Getting to There assessment and recommendations for building a college of choice
Memphis College of Art Spatial Strategy Framing our future
Conceptualizing the new system
Driving towards the future
from the president There are times when an institution becomes so focused on one issue that it loses its sense of balance in weighing the many other considerations that require attention in order to ensure progress. MCA found itself in that position and in need of a thorough 360 review. Little Bird stepped up to the plate, took us on and now, a full year later, we have a summary document to serve as a guide and a reminder of all that has been discovered and/or re-discovered. Even a college as small as MCA is a complex enterprise that consists of creative and committed faculty and staff, aspiring students, and dedicated trustees. To this, add the traditions, mores, unwritten but important collegial expectations, and let’s not forget the many state and federal laws and regulations. So, for Little Bird, stepping in was not so easy, for it had to observe actions and behaviors, reactions and politics without a full understanding of the dynamics that serve to explain or excuse the results. And this lack of understanding of the full spectrum of influences has been precisely the value of and the benefit to the Little Bird exercise. They, the folks at Little Bird, asked questions that often implied a “why.� The goal was not to arrive at understanding but rather to uncover the very heart and soul of the institution and reflect that back to us in such a way that we were forced to confront other perspectives, consider other solutions, set forth on other paths. MCA is now ready to make choices, to redefine itself, to set out on a new adventure, one that will be a reaction to Little Bird and its suggestions and observations. As president, I am excited about our current posture and I hold strong hopes that this time will be remembered as a new and positive beginning that will serve future students and this community more fully. Ron Jones President
Memphis College of Art
3
about this report section 1 - context and framing 1.1 current state of the college
1.2 building on our legacy
1.3 a center for creativity & innovation
1.4 becoming a college of choice
2.3 project methodology
2.4 project timeline
3.3 building the next creative minds
3.4 future storytellers
section 2 - approach 2.1 matching our ambition level
2.2 project success criteria
section 3 - student experience 3.1 trends impacting
3.2 student led project
This strategy is a summation and outcome of the spatial concept development project Memphis College of Art authorized starting in the Summer of 2015. It is to be used as a guide and as a roadmap to inform the next step of the renovation process and to complete the initial part of the associated strategic goal. The intent of this document is to drive conversations and further planning, donor engagement, and prioritization to continuously evolve the future of the Memphis College of Art. It should be considered a living document, as additional insights and ideas will be discovered. The investment made into the college should be seen as a commitment to growth and change in people, processes, systems, and learning outcomes. It is with this investment and alignment of purpose, culture, and brand, MCA will drive clarity and differentiation. Integrated into this report, is the Growth Strategy Report that was completed in March 2016. The Growth Strategy Report outlined new programs and mindsets that were configured into the overall strategy and spatial concept.
section 4 - design directives, strategic moves, and spatial concept 4.1 design directives & insights
4.2 moves & improvements
4.3 opportunities and initiatives
section 5 - roadmap and implementation considerations 5.1 implement
5.2 portfolio management
5.3 phased approach
5.5 get going
5.6 college of choice
5.7 acknowledgements
Memphis College of Art
5.4 activating this report
5
section 1 context and framing
1.1 current state of the college
1.2 building on our legacy
Memphis College of Art
1.3 a center for creativity & innovation
1.4 becoming a college of choice
7
1.1 current state of the college
framing the current state of the college
2015 to 2020 strategic objectives
ABOUT MEMPHIS COLLEGE OF ART Memphis College of Art is a school in transition. Transitioning to a path that will ultimately lead to a new meaning of what an art school can bring to a region through academic excellence, leadership, social impact, and economic contribution. Through the rebuilding of its brand identity and the reimaging of its physical space and experience, MCA has shifted to creating a new narrative that will result in becoming known as the college of choice for creative thinking and making.
Embracing a new beginning began in 2014-2015 as the college reflected on its legacy and current state to arrive at a new strategic plan that will guide key initiatives over the next five years. The plan developed focused on 3 key objectives and 7 strategic goals.
MCA MISSION MCA’s mission is dedicated to the teaching, practice, history, and appreciation of the visual arts and design, preparing graduates to impact the communities around them. CORE VALUES As an educational leader in the visual arts, MCA believes in innovating how education and artistic expression builds value and new opportunities in the lives of its students and faculty. Through an intimate setting, MCA develops students who are passionate, community-minded, and are risk takers focused on innovating through the arts to drive impact. The college values and prioritizes sustainability practices within its studios and trains students to keep ecology top of mind as part of the creative process and impact orientation. As a leader in the impact of the arts in the community, MCA believes diversity is essential and promotes as a core differentiator in how the college serves the needs of our local community and the betterment of society.
Memphis College of Art
VISION AHEAD The future for MCA is focusing on transforming and becoming a college of choice, providing an exceptional education for art and design students while being recognized as a center for innovation and creative problem solving, opening the door to new career opportunities.
IMPACT
MAXIMIZE
Through its informed and passionate faculty, state-of-the-art technology, and dynamic degree programs, MCA will graduate students who navigate the complexities of creative professions while finding lifelong satisfaction and success, and contribute in transforming our community.
REVENUE
OUR FUTURE
STRATEGIC GOALS
1
Establish Identity
5
Improve Professional Development for Students
2
Drive New Growth In Enrollment
6
Improve Community Outreach and Thought Leadership
3
Improve Retention
7
Renovate Rust Hall and Improve the Student Experience
4
Maximize Revenue Potential
9
1.2 building on our legacy
understanding our legacy and envisioning a new future
HISTORICAL VIEW OF MCA: hub for arts education
HISTORY OF MCA Founded in 1936 as the Memphis Academy of Arts, the mission and purpose for the school has always been to provide a rigorous curriculum in an intimate, diverse community to empower generations of leading artists, designers, and educators to flourish professionally and make contributions to society. From the Victorian Village to Overton Park, MCA’s identity has been informed by unique physical aesthetics of the locations it has inhabited.
NEW VIEW OF MCA a center for creativity & innovation
For over seven decades, the college has been considered a hub for arts education in Memphis. As the college has reached a significant point in its history, trends in higher education, evolving market needs, growing complexity, and relevance point to an acknowledgment for redefining its role in the community, city, and the world. The Memphis and surrounding region are looking for and demanding creative thinkers to develop new ideas that creatively solve problems with the complexities that range from global to local. Employers are looking for individuals who can bring new ways of working and thinking into the workplace.
Busines
r
ip rsh
ving Sol
MARKETS
m le
Ar ts E d
En t
Pr ob
n at io uc
Acting and thinking differently requires looking inward at the entire MCA system and offering to evolve its purpose and position in the community as a key thought leader. One where all interactions with the college show considerations and understandings for the past, present, and future to demonstrate credibility, vision and foresight, innovation, and wisdom as well as a track record of getting to action.
Creative
nd
u ne re ep
This pivot will mark a significant shift in how MCA views itself and how it will position its brand as a leader in creative problem solving, artistic expression, and innovation.
sa
INDUSTRIES
In this essence, we find why MCA exists, the value it provides, and an emerging new narrative.
COMMUNITIES
Memphis College of Art
11
1.3 a center for creativity & innovation
positioning mca as a platform for growth
This new narrative for MCA is about being an integrated platform that connects thinking, making, and feeling along with a new way of working. It’s about being curious about what’s working and what’s not, experimenting and being willing to try new things, and working collaboratively in a team-based environment. These are the essential components and behaviors that are critical to shaping new, successful outcomes based on the MCA vision. Those who are open to—and willing to—shift their mindset from certainty to curiosity will succeed. Those who can learn new skills in spite of feeling vulnerable will thrive. MCA’s space is critical to shaping how these three parts manifest themselves in the curriculum, learning environments, brand identity, and culture. THINKING As the Center for Creativity & Innovation, MCA will bring these new ways of demonstrating the abilities of students to think critically, from practicing empathy locally to globally, to solving problems through creative, original ideas. External stakeholders will know the MCA brand experience demonstrates thinking differently about complexity and knows the ways to find better ideas and possibilities. FEELING As the Center for Creativity & Innovation, MCA will better prepare students with skills that require a better understanding of research (empathetic listening) and the use of evidence-based analysis to find direction in how to solve problems, connect insights to art making, and communicate clarity.
Memphis College of Art
MAKING As the Center for Creativity & Innovation, MCA will leverage seven decades of the fundamentals of artistic expression with new emerging tools that create new discoveries and approaches for how creatives redefine the process, and connect to audiences in new ways that evoke fresh meanings between the head and the heart.
CREATIVITY
THINKING
EMPATHY
MAKING
FEELING VISCERAL
13
1.4 becoming a college of choice
THE COLLEGE OF CHOICE
being a college of choice is a result and an opportunity
In talking to a range of stakeholders, from high schoolers to alumni to people in the community, being a college of choice is a result of students and parents evaluating multiple factors that frames the significance of the decision to choose. Students come to a college to achieve big dreams and find their way to becoming a creative “original.” They desire to be associated with a school that feels innovative and will help them succeed. In this pursuit, students need to see and feel the college’s purpose, brand, and culture. It should also be clearly stated that the factors identified work in concert together; a great space is just a great space-without the other parts, will never be the sole reason a student selects MCA. These critical factors influence recruitment, attendance, retention, and overall engagement. The choice, along with a great experience, will ultimately produce an alumni graduate who will become a word of mouth ambassador, further driving other prospects to recommend Memphis College of Art as THE college of choice.
A recent Gallup study found that higher education institutions struggle to stand out in the minds of students with similar mission, purpose, and vision statements that make it hard to distinguish one school from the other. With the lack of differentiation and unique identities, the opportunity for higher education leaders to disrupt this problem is clear-use purpose, brand, and culture to drive messaging that establishes unique and outcomes-focused values.
1
MISSION, VISION & VALUES
Creates alignment to their value system and outlook
2
STUDENT EXPERIENCE
Ensures there is vibrancy, cultural fit, and a place for me
3
CULTURE & MINDSET
Family-like feeling of acceptance, support, innovation, and intimacy
4
LEARNING MODEL & PEDAGOGY
Uses relevant teaching methods to capture attention and apply learnings
5
BRAND PROMISE
Brings to life what the college aims to accomplish
6
SPATIAL EXPERIENCE
Facilitates learning, inspiration, community, and resourcefulness
7
PROCESSES & SYSTEMS
Improves efficiency of time and getting things accomplished to prioritize the desired focus
source: http://www.gallup.com/businessjournal/184538/hard-differentiateone-higher-brand.aspx
Memphis College of Art
15
space is and can be a catalyst for bringing our vision to life
section 2 approach
2.1 matching our ambition level
2.2 project success criteria
Memphis College of Art
2.3 project methodology
2.4 project timeline
19
In 2015, MCA engaged Little Bird Innovation to develop a new spatial concept for the main campus experience. For MCA, the main campus building is Rust Hall and the surrounding grounds. This was a key strategic goal that was laid out in the 2015-2020 Strategic Plan document (Renovate Rust Hall and improve the student experience).
Determining the approach for becoming a “college of choice�
While the primary project goal was to develop a new spatial concept, the larger outcome was to help frame what it means to be a college of choice. Which means while spatial experiences can grab attention and recognition, it is not the only criteria for selecting a college and the outcome to drive a choice and build a meaningful existence. In looking at the Strategic Plan goals, Little Bird found many of the goals play a role in helping to define what it means to be a college of choice. Through dialogue between Little Bird and MCA leadership, it was critical that the project look at:
+
How learning happens in and outside of the classroom
+
How the current student experience drives engagement
+
How the spatial experience tells the MCA brand story
+
How information is communicated to stakeholders
+
How MCA makes decisions as it relates to space
+
How processes, systems, and people impact the experience
+
How MCA defines a typology of space types and designated uses
+
How MCA connects to its surroundings
Memphis College of Art
21
2.1 matching our ambition level
matching our ambition level
PROJECT PLANNING At the beginning of the project, MCA set forth a high level of ambition driven by acknowledging past approaches that have not achieved the right outcomes-lack of adequate space to grow and flourish as well as making the campus ground zero for creativity within the city. It’s at this point in time MCA is framing its future vision of what the next 5-10 years might look like-enrollment, student experience, and academic excellence. Driving the need to take a step back and look for a different approach, Little Bird would work with MCA to develop a research plan for how to answer the strategic question through a humancentered approach to understand how people, objects, environments, messaging, and systems make MCA what it is today and how they could impact the future. MCA set the expectations that the outcomes of this work would be a forwardthinking strategy that creates something unique, further distinguishing the school from competitors, evolving the iconic nature of the building, and improving it position in the minds of students and the broader community.
