PLAN.

5. PERFORMANCE AREA

SECTIONS.

TECHNICAL COMPONENT.

Basulto, David. “Zagreb Dance Center / 3LHD.” ArchDaily, December 2, 2009.

“Guide to the ADA Accessibility Standards.” U.S. Access Board. Accessed February 20, 2024.

IBC 2021: International Building Code. Country Club Hills: ICC Publications, 2020.

“LEED Rating System.” LEED rating system | U.S. Green Building Council. Accessed February 20, 2024.

McQueen, Brigitte. “Arts Omaha + The White Supremacy Culture Of Omaha’s Cultural Sector.” Medium, April 9, 2021.

Nebraska News Service. “Omaha’s North 24th Street’s History Paves The Way For Its Future.” Nebraska News Service, January 28, 2023.

Pintos, Paula. “Continental Headquarters / Henn.” ArchDaily, December 21, 2023.

Pintos, Paula. “Sandi Simon Center for Dance at Chapman University / Lorcan O’Herlihy Architects.” ArchDaily, June 7, 2023.