Memphis College of Art
The spatial strategy can then begin to align to the larger narrative MCA is telling about its future and how donors can align to their interest and the interests of the college. It would also be used to inform the architecture design phase with a more holistic mindset and understanding for how the college needs to grow and why. ROLE OF DESIGN THINKING IN THE PROJECT To find the spatial concept, Little Bird collaborated with MCA to designated design thinking as the approach to use for the project. Design thinking has gained prominence in academic circles as a way of teaching creative problem solving and helping students learn a different mindset. As an emerging practitioner of the design thinking discipline, MCA partnered with Little Bird to give key faculty members and a select group of students the opportunity to be an extension of the project team.
2.2 project success criteria
2.3 project methodology
project success criteria and its importance for the project outcomes
criteria shaped the project principles and methodology
The Leadership team established 10 key success criteria for the project, which helped shape the methodology and timeline for the project.
Based on the success criteria identified, it was clear the most important activity was to spend time with stakeholders, listening through less formal conversations, to build trust and deep understanding.
GENERATE ENTHUSIASM
BUY-IN
PLANNED ROLLOUT
EVERYONE FEELS HEARD
creates buzz, inspiration, and excitement
get all stakeholders bought into the new direction
use phased approach to implement
ensure stakeholders needs are heard
NEW PROGRAMS
STUDENTFOCUSED
account for new future programs
students are the customer more than anyone else
MORE DISTINCTIVE THAN THE REST differentiated experience from competitors
PUBLICITY & ATTENTION
COMMITMENT TO KEEP GOING
local media write about new MCA and space vision
consensus to move to the next step
REALITY RECOGNIZED balance new possibilities and realities
The key principles used for the project: BE STUDENT-DRIVEN To understand students and what is important to them, a team of four students were recruited to learn design thinking and help collect peer feedback on what was liked about the current space, what was desired to change, and challenges within the studio spaces. BUILD RELATIONSHIPS To understand the how learning happens, time was spent observing classrooms, interviewing faculty, and being onsite to have conversations. Additionally, time was spent with administration and staff members who engage with students or play a role in Rust Hall functions. OUTSIDE IN As higher education strives to create new value, space is a frequent conversation. Literature reviews were conducted to find new trends impacting the student experience and why. COMMUNICATE FREQUENTLY To ensure project visibility, weekly to bi-weekly check-ins were set up to communicate progress and findings and address issues with stakeholders.
Memphis College of Art
This was critical to ensure as the project moved through the phases, there was visibility that provided inputs to other strategic objectives and communications. CO-CREATE WITH NOT FOR Once all data was collected from observations and interviews, synthesis activities generated reflection documents that were shared with departments that highlighted challenges, opportunities, experiences, key needs around spaces, and examples of other spaces. This iterative process ensured insights were valid and was the fuel for generating new spatial concepts. BE PRACTICAL Through multiple walk-throughs with the Operations VP, an understanding was established for how the building was constructed and the opportunities to reconfigure how the space functions and circulates. EXPLORE A RANGE OF CONCEPTS With assessments and insights, multiple spatial concepts were created and presented to stakeholders for another round of feedback. This provided additional feedback to help shape the final recommendations.
25
2.4 project timeline
project timeline
The Spatial Strategy project was conducted from August 2015 to April 2016. Parallel to this effort was the Growth Strategy project, which provided an opportunity to integrate the collected data from the broader community on the MCA brand, space, and interactions.
LITTLE BIRD METHODOLOGY
August 2015
January 2016
FRAME
March 2016
ANALYSIS
May 2016
SYNTHESIS
DELIVER
Building Assessment
Student-Led Project Institution Interviews (Faculty, Staff, & Leadership) Data Assessment
Insights Development Co-Creation Activities
Growth Strategy Project
Memphis College of Art
Design Directives
Concept Feedback
Spatial Concept Development
Strategic Plan Development
Co-Creation Activities
Spatial Strategy Deliverable
Growth Strategy Report Deliverable
27
Students are the ultimate stakeholders, and building a great customer experience is key to attraction, retention, and enabling their futures. SPACE CAN BE A DRIVER FOR STUDENT PERFORMANCE
section 3 student experience
3.1 trends impacting
3.2 student-led project
Memphis College of Art
3.3 building the next creative minds
3.4 future storytellers
31
3.1 trends impacting
trends impact the student experience
The pace of change that is happening in higher education is radically redefining its role and place in society. Students are expecting, for the tuition costs they pay, to come away with a set of tools, abilities, and know-how to make a successful career out of their discipline of study. Students look for colleges that can meet or exceed their expectations for preparedness. Today, colleges are struggling to rethink how they do the things they do to maintain their relevance. Six key trends are impacting the how colleges are constructing student experiences and outcomes. ATTENTION AND THE BRAIN
MAKING SPACES
MINDFULNESS AND WELLNESS
removing distractions from the classroom and rethinking what an active learning environment is means helping students engage and learn
the growth of maker spaces speaks to importance of having resources and tools to quickly activate ideas and experiment to answer questions
supporting the rhythms of the body through rest and renewal after intense focus to improve cognition and learning
SENSE OF PLACE
FLIPPED CLASSROOMS
GROWTH MINDSET
constructing spaces where things have ownership, are connected, can be adaptable, and can create new meanings
activating new learning models to create a hybrid of digital and physical learning environments that will drive more coaching and collaboration
moving from a fixed mindset of scarcity and limited potential to seeing the world as endless learning and potential
These trends will continue to impact how learning spaces facilitate knowledge transfer, engage the senses, create community, and drive engagement. Colleges that are on the forefront of these trends are the ones viewed as a cut above the rest. SOURCE: Steelcase 360 Magazine (The Education Edition 2015); Haworth (Compelling Branded Environments in Higher Education -2015)
33
3.2 student-led project
student-led project
To help MCA students play a role in this project, an extended team was created made up of 4 students and 1 faculty lead. This team played a key role in running multiple student campaigns in the fall semester (September 2015) to collect feedback on the buildings and current experiences as well as interviewing their peers about their programs. These students also conducted immersions diaries to document how each person used the space and moved through it. The team also met with a range of faculty members and leadership to see the experience from their perspectives. Overall, a set of key themes emerged that surprised the team of their importance to the student body: TRANSPORTATION Adequate transportation options to shuttle them between the dorms and main campus building as well as bicycle storage options that prevent theft and quick entry INFORMATION DISTRIBUTION Student’s are not always best at checking e-mail and fail to stay in the know about what’s happening SECURITY Students expressed a concern over distance to the dorms and lack of options if there is a need for help
Memphis College of Art
OWNERSHIP Students feel they are the last to know things, and in several cases, don’t have a say in decisions about the space WORKING SPACE Across majors, there is a general consensus that there is a lack of “working” space, which inhibits students to process and make VIBRANCY Feeling inspired, movement through the space, and interacting were key to building a place students wanted to be
35
3.3 building the next creative minds
space will shape how students leave
In the MCA Growth Strategy report, three key mindsets and a range of qualities were identified that students should leave with empowered to tackle the world and build satisfaction in their careers. From this research, it became clear that the spatial experience is a key facilitator and promoter in the development of these competencies.
SYSTEMS THINKERS
WHAT THE SPACE DOES
THE BENEFIT
FLEXIBLE & ADAPTIVE
Students should learn to see MCA as a set of tools and resources for helping them achieve desired learning objectives and ultimately finding themselves prepared.
Students should leave MCA with the entrepreneurial hustle. The space should play a role in helping expose students to opportunities and help them quickly understand how to experiment, pivot, and create meaningful value.
The environment within MCA should not inhibit students, ability to learn socially, emotionally, and academically. Spaces should remain flexible and adaptable to learning and the outcomes of what is desired from the teachings.
Trains the mind to be resourceful and think critically even after graduation
Builds key understanding of how to utilize space to build engaging experiences and exposure to outside projects
Shapes the student to be curious about learning and embody a growth mindset
Helps to expand the creative toolset and cross pollinate to opportunities Improves marketability in the workforce Improves the ability to network and collaborate
Memphis College of Art
ENTREPRENEURIAL
Helps students learn the basics of business to increase self-sufficiency upon graduation
Helps students to constantly construct new discoveries and meanings
Improves work habits and drive
37
“Making spaces are the new innovation labs” STEELCASE RESEARCH
39
3.4 future storytellers
graduating future storytellers
WHAT IS THE STORY MCA GRADUATES WILL TELL OTHERS? The narrative is one of a place, not a space, that empowers raw talent to think like Steve Jobs, break the rules like Richard Branson, and impact like Stefan Sagmeister.
MCA
Our greatest accomplishments are in the individuals who shape our culture and create a meaningful impact in society. It is the role of MCA to prepare these leaders for the complexity of tomorrow and provide an educational experience that is inspiring, innovative, and engaging. The stories future graduates will tell are of a place, not a space, that empowered them to be creators, thinkers, and doers of change.
Memphis College of Art
This is how we get there
section 4 design directives, strategic moves, and spatial concepts 4.1 design directives & insights
4.2 moves & improvements
Memphis College of Art
4.3 opportunities and initiatives
45
4.1 design directives & insights
learn from the past, move to the future
from
to
new directives
Fragmented
Integrated
build a singular unifying identity for MCA that reflects and encourages collaboration between disciplines, creating a cohesive MCA experience
Misalignment
Clarity & Confidence
develop an open information and communication pipeline between administration, staff, and students that encourages input and provides transparent and timely response
Restrictive
Open Resources
encourage and promote cross collaboration of students and ideas in all aspects of the program and space design while still providing for intense focus in any particular area
Student Last
Student First
focus on student needs and experiences first as a way to support learning and create engaged students with deep and lasting connections
Prescriptive Space
Reactive Space
design space and facilities with adaptability and flexibility in mind in order to address the ever-changing needs of administration, faculty, and students
Space
Intentional Space
make considered and intentional decisions about the programming of space based on its ability to enhance collaboration and provide an open-resource mindset
Memphis College of Art
47
4.1 design directives & insights - build
from fragmented > to integrated identity
BUILD a singular unifying identity for MCA that reflects and encourages collaboration between disciplines creating a cohesive MCA experience. “Creating a compelling culture and identity in Higher Education can drive engagement and success. A well-designed, branded environment expresses an institution’s core identity and the values students relate to. It communicates and supports an institution’s mission and values, and leaves a lasting impression by creating engaging spaces that enhance the user experience. It resonates with current and potential students and allows them to visualize what they can achieve on campus. It can boost recruitment, retention, and engagement; support growth plans and partnerships; raise the profile; and create a higher perceived value with various constituencies.” WHAT IS THE STORY? It’s not just about the diploma, but the experience of reaching that degree. A well-established identity creates a sense of place where people thrive, a sense of attraction and enduring emotional attachment with the physical campus that fosters lasting connection and engagement, and sends a message to potential students about what they can be a part of.
An identity or brand is the sum of impressions and experiences a user holds about an organization. It is more than just a tagline or brochure. It grows out of many elements, from marketing pieces to buildings, to all interactions with employees and students—both planned and unplanned. An identity is critical in influencing what people think and feel about an organization. Student and faculty identities are currently tied to the distinct identities of their majors or departments and not to the larger school itself. These identities are restrictive, and many departments expressed a desire to change the outside perception that has been cultivated but is not necessarily based in fact. Photography wishes to be seen as more than messy and expensive, seen instead for the quality of work that the department produces. Similarly, letterpress and papermaking feel they have a perceived identity that does not acknowledge the value of their program and the work the students are doing. The closed and fragmented nature of the departments as they exist now has played
a role in forming this culture, but can and should be brought together in an effort to create a better singular MCA culture and identity that recognizes and celebrates all departments while also emphasizing a unified school identity that attracts and retains top talent. For MCA, while focus and specification in an area of study are important, a larger integrated school identity that students, faculty, staff, and administration can feel a part of creating should be the new strategic approach. Blending place with interaction and connection to community provides a chance to move beyond designing only for function. It can enhance the sense of place and celebrate the spirit of the campus. This identity needs to not only permeate the built space, but more importantly the thoughts and actions of those with the power to influence. While space design can do a lot, it cannot become a part of the identity without the support and implementation of all members of the MCA community they should aim in everything they do to not only provide for focus in a major but to also encourage exploration and discovery.
SOURCE: Haworth - (Compelling Branded Environments in Higher Education-2015); Herman Miller - (Adaptable Spaces and Their Impact on Learning-2009)
Memphis College of Art
49
4.1 design directives & insights - develop
from misaligned > to clarity & confidence in processes
DEVELOP an open information and communication pipeline between administration, staff, and students that encourages input and provides transparent and timely response.
“We make it work with what we have� This sentiment, expressed by almost every faculty member, is indicative of the perception that there is no clear way to ask for or receive more than what they have (or even what may be needed) to achieve learning/teaching objectives. Asking for or addressing even basic needs is not something that will be adequately addressed and has thus been written off. Through enough negative experiences with the existing processes for addressing spacial or technical issues, faculty have basically given up on their hopes for a successful outcome, and with that goes much of the confidence they have in the administration. Work orders and IT requests are the biggest culprits. Faculty do not understand the process by which these requests are addressed and thus submit a request with no confidence that it will get taken care of or understanding of when that might occur. This lack of clarity and communication has aided in building a wall between these groups, when, in actuality, the barrier may be one of communication and understanding. With the IT department in particular, there is a mismatch of expectations causing many of the communication issues. Hired to be systems administrators and address larger IT needs around the school, much of their actual work involves help desk duties that could be handled by any number of people and requires a person more geared towards customer service.
Memphis College of Art
This mismatch has, in part, served to build the barrier that exists between groups. By ignoring this issue, the walls have only grown taller and the relationships more difficult, creating the lack of confidence and frustration felt by all. Recognizing and addressing this mismatch while also creating more open and clear communication channels will break down the barriers of fragmentation by department and will assist in understanding and alignment of expectations while adding confidence back into the process when faculty and staff have confidence in the system and the people making decisions. Key to designing an open information system is closing feedback loops, creating mechanisms that make individuals accountable for the completion of work in a clear and visible manner, and a clearly communicated system for decision making and prioritization. Closing communication loops requires a system to acknowledge the submitee of an issue received, providing an understanding of where it fits in the current pipleline, and a timeline for resolution. With a focus on a transparent system of prioritization and student/faculty first mentality, the negative feelings now associated with submitting a request can be transformed into confidence in internal processes and a system that enables resources to address prohibitive issues.
51
4.1 design directives & insights - encourage and promote
from restrictive > to open resource policies
ENCOURAGE and PROMOTE cross collaboration of students and ideas in all aspects of policy, program, and space design while still providing for intense focus in any particular area. “SEVEN PRINCIPLES FOR GOOD PRACTICE IN UNDERGRADUATE EDUCATION” Key to student success: The amount of time students 1 Interaction between faculty 5 spend on studies and student
2
Student-to-student collaboration and cooperation
3
Active learning
4
Prompt feedback from faculty
6 7
High expectations from faculty and staff Respect for diversity of talents and learning styles
SOURCE: Haworth - (Compelling Branded Environments in Higher Education-2015); Herman Miller - (Adaptable Spaces and Their Impact on Learning-2009)
Memphis College of Art
According to a Haworth report on brand in Higher Education, providing an environment for cross-disciplinary study and collaboration allows students and faculty to work side-by-side with other disciplines and partners to explore and discover new concepts and solve complex problems. Such partnerships provide a meaningful focus that is a differentiator in the marketplace of higher education. These partnerships, and the physical space they inhabit, form part of the identity and message that is communicated both through the spaces and programs being offered. While a certain level of restriction is necessary, overall, accessing needed tools (physical and digital) is routinely too difficult and restrictive to facilitate overall open learning objectives. Making this more problematic, no one has a clear understanding of who controls these decisions. As a consistent theme, this continues to drive discontent with internal transparency in processes and permission. One example can be seen with the access to photography tools. While difficult enough for photography students to find the appropriate person and gain access to the locked storage room, the ability for a student from another department to do so is exponentially harder. Even if they can gain access to the necessary digital tools, they do not then have access to the photo studio where the lighting and setup tools to create a well-staged photograph are kept.
Proper photography and documentation of work are key to all departments as well as a major player in the process of some digital majors, but the tools are not accessible to them. As we look to a more open and collaborative mindset, the physical ability to do so is paramount to the success of execution. Access to necessary tools and the ability to explore and discover requires encouragement and access. One way this will be addressed is through breaking down the literal and sometimes figurative barriers that now divide majors and departments by creating new shared spaces. All spaces should be considered learning spaces. Informal learning space can be accessed by students between scheduled classes, providing additional opportunities for students to continue collaborations that begin with the class assignment. Space types for more social interaction drive identity and values, as well. Not only does a café provide refreshments, it creates a place for social interaction, group work, and learning, reinforcing the message that an institution values collaboration and interaction. Research indicates that these learning space attributes do in fact enable the learning process. As more open spaces are created, the access and permissions to utilize them must match the desire for cross collaboration and open learning. The aim should be to create a resource-oriented school where students have the freedom and ability to access tools and information that fit their broader learning objectives.
53
4.1 design directives & insights - focus
from student last > to student first mindset
FOCUS on student needs and experiences first as a way to support learning and create engaged students with deep and lasting connections. IT ALL STARTS WITH THE USERS It may seem obvious to many but it all starts with the users, students and faculty. Learning spaces that are physically and psychologically comfortable promote a sense of wellbeing, keep minds focused, and limit distractions. Comfort is not always a quantifiable phenomenon, but we know that when people are uncomfortable, they are distracted and not engaged in learning. COMMON THEMES THAT SUPPORT, ENHANCE, AND CONTRIBUTE TO THE TEACHING AND LEARNING EXPERIENCE
basic human needs
comfort convenience support the learner
teaching
method technology and tools flexibility effectiveness
learning
style technology and tools flexibility effectiveness
engagement
communication collaboration interaction sense of community
The MCA student experience is not well understood, and not designed with intention to create engaged and loyal students. Understanding the student experience from the time of first contact through their first year and even beyond is key to gaining a greater understanding of the perceptions, challenges, and issues faced by students. This understanding can provide directives to address the systems and processes of MCA to better facilitate experiences. Experiences, like anything else, are designed. A shift in focus to designing for and optimizing student experience will allow MCA to be more intentional when addressing retention and satisfaction. A broad example of this with MCA relates back to the idea of a hierarchy of student needs. In order for students to be at their best and learn effectively, there are certain needs that must be met. Currently, some base needs are not being met, creating a barrier to effective learning. Known physical needs like nourishing food and sleep are crucial to engagement and internalizing learnings. There are also psychological needs, like comfort and access to sunlight, that, when lacking, affect mood and measurably affect engagement. In the 21st century, there are now technical needs that must be provided for in order to facilitate even basic learning objectives.
Some notable issues MCA has in meeting these needs are the lack of appropriate electrical outlets for mobile learning and the inability to access WiFi in learning spaces. These needs are crucial to the students’ ability to become true learners, and failing to address them serves to foster discontent and hinder higher learning objectives. These discoveries are guiding educators towards learner-centered approaches that elevate learning to new levels. Campuses and educational spaces play a big role in engaging and meeting student needs. “Spatial” branding strategies play a significant role in engaging top students and faculty with the institution. This new focus also helps build the kind of culture and identity that fosters continued engagement after graduation. The brand of an organization can be represented through design and furnishing elements that reinforce the culture, values, and even desired behaviors. Translating the brand into the architecture and interiors of a higher education institution is a powerful way to leverage the investment in space and guide decisions about its design. And, a “spatial” branding strategy can play a significant role in engaging top students and faculty with the institution.
SOURCE: Haworth - (Compelling Branded Environments in Higher Education-2015); Herman Miller - (Adaptable Spaces and Their Impact on Learning-2009)
Memphis College of Art
55
self
acualization personal growth fullfilment
esteem
confidence & achievement
21st Century Version of Maslow’s Hierarchy of Needs
love & belonging
family, friends, relationships
connectivity
electricity, internet, wifi, mobile
safety
protection, security, stability
psychological food, water, sleep
57
4.1 design directives & insights - design
from prescriptive space > to reactive space design
DESIGN space and facilities with adaptability and flexibility in mind in order to address the ever-changing needs of administration, faculty, and students. Findings from the research provide evidence that flexible and adaptive design supports the core pedagogic constructs of basic human needs, teaching, learning, and engagement. Doing so addresses a simple yet vital equation: the sum of people, pedagogy, and place equals possibilities that enrich teaching and learning for students, faculty, administrators, and the community.
Research has found that “high levels� of perceived control over one’s work and work environment increases job satisfaction, commitment, involvement, performance, and motivation. Flexible and reactive space design is another way to address the need to put learning/teaching needs first. For students, comfort and flexibility positively contribute to their learning experience. Aiming to create students who are more flexible thinkers and have more flexible experiences shaping their education is not enough. MCA must provide spaces that both promote and encourage that ideal. Different learning methods require different spaces. Looking to the future, MCA needs to provide spaces that are adaptable and can adapt to growth and change as program development goes through ebbs and flows. As we see with Callicott and the ceramics studio currently, shifting desires and shifting goals lead to spaces under-and over-utilized in different phases of growth. Prescribed spaces with set configuration do not adapt well to change, and change is the only constant, even in academia. With the addition of more open spaces and the built-in flexibility for the users to determine need and thus configuration, MCA can be more adaptable to ambiguous change when and where it occurs.
In providing flexibility, it is necessary to look at existing classrooms, as well, and aim to make them as adaptable to learning/ teaching goals as possible. Flexibility and comfort is also a shared basic need of faculty. Research reveals that five features are moved or adjusted more frequently by faculty as compared to the traditional classroom: seating, tables, whiteboards, lighting, and the location of technology. To support effective teaching, studio design should make it easy for an instructor to synchronize elements and be flexible enough to accommodate different styles. Design elements, such as mobile furniture and whiteboards, provide students and faculty with the ability to change the environment to meet their pedagogical and collaboration needs. It also provides an informal learning space that can be accessed by students between scheduled classes, providing additional opportunities for students to continue collaborations. The combination of more agile furniture and open space configurations allows educators to adapt space to meet their changing needs as class sizes grow and new needs evolve and are discovered.
SOURCE: Herman Miller - (Adaptable Spaces and Their Impact on Learning-2009)
Memphis College of Art
59
4.1 design directives & insights - make
from providing space > to being intentional about space
MAKE considered and intentional decisions about the programming of space based on its ability to enhance collaboration and open-resource mindset. The fact that “spaces can elicit such positive responses in terms of conveying an appropriate image and making students and faculty feel valued is quite remarkable. What we know from the research is that there is a close connection between these positive feelings and perceptions and stronger engagement and improved retention.” Most modern construction is built around functional considerations—increased density, one-size-fits-all rooms, office reductions, etc.—usually because it is viewed as a cost rather than a driver of performance. Recognizing space as a way to support engagement and retention begins by first defining existing institutional culture, comparing that to desired culture, and then designing spaces to expressly support the elements needed for change.
While looking to space to define an identity and support future growth, other needs for the space must be taken into account, as well. Students are in need of spaces that are intentional about providing for different modes of experience. If we can define these modes of experience, we can better understand what a space needs to be to provide for that. The following categorizations of learning modes can serve to influence design and create better experiences: ACTIVE/FOCUSED LEARNING Directly engaged in the act of learning, whether individually or with a group, as art is sometimes a very personal process. Diverse needs based on tasks and objectives. Focus of space is to encourage and excel high-level learning. PASSIVE WORK/AN EXCHANGE OF IDEAS Discussion-based and conversational but engaged in the exchange of ideas when in a group, or individually, searching out information to expand one’s own knowledge. NO WORK/REFLECTIVE/RECHARGING Non-work, relaxation with the intent to recharge and escape from deep thought in order to get back to peak performance. Often a time when ideas are able to be made more clear in the process of design and creation. One approach is to focus on and expand those spaces that are catalysts for interaction and exchange or central spaces
Memphis College of Art
where shared experiences already occur in order to promote and encourage active learning. Having highlighted many of these centers of gravity, the goal is to transform them into spaces that are more intentional about achieving the design directives previously discussed. These spaces will serve in many different capacities to help create the culture and identity of MCA as a whole; make MCA a more open, accessible, and transparent system; focus on student needs and learning objectives; and to be reactive and growth minded. As MCA the organization develops is own mindset toards growth, a campus designed to be reactive and flexible implies a complete culture and identity geared toward growth. In addition, there is evidence that these approaches support not only engagement, but retention and future connections. A case study of the University of Alabama at Birmingham shows how intentional space design can affect recruitment and retention. The new visitor center showcases views of the campus and the buzz of student activity through the glass curtain wall and large cased windows that are an integral part of its design. “We’re sending an intentional message about what you have a chance to be a part of and the experience you‘ll have here,” said Director of Academics Carolyn Farley. Walking through the space, “they’ll see students engaged in student organizations, studying and hanging out in lounge spaces, and other day-to-day campus interactions.” Integrating casual social areas into grand spaces demonstrates a school’s interest in supporting interaction and idea exchange.
61
Moves & Improvement Opportunities
63
4.2 moves & improvements
EXISTING LIBRARY VIEW FROM LOBBY
1. library expansion EXPAND library function and visibility to be an OPEN social resource, in addition to housing content.
EXPAND the library to function as a filter between the arrival sequence and provide visual connections and access. LIBRARY EXPANSION In the past decade, libraries have shifted greatly in their methods for content delivery. Therefore, in addition to increasing the catalog of new materials, it is important to develop a catalog of new spatial types which ehance collaboration and promote an open-resource mindset.
NEW LOBBY CONNECTION TO LIBRARY EXPANSION
The new library experience should not feel like a storage vault, locked away at the end of a corridor but rather, as a center of gravity, radiate out to grip all programs in view. By swapping the main lobby partition walls with glass, a great degree of transparency and porosity is created, drawing in natural light and creating a multi-directional lobby experience. The exposed book mezzanine will create new vantage points for students and further energize the space. 5
The former conference room transforms into a 500 SF flex space for group study and workshops-capable still of being sectioned off for intermittent classes or conferences.
Memphis College of Art
The East entrance will now become dedicated to Career Services. With new offices and conference space, this area is positioned at the building’s front corner, a prime public presence, while being conveniently adjacent to resource material.
1 2 3 4 5 6 7 8 9 10 11
4 6
8
6
1 9 11 10
7
3
2
PLAN KEY Library Floor Media Lobby Stacks Mezzanine Group Flex-Space Group Study Study Carrel Career Services Outdoor Reading Expanded Collection Resource Center Circulation Desk
LIBRARY EXPANSION Further increased spatial differentiation is created by closing the perimeter promenade. Framed by the mid-century brise-soleil wall, this move would recover 800 SF of private group study and meeting space-a typology desperately lacking in the current configuration. This new enclosure may be parlayed with the development of a podium roof garden, to create better access for outdoor reading, connections to the park, and public visibility.
65
4.2 moves & improvements
2. woodshop swap
SWAP nearby spaces which connect under- and over-utilized areas. OP SWAP
NSION
W WOODSHOP STORAGE +491 SF Woodshop (3113 sf) has ability to contract. By relocating its storage area, the former space becomes prime for establishing a Ceramics Hub, with ample storage and additional Kilns.
SWAP the storage area in the Woodshop for Ceramics Expansion. WOODSHOP SWAP The Woodshop Swap represents a horizontal trade-off, where over-utilized programs may expand, and underutilized programs contract-all while maintating the original building shell and floor area. At nearly 3,000 SF, the Woodshop floor is more than adequate to meet current and future program needs. Its nearest neighbor Ceramics, however, has increased enrollment in recent years, signaling a 25-30% bump in floor area to be viable for the future. By auditing the storage inventory and removing outdated items, the remaining tools may be relocated to the main woodshop floor (in the form of shelves or walled in space). This makes nearly 500 SF of new floor area available to Ceramics, providing space for an additional kiln and wheel positions. The swap also creates better flow and connectivity between the Ceramics and Woodshop programs for collaboration and sharing of tools.
EXPANDED CERAMICS EXPERIENCE PLAN KEY
8
1
As this type of surgical move may apply across several programs, it is important to develop new spaces with flexible parameters (like swap-able spaces) built-in, to allow for smooth expansion/ contraction as program dynamics shift.
7
4
5 2 6
Memphis College of Art
3
1 2 3 4 5 6 7 8
Woodshop North Ceramics Studio South Ceramics Studio Ceramics Expansion Kiln Room Student Entry 3D Arts Corridor Mechanical
WOODSHOP SWAP The additional space may be used to expand either pottery studio, or be utilized as a wholly new space. As the most urgent demand is to add a new kiln, former space in the North studio has been relocated to accommodate the oven chamber. The new space creates many opportunities to reconfigure the entire Ceramics layout along new arcs of flexibility, technology, and program indentity when re-branding the space.
67
4.2 moves & improvements
RECONFIGURED LOBBY AS MEDIA CENTER
3. lobby gallery EXHIBIT and FOCUS student work as the primary vessel for public engagement.
CURATE the college’s identity through the engagement of student work. LOBBY GALLERY The Lobby Gallery is MCA strongest opportunity to create a sense of idenity, by filtering the public experience through student-produced exhibitions. RECONFIGURED LOBBY AS ROTATING EXHIBIT HALL
While convenient to access, the location of faculty and administration space at the main floor creates significant disconnection for students and the public traveling through the building, in addition to acting as a visual roadblock, contracting the spatial experience. By relocating this program to the top floor, the main level becomes free for student exhibitions, expanded workshop spaces, lounge and support functions. The public may now engage content on this level from all sides of the building, creating a multi-directional experience, rather than a static foyer nestled between parallel white walls. By programming the main level informally, the experience may change weekly, monthly, or semi-annually, creating a strong sense of ownership and identity through student engagement. The Lobby Gallery also acts as a main mixing chamber for students traveling to floors above and below-providing a connective experience, rather than pockets of vertical circulation hidden behind a matrix of walls.
Memphis College of Art
4
2
7
1
8 3
6
5
1 2 3 4 5 6 7 8
PLAN KEY Main Entry Atrum Stair Rotating Exhibition Gallery Office Gallery Storage Security Media Library Lobby Lounge
LOBBY GALLERY The North wing of the lobby is transformed into a rotating, student-designed, exhibit and installation space. Digital Media, largescale sculpture, and physical performances may be displayed as this space activates the center of the building, helping to thread across displines both horizontally and vertically. Creating a new, visceral relationship with the public and park patrons, The Lobby Gallery is a major opportunity for civic display, for and by the student body.
69
4.2 moves & improvements
EXISTING STUDENT LIFE CENTER
4. student life RE-SHAPE and JOIN existing boundaries to encourage new circulation patterns, energy, and visibility.
EXPANDING STUDENT LIFE Like the library, Student Life currently feels very insulated. It has good access to daylight but functions as a termination point along a very narrow corridor.
COMPUTER LAB +218 SF Better integration of this space with student life will help to brand the area as a central mixing chamber for students.
GRANNY’S GARDEN +1,657 SF Highly under-utilized, this courtyard may be re-shaped to enhance environmental impact while creating new connections between programs, student life center, and the outdoors.
EXISTING CLASSROOM +842 SF Available for student life expansion, centralized student storage, ADA access ramp to 1971 addition, and potential exterior access point.
By reshaping the perimeter of Granny’s Garden, we can create a more diagonal experience for Student Life, which swells at entry points and connects students in the East/West axis, parlaying the addition of a new cafe and exhibit space to the East.
STUDENT LIFE EXPANDED; RESHAPING GRANNY’S GARDEN
Currently there is no ADA connection from Rust Hall to the expansion annex. By removing the walls bounding student life, we can install an occupiable ramp stair, creating dynamic seating within the level change, and giving universal access between levels to all students. As liberal arts has been economized and relocated to the second floor, there is now room for proper student storage and a student media lab in the former classroom space (842 SF). A higher level of transparency on all sides of the student center will help make the space a synthesizer of social space and content. The new StudentLife/Cafe Axis will help re-draw the podium diagram as a grand loop, connecting back on the main entry, rather than a matrix of corridors.
8
Future re-development of the printing studio may allow for through-access between the front of the building (new cafe) and student life.
Memphis College of Art
9
4 11
5
2
1
8
7
3 12
10 14
13
THOROUGH-FARE
6
15
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
PLAN KEY Student Life Center Media Bar Granny’s Garden Media Center ADA Ramp-Stair Student Services Annex Corridor Student Storage Studio Studio Studio Studio Studio Informal Dining Kitchen
EXPANDING STUDENT LIFE Reshaping Granny’s Garden and swapping Printmaking for an outboard Cafe, creates a new Student Life experience which now connects from back to front, and around the glass courtyard. Transitional zones informally segment group study, media labs, exhibit space, and informal dining areas. Now 60% larger, the new Student Life center has a multitiude of visual connections and access points, making the space feel much more open, yet providing nooks and corners for a variety of spatial occupations.
71
4.2 moves & improvements
EXISTING NORTHWEST BUILDING CORNER
5. cafe relocation REACH-OUT and INTERACT with park visitors, while creating an additional revenue stream for the school. EXISTING CAFE +1,657 SF The Sleeze is deepely buried in the building podium. By re-locating this social engine to connect with Student Life, Granny’s Garden, and a new entry, the cafe may modernize to become a critical aspect for student’s social and physical health. In addition to becoming an economic driver and providing student employment.
EXISTING PRINT SHOP +1,586 SF As printing arts become more integrated and centralized along the North-side of the campus, this area becomes prime for inserting a cafe program which may connect Granny’s Garden, Student Life, and the front door of the campus (connecting to the park).
DRAW the experience of the art podium out of the building and into the public park space with a new outboard cafe. CAFE RELOCATION The Sleeze is an inadequate venue for the college’s food service. It is deeply interiorized within the plan and therefore difficult to service with no access to natural light or connection to the outdoors. It is also a poor environment for staffing.
NEW OUTBOARD CAFE
As the lower level lobby is reconceived to become a critique space for Design Arts, it makes sense to extract the Sleeze, transforming it into an outboard cafe, with outdoor dining deck. The existing entry along the East-facing brick elevation will gain new prominence as a half-in, half-out dining experience treads the line of the original building shell. Internally, informal seating and exhibit space may takeover the printmaking area (relocated to the north expansion). With the park to the East and Granny’s Garden/Student Life Center at the West, the position of the cafe is ideal for natural daylighting, student traffic, and servicing. The space of circulation within the dining area would have views to the outdoors on both sides, completely eroding the dark, dense, and segregated experience which that part of the building is known.
CAFE TERRACE +1,455 SF
Extending the cafe outboard creates a public connection, allowing the cafe to operate as an additional revenue stream for the school.
Memphis College of Art
Ample wall space would allow for the display of student work, forming the interior design of the cafe. It would also offer multiple opportunities for student employment.
11
9
15
8
10
12 5
14
16
17
13
2
4
18
7 6
1 5
3
19
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
PLAN KEY Cafe Informal Dining Outdoor Dining Kitchen New Entry School Store Security Granny’s Garden Student Life Center Media Bar ADA Ramp-Stair Annex Corridor Fine Arts Studio Foundations Foundations Studio Studio Loading Storage
CAFE RELOCATION The Cafe would service park guests in addition to students. An outdoor dining deck would flank the existing building, as the cafe elevation (mostly glass) would provide views deep into the art podium. In addition to activating internal areas of the building such as the Student Life Center and Student Store, the new Cafe would project in similar fashion to the main entry stair, creating a secondary presence on the street.
73
4.2 moves & improvements
6. tunnel vision WIDEN paths and BREAK UP long, monotonous experiences by introducing transparency and unexpected moments of discovery.
CONTROL view corridors and moments of discovery through the strategic introduction of glazed partitions. VISUAL THRESHOLDS Narrow 6’-8’ corridors outline the program areas within the podium, creating a secluded and dated experience. Through the strategic introduction of internal transparency, moments of discovery and views into spaces of art-making can breathe new life into these confined experiences.
EXISTING LOWER LEVEL LOBBY
Lines of sight which penetrate programs diagonally to connect to courtyards and outdoors spaces may help to develop a layered experience of spaces, inflating the corridors with a depth of character and interest. Just as the Relocated Cafe and Lobby Gallery offer additional space for display of student work, the circulation arteries may now be populated with controlled picturewindows to view student art-making, in progress, at a controlled distance. The layered transparency can help to build a sense of solidarity within and across program areas, as individual studios may have the opportunity to view out into several adjacent programs simultaneously. More than a beautification, this new connective atlas would function to promote and encourage a collaborative mindset.
NEW CRITIQUE HALL-CONNECTOR WITH PENETRATING VIEWS
18
9 2 15 1
5 12
4 6
11
3 10 17
13
Memphis College of Art
16
8
14
7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
PLAN KEY Corridor Student Life Center Cafe Dining/Exhibit Granny’s Garden Painting Studio Foundations Cafe Fine Arts Studio Drawing Studio Photography Lab Graphic Design Critique Hall Photography Studio Security Foundations Studio Student Services F.A. (2D) Studio Mechanical
TUNNEL VISION The greatest way to impact internal studio experiences is by strategically operating on the circulation arteries. A surgical understanding of how the perimeter corridors sequence program groups can inform how the college’s energy flows; from messy to clean, analog to digital, social to individual. Treating the circulation experience as a matrix of zoning variables which impact student perception and school identity, intentional moves may be made to architect new visual connections and orientations which the current building organization does not provide.
75
4.2 moves & improvements
7. the underpass PENETRATE and SPLIT under-utilized infrastructure with new access points. CRITIQUE HALL +3,370 SF Through widening the lower level lobby into a continuous 21’-0” critique hall, more daylight and visual connections are created with main lobby above and programs parallel to the corridor.
THREAD a new entry volume through the lower podium, connecting the street and the backyard to the maker spaces. THE UNDERPASS The main entry stair is a strong expression of the building’s physicality and classical proportions. However, it draws students and patrons up to an elevated plinth, only to funnel them back down through the main art-making spaces. The stair volume further sets back the main entry from the street.
EXISTING MAIN ENTRY
By carving a direct access point through the stair, the street may be drawn into the building as a 21’-0” wide thoroughfare, continuing on to the backyard. This tubular threshold would clear all barriers along the East-West axis, to bisect Fine Arts and Design Arts, and act as a major critique space for both formal and informal review of work.
NEW UNDERPASS WITH DIRECT CONNECTION TO STUDIOS
Coupling this move with the new Student Life Center and Cafe, these new East-West axis halls redraw the building diagram as a thickened asterisk (#) with multiple and parallel tracks of programmable circulation. As a major flex space which also services the flow of students, this linear critique hall would function as a secondary lobby to complement the gallery level above, with rotating exhibits, furniture, and events. It is also ideal for loading over-sized work.
Memphis College of Art
3 10
9
4 5
9
6 2
8 1
7
1 2 3 4 5 6 7 8 9 10
PLAN KEY Lower Level Entry The Underpass Backyard Entry Digital Media Hub Design Arts Studio Graphic Design Studio Painting Studio Photography Studio Expanded Bathrooms Mechanical
THE UNDERPASS The strategy for making MCA futureready depends on the development of spaces which can bridge disciplines, be programmed flexibly, and service the flow of students across the building. The Underpass acts first as a circulation artery, connecting internal programs to the exterior of the building. But too, it becomes a major critique and exhibit space, which can support the flow of students while being utilized simultaneously across several different platforms.
77
4.2 moves & improvements
8. the junkyard UNEARTH and DISPLAY new orientations to the building while promoting cross collaboration and a greater sense of school identity.
DIGITAL SCULPTURE +963 SF As Callicott Audiorium is phased into a Digital Arts Hub, the former small sculpture area will be used as a blended program between Design Arts and Sculpture. This new prototyping area would contain 3D Printers, laser-cutters, and the latest digital sculpture and fabrication technology.
SCULPTURE EXPANSION +1,732 SF Once relocated, this area will serve sculpture more generally, as 1,700 SF of new space with large ceilings and direct access to the Sculpture Backyard. Ramps connecting to Museum Drive will improve loading considerably.
THE JUNKYARD +6,762 SF
This outdoor space is a mix of hardscape and softscape for display/overflow of sculpture, outdoor events, terraced lectures/orientation, and connective landscapes with Museum Drive, the Brooks Museum, and Levitt Shell. In addition to acting as a new connetcive tissue for the campus, this area will also function as a major student entry with bike racks and covered walkways.
METALS EXPANSION +1,606 SF Large Metals and Oversize Sculpture may now be housed in this zone, with great ventillation, and opportunity for outdoor studios and display. Ramps connecting to Museum Drive will improve loading considerably. Small Metals (1,200 SF) re-located to be adjacent to the foundry, in a more spacious zone. This space will be retrofit with the appropriate ventillation standards to exceed minimum requirements.
EXCAVATE the backyard to create new hardscape and sloped connections for sculpture space, outdoor gatherings, and direct-access to 3D disciplines. THE JUNKYARD The Junkyard is a sculpted landscape behind Rust Hall, meant to create a new synergy between the Main Lobby, Museum Drive, the Brooks Museum, and the Levitt Shell. The current courtyard at the back entrance sits 12’ above the basement’s finish floor. This space is rarely utilized, failing to promote perimeter circulation or access to spaces within Rust Hall. By excavating along the shell of the building, the opportunity for a sunken courtyard emerges, connecting Museum Drive to the basement level via a series of ADA accesible ramps. This slope can be parlayed to function as an outdoor amphitheater or lecture hall wedged between Rust Hall and the Levitt Shell. Also, the surface can be retro-engineered to help with drainage issues, basement leakage, and better access to MEP equipment.
EXISTING BACKYARD
EXCAVATED BACKYARD SCULPTURE CENTER PLAN KEY
12
Beyond providing a generous alternative entry to the building, the recovered ground area facilitates better access between Metals, Sculpture, and the Main Lobby, giving all adjacent disciplines an opportuntity to expand over time.
Memphis College of Art
The patio would be primarily used as space for display of oversized work, in addition to providing outdoor workspaces for the foundry and Sculpture. Additionally, the ramps may facilitate new loading opportunities and encourage bicycle traffic for commuting students.
10
13 9
2
1
11
3 9
11
8
4 6 5 7
13
13
1 2 3 4 5 6 7 8 9 10 11 12 13
Outdoor Patio Sloped Terrace ADA Ramp Back Entry Lower Level Lobby Sculpture Digital Sculpture Small Metals Metals Expansion The Foundry Covered Workspace Back Alley Mechanical
THE JUNKYARD The strategy for making MCA future-ready depends on the development of spaces which can bridge disciplines, be programmed flexibly, and service the flow of students across the building. The Junkyard acts first as a circulation artery, connecting formerly separate programs, and providing ADA and loading access to Museum Drive. Second, the space acts as a new visual identity for the school, becoming a major gathering site for student events, sculpture display, and performance pieces.
79
4.2 moves & improvements
9. digital calicott (media hub) ACTIVATE and MODERNIZE the former auditorium volume to house Design Arts and associated digital media functions. FUTURE EXPANSION +3,663 SF By positioning Digital Media programs on the south-side, there is opportuniry for seamless expansion if new buildings come on-line on the South Lawn, or if shell space adjacent to Calicott is needed.
SUPPORT SPACE +1,765 SF Currently there is over 1,500 SF of support space for Callicott Auditorium. This perimeter area can be recovered for Design Arts and used to blend adjance progreams with Design Arts, such as Sculpture, Painting, and Photography
FILL the former auditorium with stateof-the-art digital media and design labs. DIGITAL CALICOTT Historically, Calicott Auditorium has been a great asset for the school, holding over 200 students in a single space. Yet, the location of this function annexes prime real estate and hinders the school’s ability to expand its programs adequately. Its barriers of entry, needless matrix of ramps, and inappropriate scaling of small and medium-sized classes held there, do not merit the infrequency of its use.
DIGITAL MEDIA HUB - ENTRY
By strategically rethinking this space to house digital platforms, we can reconfigure the podium diagram to trinangulate Design Arts with Fine Arts 2D, and Fine Arts 3D. This space of connection reveals opportunity for crossdisciplinary programming, such as Digital Sculpture, Industrial Product Design, Web Design, Architectural Illustration, Advertising, and Installation.
DIGITAL MEDIA HUB - AERIAL 8
As a digital arts hub, this new area would feature a variety of spatial typologies, from small tutorial classrooms, to larger media workshops, fabrication labs, shooting studios, and informal media bars. The space would also be populated with digital display of student work and class-based material.
Memphis College of Art
Design Arts is growing faster than any other concentration, and is the best equipped for commercialization and job security, from a career services point of view. Therefore, it must be given priority when considering the urgencies of program expansion.
6 7
5
2
4
14
10
1
5
3
4
4
12 13
PLAN KEY 1 Design Arts Entry 2 Digital Media Hub 3 Media Bar 4 Media Classroom 5 Tutorial Classroom 6 Digital Sculpture 7 Editing Room 8 3D Fabrication Labs 9 Sound Booth 10 Shooting Studios 11 Lower Level Lobby 12 Stair to Mezzanine 13 Critique Hall/Exhibits 14 South Lawn Expansion
DIGITAL CALICOTT Leveraging the clear-span of Calicott, and its generous height, there is ample room for a multitude of classroom types, including a media mezzanine, which may double as a second tier of seating for large events, digital presentations, and workshops. The positioning of a digital arts hub, thrusts MCA toward becoming a school of choice. All proximate programs become modernized vicariously, through this state-of-the-art facility for research and cross collaboration.
81
4.2 moves & improvements
10. liberal arts terrace BRIDGE and CONNECT spaces for gathering, through programming edge-conditions with responsive functions. EXTEND interior functions to outdoor terraces, unifying programs with the urban park context. LIBERAL ARTS TERRACE The twin-tower typology at MCA is great for economizing floor area and circulation, while creating generous panorama views of Overton Park. LIBERAL ARTS TERRACE +3,874 SF By engaging the terrace perimeter with liberal arts program (that applies universally to all students), there is great opportunity to capture a heavy flow of unique bodies, shifting through the building throughout the day. Additionally, classrooms may open up to terrace space as needed, or for outdoor classes and shaded study areas. This relationship is also critical for potential future expansion, enclosing the terrace and integrating vertical circulation with main lobby below.
However, this benefit also serves to isolate each wing as an island, connecting to other spaces only through elevators and cramped egress stairs. It is important to consider the Liberal Arts Terrace not only as a visual stimulus, but too, as a major circulation artery for students needing to travel diagonally through the building. Rather than descend to the lowest levels only to walk across the building and reascend, the Liberal Arts Terrace may act as a diagonal path of least resistance, connecting as directly as possible, any two points in the building. As Liberal Arts is now centralized on the second level, this terrace can be branded in a way appropriate to its new programmatic context. It can be a space for classroom lectures to extend outdoors. Shaded pods and tables gain a new identity as they become used as study centers or preparation area before class. A mobile coffee cart could station here throughout most of the day, or when classes are happening with greatest frequency (Monday/ Wednesday). More greatly activating this platform also services the college’s sense of identity and solidarity, as students are continually perceiving the traffic of other students, rather than being hidden in long corridors or vertical stair cores. The public also particpates in witnessing this new dynamic.
Memphis College of Art
LIBERAL ARTS TERRACE
LIBERAL ARTS TERRACE PLAN KEY 1 Liberal Arts Terrace 2 Liberal Arts South 3 Liberal Arts North 4 Atrium Skylight
2 4
1
3
LIBERAL ARTS TERRACE (EXPANSION) The strategy for making MCA future-ready depends on the development of spaces which can bridge disciplines, be programmed flexibly, and service the flow of students across the building. In addition to functioning as a more open circulation diagram, the Liberal Arts Terrace is also positioned optimally for the expansion of the lobby atrium. If ever the school needed to add space or circulation, without building-out, they could simply enclose the terrace extending the lobby atrium by multiple levels.
83
4.2 moves & improvements
11. future-ready classrooms HOUSE and BRAND the Liberal Arts program as a continuous, customizeable, and identifiable experience. OFFER a unified experience for Liberal Arts with built-in customization and modern technology. FUTURE-READY CLASSROOMS A new, contiguous home for Liberal Arts is made on the second level, containing both tower floorplates and the connecting terrace. By extracting Liberal Arts out from the podium, we can leave the podium
as a collaborative maker space, moving with the ebbs and flows of program agency. Meanwhile, Liberal Arts can be positioned above as a stable campus, with all classrooms in close proximity, and having the freedom to constantly flex in scale, lighting, and furniture configuration. Through the strategic integration of operable wall systems and flexible furniture, hundreds of configurations become possible, which can house classroom sizes from 15 to 115 people. Careful analysis of the Spring 2016 schedule proves that this space is sufficient for supporting all classes throughout the week, at any given time period. This means that for a majority of time slots, there will be residual flexible space available for group meeting, student conference, or the dreaded classroom overflow. While these two volumes are flooded with natural light, the strategies that follow will show how calculated design of flexible partitions may integrate with existing structure to provide necessary shielding of light and sound in the creation of optimal dark spaces for digital projection. It is also unpredictible how academic classes will be taught or self-organized over the next few decades. A flexible space is the appropriate typology as technology and pedagogy change on scales much shorter than a physical building’s lifecycle.
Memphis College of Art
FUTURE-READY CLASSROOM EXPERIENCE
13 10
2 9
3
7 11 12
1
4
5
14 1
8
2
7
6
13
PLAN KEY 1 Perimeter Corridor 2 Operable Wall 3 Small Classroom 4 Small Classroom 5 Discussion Group 6 Discussion Group 7 Medium Classroom 8 Medium Classroom 9 Large Classroom 10 Large Classroom 11 Faculty Offices 12 Printing Station 13 Expanded Restroom 14 Liberal Arts Terrace
FUTURE-READY CLASSROOMS In art schools, the liberal arts are often treated as second-class citizens, having to adapt to whatever space they can find. The concept of relocating all of the classrooms to the second floor is for the opportunity to create a purely customized experience based on the needs of every class, no matter how small or large-so that they may function more closely to their pedagogical intentions.
85
4.2 moves & improvements
Information persistence is supported with wall track at multiple heights for whiteboards
Access legs allow students to connect at the ends of tables
11. future-ready classrooms HOUSE and BRAND the Liberal Arts program as a continuous, customizeable, and identifiable experience. 24”-30”
48”-60”
FLEXIBLE FURNITURE SYSTEMS The Future-Ready Classroom begins with a base-unit of flexible furniture; able to aggregate into multiple classroom configurations from traditional lecture-style arrays, to more dynamic formats such as learning labs and cabaret arrangements. As pedagogy evolves over time, and especially so within the context of art, it is important for MCA ro model classroom “shapes” across a mutliplicy of communication styles and teaching methods, which are affected by new models of technology, web applications, and social media.
Seating that swivels and offers height adjustability supports all user types. The table’s chevron shape supports the individual’s intimate zone, separating “my” space from “your” space
PERSPECTIVE OF VERB CLASSROOM
MULTIPLE CONFIGURATIONS
Modularity is the key idea when discussing the multiplicty of classroom configurations. Being able to feel “locked-in” to diverse typologies, ranging from lectures, to clusters, helps to define the specific intention and directionality of a given classroom.
1
2
3
4
6
2x
x
Memphis College of Art
8
16
New trends in this movement suggest table shapes which still allow for a sense of personal space while being shared with multiple users. Slight angles in the profile of these surfaces can achieve a sense of separation between “my-space” and “yourspace” while leaving unlimited possibility for group configurations. The subtely in form is enough to promote frontality in lecture and tutorial configurations, while encouraging collaboration and non-linear dynamics in the cabaret and verb classroom forms. In this gap between directional and non-directional learning, there exists a veritable encylopedia of configuration types, which may be accessorized with built-in communication boards or groupeddigital media, acting in specificity with the selected configuration style.
LECTURE
TUTORIAL
VERB
RANDOM
CABARET
HOLLOW-SQUARE
LEARNING LAB
L-SHAPED
U-SHAPED
CLASSROOM CONFIGURATIONS
87
4.2 moves & improvements
Single-Panel Run Operability Flexibility: Material Variety: Acoustic Rating: Life-cycle: Panel Variety: Cost:
11. future-ready classrooms OPERABLE PARTITION SYSTEMS
For MCA to become a school of choice, flexible and efficient space utilization of studios and classrooms is absolutely paramount. Intelligent solutions are needed that facilitate multifunctional room configuration combined with openness and–when required–transparency as well. A contemporary approach to these issues is the use of operable partition systems, capable of harmoniously combining daylight-flooded, sound-insulated, and black box room concepts in a single volume.
MULTIPLE CONFIGURATIONS Pocket may adjust with desired panel width
Optional pocket doors to cover & secure panel storage
Applied worksurfaces, ledges and handles may be integrated Standard Panels may be swapped for doors and windows, including required code systems such as exit signs and panic hardware. Standard panel swapped for hollow metal door panel Panels may be customized for desired width to accommodate features such as double-doors
Strategic placement of moveable wall systems allow a single space to be subdivided into a multiplicty of conifigurations. Yet, today’s modern wallproducts go far beyond simple divisbility, allowing for additional climate control, lighting quality, and accoustical properties to be tuned with each configuration. Often track-mounted, varying degrees of automatic are offered, allowing users to manually adjust the lightweight panels, or program a series of pre-set configurations into a given space, such that the layout may adapt with the schedule of classes. This is very practical for MCA, as medium-to-large seminars may break down into discussion groups in real time. Also, classrooms can be tuned to support inconsistent enrollments (for both overflow and under attendance). With internal accoustic cores integrated and the potential for automatic operation, these state-of-the-art wall systems allow users to maximize customization and flexibility at the same time.
Memphis College of Art
**** ** ***** ***** ***** ***** $$
Rotating Individual Panels Operability Flexibility: Material Variety: Acoustic Rating: Life-cycle: Panel Variety: Cost:
*** ***** ***** ***** **** ***** $$
Hinged-Pair Panels Operability Flexibility: Material Variety: Acoustic Rating: Life-cycle: Panel Variety: Cost:
*** **** ***** ***** ***** *****
$$$
Accordian Door Operability Flexibility: Material Variety: Acoustic Rating: Life-cycle: Panel Variety: Cost:
**** ** *** *** *** **$
Vertical Lift Partition Operability Flexibility: Material Variety: Acoustic Rating: Life-cycle: Panel Variety: Cost:
***** *** **** ***** *** ***** $$$$ 89
4.2 moves & improvements
CLASSROOM STANDARDS
When building according to instructional need, the average SF per student can vary widely, from 15-40 SF depending on the configuration. Lecture rooms with tablet arm chairs require the least SF/student. Group-work arrangements require the most. The table below shows a variety of classroom standards for classes ranging from 12 student group-work stations, to lectures of 100+ seats. For MCA, it is important to build a variety of spatial types for the 15-, 20-, and 25-person classrooms. The 40-100 person seminars may occur as clustered multiples of smaller typologies.
TYPE II
TYPE II TYPE I
TYPE I
LARGE
MEDIUM
TYPE II
TYPE IITYPE III
TYPE III
TYPE I
TYPE TYPE I II
27'-0" 25'-0" 20'-0"
250 SF
12-15 STATIONS
250 SF360 SF
12-15 STATIONS 10-20 STATIONS
12
STATIONS 21 SF PER STATION
12
STATIONS 18 STATIONS 21 SF PER STATION 20 SF PER STATION
20'-0"
25'-0"
27'-0"
TYPE II
35'-0"
500 SF 625 SF
15-32 STATIONS 20-40 STATIONS
X-LARGE
TYPE I
TYPE I
35'-0"
35'-0"
35'-0"
25'-0"
625 SF 750 SF
20-40 STATIONS 24-50 STATIONS
750 SF 930 SF
24-50 STATIONS 32-60 STATIONS
35'-0"
35'-0"
35'-0"
30'-0"
30'-0"
25'-0"
25'-0"
25'-0"
25'-0"
360 SF 500 SF
10-20 STATIONS 15-32 STATIONS
X-LARGE
25'-0"
18'-0"
20'-0"
20'-0"
14'-0"
18'-0"
18'-0"
14'-0"
18'-0"
LARGE
930 SF1,200 SF
32-60 STATIONS 30-75 STATIONS
45'-0"
TYPE I
MEDIUM
45'-0"
TYPE I
SMALL
35'-0"
SMALL
1,200 SF 1,645 SF
30-75 STATIONS 60-100 STATIONS
18
STATIONS 20 SF PER STATION
32 STATIONS 16 SF PER STATION
32 STATIONS 40 STATIONS 16 SF PER STATION 16 SF PER STATION
40 STATIONS 16 SF PER STATION
46 STATIONS 17 SF PER STATION
46 STATIONS 17 SF PER STATION
50 STATIONS 19 SF PER STATION
50 STATIONS 72 STATIONS 19 SF PER STATION 17 SF PER STATION
72 STATIONS 17 SF PER STATION 96 STATIONS 17 SF PER STATION
12
STATIONS 21 SF PER STATION
12
STATIONS 16 STATIONS 21 SF PER STATION 23 SF PER STATION
STATIONS 16 SF PER STATION
16
STATIONS 20 STATIONS 16 SF PER STATION 18 SF PER STATION
STATIONS 23 SF PER STATION
24 STATIONS 21 SF PER STATION
24 STATIONS 36 STATIONS 21 SF PER STATION 18 SF PER STATION
36 STATIONS 18 SF PER STATION
40 STATIONS 19 SF PER STATION 50 STATIONS 19 SF PER STATION
20 STATIONS 18 SF PER STATION
22 STATIONS 24 SF PER STATION
22 STATIONS 28 STATIONS 24 SF PER STATION 22 SF PER STATION
50 STATIONS 64 STATIONS 19 SF PER STATION 19 SF PER STATION
64 STATIONS 19 SF PER STATION
28 STATIONS 22 SF PER STATION 80
STATIONS 20 SF PER STATION
Memphis College of Art
96 STATIONS 17 SF PER STATION
16
40 STATIONS 19 SF PER STATION
16
1,645 SF
60-100 STATIONS
80
STATIONS 20 SF PER STATION
91
4.2 moves & improvements
OPTION 1-BOX WITHIN A BOX
822
1,645
768
1,200
The most flexible possible configuration, while still maintaining the ability to control environment and provide egress circulation, is the Box Within A Box scheme. Here, a 1,645 SF area is enclosed by a fixed partition, with strategic openings for windows and doors. This volume may be subdivided in up to 48 unique configurations, as seven (7) operable BOX-WITHIN-A-BOX parititons redefine the spaces within to support a range of classroom sizes, from 225OPTION A - PERIMETER CIRCULATION 1,2007 DIVISIBLE SF. Through theTHE combination of CONFIGURATIONS, flexible partitions, to 6 classrooms may be PARITIONS SUBDIVIDE MAIN SPACE INTO 30 UNIQUE RANGING FROM ONEup TO SIX CLASSROOMS. A FULL RANGE OF CLASSROOM SIZES ARE OFFERED, FROM 225 SF (15 PEOPLE) TO 1,645 SF (80 PEOPLE). occupied simultaneously. THE BOX-WITHIN-A-BOX CONCEPT ALLOWS FOR VARIABLE LIGHTING, CLIMATE CONTROL AND TUNING OF THE SPACES WITHIN,
600
438
E
F
381 A
B
C
D
BASE UNITS (SF)
H
UNIQUE CONFIGURATIONS 2 ROOMS
1 ROOM 822
1,645
768
1,200
438
600
381
TO OFFER CLASSROOM SPACES WHICH MAY FLEX BETWEEN DARK PROJECTOR HALLS AND LIGHT DISCUSSION GROUPS. AS EGRESS IS PROVIDED AROUND THE ENTIRE FLOOR, ACCESS IS INDEPENDENT TO ANY MODULE, SUCH THAT CERTAIN OPERABLE PARTITIONS MAY BECOME PERMANENT OR FIXED AS THE PROGRAMMING OF THE SPACE EVOLVES OVER TIME.
225 G
A
B
C
D
E
F
225 G
H
F
BASE UNITS 2 ROOMS
1 ROOM
E C
A
C
B
C
E
E F
H
F
E A
C
C
3 ROOMS
F
3 ROOMS
B H
B
C
H
HB
H
H
F
F
D
F
H
F
H
E B
E
E
H
C
E
F
H
E
F
E
B
H H
E
G E
E
C
CE
F
H
H
H
H
C
H
H
A: 1,645 SF
C
H
D
H
H
E
EE
H F
H
G
G
EF
C
H
H
C
H
H
G E
F
H
G
G
F
E
C
H
MAX OPEN
CLOSED CLOSEDCONFIGURATION CONFIGURATION
E
D
H
F
F
F
E E
H
E
3D
3D
H
D
G
H
H
G
G
E
H
C
H
H
H
H
G
E
F
F
F
H
Memphis College of Art
H
E
H
E
H
H
G
G
H
H
E E
H
E
G
G
G
G
E
G
H
H
H
H
H
H
H
H
F
H
E
G
H
H
C
H
H
H
H
H
D
G
H
H
E
H
H
H
E
G
F
H
H
H
H
G
G
5 ROOMS
3D
5 ROOMS
3D
H
H
D
F
D H
D F
H H
H E
4 ROOMS
OPEN OPENCONFIGURATION CONIFGURATION
G
H
4 ROOMS
H
F
G F
6 ROOMS
H
F
H
G
E
G
G
G
G
E
G
G
G
H
H
H
H
H
H
H
H
H
H
6 ROOMS
93
4.2 moves & improvements
DARK AND LIGHT OPTION - FIXED PROJECTOR HALL OPTIONB2-DARK AND LIGHT DARK AND LIGHT
THE 2400 SF FLOOR PLATE IS SUBDIVIDED BY A 1,080 SF BOX. THIS BOX IS CAPABLE OF BEING CLIMATE CONTROLLED AND DARK FOR PROJECTOR CLASSROOMS OF 60 PEOPLE. IT MAY ALSO BE SUBDIVIDED FOR SMALLER PROJECTION ROOMS (540 SF) OF 15-30 PEOPLE.
OPTION - FIXED HALL As the B demand forPROJECTOR technology-ready classrooms ever increases, having projectors and
1,080
THE 1350PLATE SF MAY USED AS DIVISIBLE IN THE OPEN CONFIGURATION CAN ACCOMODATE UP THE REMAINING 2400 SF FLOOR IS BE SUBDIVIDED BY A 1,080CLASSROOM SF BOX. THISSPACE BOX ISWHICH CAPABLE OF BEING CLIMATE CONTROLLED AND DARK FOR digital tools to the classroom walls is necessary achieve optimum building TO 65 STUDENTS. USINGbuilt-in THE PARTITIONS, THIS SPACE MAY BE SUBDIVIDED FORto CLASSES OF 40 (925 25 (500 AND 20 (415 SF) RESPECTIVELY. PROJECTOR CLASSROOMS OFOPERABLE 60 PEOPLE. IT MAY ALSO BE SUBDIVIDED FOR SMALLER PROJECTION ROOMS (540 SF), SF) OF 15-30SF), PEOPLE.
DARK AND LIGHT media sources, and minimizing valuable set-up time). By performance (centralizing THE REMAINING 1350 SF BE USED AS DIVISIBLE CLASSROOM OPTION BMAY - FIXED PROJECTOR HALL SPACE WHICH IN THE OPEN CONFIGURATION CAN ACCOMODATE UP dedicating half of the floor plateBOX. asTHIS a BOX “dark, box”, other half for TO 65 STUDENTS. THE OPERABLE PARTITIONS, SPACE MAY BEtechnology SUBDIVIDED FOR CLASSESand OFDARK 40the (925 THE 2400USING SF FLOOR PLATE IS SUBDIVIDED BY A 1,080 SF THIS IS CAPABLE OF BEING CLIMATE CONTROLLED AND FOR SF), 25 (500 SF), AND 20 (415 SF) RESPECTIVELY. OF 60 PEOPLE. IT MAY ALSO BE SUBDIVIDED FOR SMALLER PROJECTION ROOMS (540 SF) OF 15-30 PEOPLE. 1,348PROJECTOR SF ofCLASSROOMS divisible classroom space, all class typologies, from dark to light, and large THE REMAINING 1350 SF MAY BE USED AS DIVISIBLE CLASSROOM SPACE WHICH IN THE OPEN CONFIGURATION CAN ACCOMODATE UP to small, can be convenience and efficiency. TO 65 STUDENTS. USINGaccomodated THE OPERABLE PARTITIONS,with THIS SPACE MAY BE SUBDIVIDED FOR CLASSES OF 40 (925 SF), 25 (500 SF), AND 20 (415 SF) RESPECTIVELY.
1,080
925 540 925
I
J
BASE UNITS (SF) 1,080
I
925 540 I
J
500 K
L
415 L
M
2 ROOMS 2 ROOMS 475 SF M
1,000 SF 475 SF
1,348 SF
1,000 SF 1,348 SF
I
1,000 SF
I
J
1,000 SF I
K
I
IM
I
J
3 ROOMS
475 SF
3 ROOMS 3 ROOMS
475 SF M
K
L 475 SF
I
J
K
M L 475 SF M L
K
475 SF
K
3D
CLOSED CONFIGURATION
L K
I
I
J
J
M
KM
K
MK L
K
475 SF M
L
I
1,000 SF
K
5 ROOMS 475 SF L
K
K
475 SF
K
I
K
K
M
M
M L
M L
475 SF L
K
L M
M
I
I
K
K
K
M 475 SF
I
K
1,000 SF
K MK L
M
K L M
L
K M
K
M
M
M
1,000 SF
M
K
K
K
I
K
K L M
M
I
I
L M
5 ROOMS M
K
K
5 ROOMS
3D
3D
3D
3D
3D
Memphis College of Art
K
1,348 SF
I
1,000 SF
K
K
L
M
OPEN CONFIGURATION
K
I
K
1,000 SF
475 SF
4 ROOMS 4 ROOMS
K L
475 SF
K
M
M
M
475 SF M
475 SF
475 SF
4 ROOMS
M 1,000 SF
K
1,000 SF K
1,348 SF
1,000 SF
J
1,348 SF
M
475 SF M
I
UNIQUE CONFIGURATIONS
M
1 ROOM
I
M
500 K
2 ROOMS
1,348 SF
415 L
540
J
BASE UNITS (SF) 1415 ROOM
BASE UNITS (SF) 1 ROOM
500 K
95
4.2 moves & improvements FACULTY MIX
OPTION 1+3
OPTION C - FIXED OFFICES AND PRINT STATIONS
OPTION 3-FACULTY MIX
FACULTY MIX
THE 2400 SF FLOOR PLATE IS SUBDIVIDED BY A 1,080 SF BOX. THIS BOX IS CAPABLE OF BEING CLIMATE CONTROLLED AND DARK FOR PROJECTOR CLASSROOMS OF 60 PEOPLE. IT MAY ALSO BE SUBDIVIDED FOR SMALLER PROJECTION ROOMS (540 SF) OF 15-30 PEOPLE.
OPTION C - FIXED OFFICES AND PRINT STATIONS
THE 2400 SF PLATE IS SUBDIVIDEDCAN BY A 1,080 SF BOX.UP THIS BOX IS CAPABLE OF BEING CLIMATE CONTROLLED AND DARK FOR THE REMAINING 1350 SF MAY BE USED AS DIVISIBLE CLASSROOM SPACE WHICH IN FLOOR THE OPEN CONFIGURATION ACCOMODATE CLASSROOMS OF 60 IT MAY ALSOSF), BE AND SUBDIVIDED FOR SMALLER PROJECTION ROOMS (540 SF) OF 15-30 PEOPLE. TO 65 STUDENTS. USING THE OPERABLE PARTITIONS, THIS SPACE MAYPROJECTOR BE SUBDIVIDED FOR CLASSES OFPEOPLE. 40 (925 SF), 25 (500 20 (415 SF) RESPECTIVELY.
Still maintaining a high degree of flexibility, the media box from OPTION 2 may be equally engaged to fixed programs, such as faculty offices, printing stations, smaller classrooms, and conferences. THE REMAINING 1350 SF MAY BE USED AS DIVISIBLE CLASSROOM SPACE WHICH IN THE OPEN CONFIGURATION CAN ACCOMODATE UP TO 65 STUDENTS. USING THE OPERABLE PARTITIONS, THIS SPACE MAY BE SUBDIVIDED FOR CLASSES OF 40 (925 SF), 25 (500 SF), AND 20 (415 SF) RESPECTIVELY.
4 95 SF
150 SF
160 SF
260 SF
270 SF 95 SF 95 SF
3
9
300 SF 150 SF SF 150
160 SF 160 SF
260 SF 260 SF
270 SF 270 SF
300 SF 300 SF
2
11 7
1 11
1
1
5
4
3
1
3
3
3
3 1
2
8
3
1
2
OPTION 1 + 3 SOUTH WING:
2
OPTION 1+3 SOUTH WING: OPTION C-B SOUTH WING:
NORTH WING:
-24 PERSON CLASSROOMPROJECTOR (WITH PROJECTOR) 1 Projector Couplet COUPLET -24 PERSON CLASSROOMPRINTING PROJECTOR) 2(WITH Printing STATION Station PROJECTOR COUPLET 2 OFFICE COUPLETS -12 PERSON CLASSROOM (WITH PROJECTOR) 3 Office Couplet PRINTING STATION CONFERENCE ROOM 4 Conference Room -18 PERSON CLASSROOM/WORKSHOP 3 OFFICE COUPLETS -18 PERSON CLASSROOM/WORKSHOP OPTION 4-READING ROOM READING ROOM -12 PERSON CLASSROOM/WORKSHOP
-30 PERSON CLASSROOM (WITH PROJECTOR) PROJECTOR COUPLET 1 Projector Couplet -30 PERSON CLASSROOM (WITH PROJECTOR) PRINTING STATION 2 Printing Station PROJECTOR COUPLET PROJECTOR COUPLET OFFICE CLUSTER -SMALL CONFERENCE/CLASSROOM 3 Office Cluster PRINTING STATION PRINTING STATION SMALL CLASSROOM 4 Small Classroom -PRINTING STATION OFFICE CLUSTER 2 OFFICE COUPLETS SMALL CLASSROOM CONFERENCE ROOM -4 FACULTY OFFICES
1 Projector Couplet PROJECTOR COUPLET PRINTING 2 Printing STATION Station 3 COUPLETS 3 OFFICE Office Couplet
OPTION D - VERTICAL LIBRARY EXPANSION
READING ROOM
OPTION D -demand VERTICAL LIBRARY With an ever-increasing for EXPANSION library resources and academic communal spaces, one of the Liberal Arts floors may act as a vertical expansion to the first level library, housing up to 900 SF of Special Collections book-stacks, and providing intentional spaces for research and group study. READING ROOM AND PERMANENT COLLECTION
READING ROOM AND PERMANENT COLLECTION
65 SF
95 SF
100 SF
150 SF
65 65 SF SF
160 SF
95 95 SF SF
260 SF
100 SF 100 SF
270 SF
150 SF 150 SF
10
6
4
1
1 Projector Classroom (24 STUDENTS) SOUTH WING: 2 Projector Classroom (24 STUDENTS) -24 PERSON CLASSROOM (WITH PROJECTOR) 3 Projector Classroom (12 STUDENTS) -30 PERSON CLASSROOM (WITHPROJECTOR) PROJECTOR) -24 PERSON CLASSROOM (WITH 4 Workshop Classroom (18 STUDENTS) -30 PERSON CLASSROOM (WITH PROJECTOR) 5 Workshop Classroom (18 STUDENTS) -12 PERSON CLASSROOM (WITH PROJECTOR) 6 Workshop Classroom (12 STUDENTS) -SMALL CONFERENCE/CLASSROOM -18 PERSON CLASSROOM/WORKSHOP
-PRINTING -18 PERSON STATION CLASSROOM/WORKSHOP -4 PERSON FACULTYCLASSROOM/WORKSHOP OFFICES -12
NORTH WING:
NORTH WING: 7 Projector Classroom (30 STUDENTS) NORTH WING: 8 Projector Classroom (30 STUDENTS) -30 PERSON CLASSROOM (WITH PROJECTOR) 9 Small Conference/Classroom -30 PERSON CLASSROOM (WITH PROJECTOR) 10 Printing Station 11 Faculty OfficeOPEN SPACE -SMALL CONFERENCE/CLASSROOM -70 PERSON -PRINTING STATION -60 PERSON CLASSROOM (WITH PROJECTOR) -4 FACULTY OFFICES
OPTION 4+3
300 SF
160 SF 160 SF
260 SF 260 SF
270 270SF SF
300 300 SF SF
7 3
1 2
9
10
5
10 2
1
4
2
8
1 1
2
3
4
OPTION D-A SOUTH WING:
5
4 3
6 4
3
OPTION D-A SOUTH WING: OPTION 4+3 SOUTH WING:
NORTH WING:
900 SF SPECIAL COLLECTIONS ADDITION 650 SF SPECIAL COLLECTIONS ADDITION 1 Special 1 Special 1 Special Collections Addition (500 SF) Collections Addition (900 SF) Collections Addition (650 SF) -500 SF SPECIAL COLLECTIONS ADDITION -50 PERSON (WITH PROJECTOR) SF WORKSHOP SPACE 550 SF WORKSHOP SPACE SF SPECIAL COLLECTIONS ADDITION 2650 2 2500 Workshop Space (650 SF) Workshop Space (550 SF) Workshop Space (300 SF) CLASSROOM 900 SF SPECIAL COLLECTIONS ADDITION 650 SF SPECIAL COLLECTIONS ADDITION 20 STUDY CARRELS 500 SF QUIET READING ROOMS 300 SF WORKSHOP SPACE -300 SF WORKSHOP SPACE -12 Rooms PERSON (WITH PROJECTOR) 3 Study Carrels (8-12) 3 500 SF Quiet Reading Rooms (5) 550 SF WORKSHOP SPACE 3 Quiet Reading (5) CLASSROOM 650 SF WORKSHOP SPACE 500 SF SPECIAL COLLECTIONS ADDITION PRINTING STATION PRINTING STATION 500 SF QUIET READING ROOMS 4 Printing Station 4 Printing Station 4 Classroom/Conference -500 SF20QUIET READING ROOMS -18 PERSON (200 CLASSROOM/WORKSHOP SF) STUDY CARRELS 500 SF QUIET READING ROOMS 200 SF CLASSROOM/CONFERENCE300 SF WORKSHOP SPACE 5OFFICE Office Cluster PRINTING STATION PRINTING STATION 500 SF QUIET READING ROOMS -15 PERSON CLASSROOM/CONFERENCE -18 PERSON CLASSROOM/WORKSHOP CLUSTER
-OFFICE CLUSTER Memphis College of Art
200 SF CLASSROOM/CONFERENCE -12 PERSON CLASSROOM/WORKSHOP OFFICE CLUSTER
1 Special Collections Addition (650 SF) SOUTH WING: 2 Workshop Space (550 SF) -500 SFReading SPECIAL COLLECTIONS ADDITION 3 Quiet Rooms (500 SF) -300 SF WORKSHOP SPACE 4 Printing Station -650 SF SPECIAL COLLECTIONS ADDITION
-500 READING ROOMS -550 SF SF QUIET WORKSHOP SPACE -15 PERSON CLASSROOM/CONFERENCE -500 SF QUIET READING ROOMS -OFFICE CLUSTER -PRINTING STATION
NORTH WING: NORTH WING:
5 Projector Classroom (30 STUDENTS) NORTH Classroom WING: 6 Projector (30 STUDENTS) PERSON CLASSROOM (WITH PROJECTOR) 7-50 Workshop Classroom (20 STUDENTS) PERSON CLASSROOM (WITH PROJECTOR) 8-12 Workshop Classroom (20 STUDENTS) -30 PERSON CLASSROOM (WITH PROJECTOR) 9-18 Faculty OfficeCLASSROOM/WORKSHOP Cluster PERSON -30 PERSON CLASSROOM (WITH PROJECTOR) 10-18 Waiting Area PERSON CLASSROOM/WORKSHOP -20 PERSON CLASSROOM
-12 PERSON CLASSROOM/WORKSHOP -SMALL CONFERENCE/CLASSROOM -FACULTY OFFICE CLUSTER
97
EXAMPLE FLOOR CONFIGURATIONS
4.2 moves & improvements
12. the penthouse ELEVATE and CAPITALIZE on the location of MCA by creating a top-floor mix for faculty offices and student events.
PROMOTE the college’s identity through capitalizing on the building’s greatest spaces. THE PENTHOUSE After Calicott, the top floor of Rust Hall offers the largest column-free spans in the building. For ultimate flexibility, and to capitalize on park views, this area becomes the perfect domain for faculty operations and a large, signature flex space. The north wing of the Penthouse would function very similarly to the existing first floor, with Dean’s office, faculty lounge, printing stations, and associated administration. However, relocating this to the upper floors helps to free the ground plane for student circulation and the exposure of work. The move gives faculty additional real estate for a “bullpen” (faculty-driven think-tank) for discussion on how to advance the school pedagogically and operationally. The upper floor faculty lounge and offices would be a significant upgrade, offering incomparable, open views of the park and the zoo, and helping to recruit talented new faculty and staff. The south wing is designed as an open, 2000+/- SF flex space, ideal for oversized classes, artist lectures, faculty exhibitions, and events. Creative storage solutions, including retractable seating, could be used in this tall space, making it possible to seat as many students as the former Calicott Auditorium.
Memphis College of Art
VIEW FROM PENTHOUSE OUT OVER OVERTON PARK
4 11 1
8
10 9
3
12 7 6
2 4
5
PLAN KEY 1 Signature Room 2 Retractable Seating 3 External Promenade 4 Expanded Bathrooms 5 Catwalk 6 The Bullpen 7 Faculty Lounge 8 Dean’s Office 9 Conference Room 10 Office 11 Office 12 Printing Area
THE PENTHOUSE One of the signature features of The Penthouse is the folded roof ceiling overhead. The Signature Room plays off the iconicity of Rust Hall, graphically expressing school identity, while also offering pristine, unobstructed views above the tree line. In some sense this room is the most urban, as it reconnects the park campus with views of Poplar Avenue, and the city of Memphis more generally.
99
LEVEL LEVEL 3- CLEAR 3- CLEAR SPAN SPAN SIGNATURE ROOM ROOM 4.2 movesSIGNATURE & improvements
The upper level fo Rust The upper Hall offers level the fo Rust bestHall views offers and the the best largest views contiguous and the largest column-free contiguous space,column-free after Calicott. space, after Calicott. This new divisible floor This could new divisible be leveraged floor could to support be leveraged classes to over support 70 people, classes studio overoverflow, 70 people, workshops, studio overflow, continuing workshops, education, continuing education, and artist lectures, and in addition artist lectures, to events in and addition exhibits. to events and exhibits. Two large storage walls Two large contain storage retractable walls contain seating retractable and space seating to houseand 10 space banquet to tables, house 10 chairs, banquet and tables, additional chairs, rolling and boards. additional rolling boards. SIGNATURE ROOM The room takes advanged The room of takes the high advanged ceiling heights of the high and ceiling clear spans heights afforded and clear by the spans folded afforded plate by roof. the folded plate roof.
The Signature Room on the top floor’s south wing is designed as an open 2000+/- SF flex space, ideal for oversized classes, artist lectures, faculty exhibitions, and events. Creative storage solutions, including retractable seating, could be used in this tall space, making it possible to seat as many students as the former Callicott Auditorium.
435 SF
435 SF 1800 SF
435 SF 35’ x 5’ Retractable Seating Unit
ARTIST LECTURE/SEMINAR ARTIST'S ARTIST'S LECTURE LECTURE 210 (120 retractable) 210seats SEATS (120 210 SEATS RETRACTABLE) (120 RETRACTABLE)
Memphis College of Art
SPECIAL EVENTS HALL EVENTS EVENTS HALL HALL 160 (200 160 seats SEATED 160 (16standing) SEATED TABLES)(16 TABLES)
200 STANDING 200 STANDING
435 SF
35’ x 5’ Retractable Seating Unit
WORKSHOPS/OVERFLOW WORKSHOPS/OVERFLOW WORKSHOPS/OVERFLOW 1800 SF workshop space
1800 SF WORKSHOP 1800 SF WORKSHOP SPACE SPACE (rolling partitions) ROLLING PARTITIONS ROLLING PARTITIONS
35’ x 5’ Retractable Seating Unit
EXHIBITEXHIBIT EXHIBIT HALL HALL HALL 1800 SF exhibit space
1800 SF EXHIBIT 1800 SF SPACE EXHIBIT SPACE (rolling partitions)
101 EXAMPLE FLOOR CONFIGURATIONS
4.2 moves & improvements
RETRACTABLE SEATING
Adapted from conventional high school bleachers, automated retractable seating is making new waves as an elegant and efficient solution for creating non-permanent tiered seating in spaces such as black box performance studios and screening rooms. Dimension Guide RH (number of rows x rise) + 82”
Unit Height (UH)
82” Min. Clearance
Room Height (RH)
UH (number of rows x rise) + 7.5” ED (number of rows x row depth) + 12” CD
Row Depth + 12”
RD
26” (typical)
RR
6” (typical)
Row Depth (RD) 26” (typical) 32”-40” (custom)
SIGNATURE ROOM WITH RETRACTABLE SEATING FOR 200
Row Rise (RR) 6” (typical)
Extended Depth (ED) Closed Depth (CD)
RETRACTABLE SEATING Retractable seating is rows of multiple tiers of closed deck chair platforms, that store away into a closed position when the area is required to be used for other purposes. The platforms operate on a telescopic principal, stacking vertically under the one above, to minimize floor area when not in use. At the flick of a switch the system glides open via an integral power system fitted to the structure. Multiple rows of seating (up to 120 seats) become immediately available, providing the tiered experience necessary to give all students clear line of sight to projector screens. Folding to a closed depth of just 38”, the housing unit for this apparatus is hardly thicker than the stair core masonry wall, and yet possesses the capacity to flex a 2000 SF space between a 100-person, tier-seated to a 200-person flat floor experience.
SIGNATURE ROOM WITH RETRACTABLE SEATING FOR 200
PLAN KEY
5
4 4 3 2
6
1
5
Memphis College of Art
1 2 3 4 5 6 7
7
Retractable Seating Floor Seating Stage Area Storage Expanded Restroom Perimeter Promenade Catwalk
Retractable Seating has made great strides in the past decade, offering limitless customization for mutliple user-types. Chair-backs may come equipped with foldable desk surfaces (similar to what is found currently in Callicott). A range of colors and materials are available, and individual chair units may be selectively removed or replaced to create a palette of desired conditions. For The Signature Room, a 35’ wide deck is recommended, with three access aisles (16 seats/ row). This configuration would allow for a generous 80” wide corridor at both ends of the deck, and accommodate 100-120 people (in addition to 90 floor seats).
103
4.2 moves & improvements
FACULTY OFFICES AND LOUNGE
The north wing of the Penthouse would function very similarly to the existing first floor, with Dean’s office, faculty lounge, printing stations, and associated administration. However, relocating this to the upper floors helps to free the ground plane for student circulation and the exposure of work. The move gives faculty additional real estate for a “bullpen” (faculty-driven think-tank) for discussion on how to advance the school pedagogically and operationally. There is also direct access to an outdoor promenade, doubling the ratio of glazing-to-floor area, and so by giving every space an external view. The upper floor faculty lounge and offices would be a significant upgrade, offering incomparable, open views of the AND park and the zoo, and helping to recruit talented new LEVEL 3- FACULTY OFFICE LOUNGE faculty and staff. The upper level of Rust Hall offers the best views and the largest contiguous column-free space, after Calicott. This new divisible floor could be leveraged to support faculty offices and workshop space, as well as faculty lounges for meetings and functions.
FACULTY BULLPEN
12 6
6
1
6
7
5
6 2 PLAN KEY
11
4
3
8 10
Memphis College of Art
9
1 2 3 4 5 6 7 8 9 10 11 12
Dean’s Office Printing Stations Faculty Lounge The Bullpen Conference Room Office Storage Women’s Restroom Men’s Restroom Catwalk Perimeter Promenade Mechanical
FACULTY LOUNGE
THE BULLPEN The faculty need desperately a space which belongs to them, where they may discuss the condition of studios, new projects, contemporary practice, and comparative methods. The Bullpen is a 600 SF informal space, which would serve this purpose, providing resources for faculty to self-manage ongoing predicaments and opportunities within the school, throughout the year. Adjacent to the Faculty Lounge, the space would also maintain faculty storage, include a full-kitchen, built-in media displays with dedicated CPU, and all relevant software. More than a utilitarian space for lunch and meetings, this zone is meant to be filled with rigrous dialogue and debate, as faculty’s own descriptions of current processes and pedagogical practices are the key to contolled expansion and growth. The insights and experience of faculty are the greatest form of self-critical research the school may conduct, and therefore should be invested with an exclusive space for documentating and examining these ideas.
105
4.2 moves & improvements LEVEL 3- EXAMPLE LEVEL 3- EXAMPLE CONFIGURATIONS CONFIGURATIONS
Multiple combinations of the Multiple above options combinations exist, prioritizing of the above classroom options variety, exist, prioritizing size, number; classroom facult office variety, adjacency, size, number; facult office adjacency, and potential for library and workshop and potential expansion. for library and workshop expansion. An infinite range exists from An theinfinite most flexible range exists configurations from the to most the flexible most fixed. configurations to the most fixed.
CONFIGURATION 1
CONFIGURATION 2 2
2 10
4
8
10
9
1
10
4
10
10 8
10
9
10
10
1
11
11
3
6
7
3
2
2
6
5
5
SOUTH WING:
NORTH WING:
SOUTH WING:
NORTH WING:
1 2 3 4
5 6 7 8 9 10 11
1 2 3 4
5 6 7 8 9 10 11
200-Person Event/Classroom (100 Retractable) Expanded Bathrooms Retractable Seating Storage
Catwalk The Bullpen Faculty Lounge Dean’s Office Conference Room Office Printing Area
CONFIGURATION 3
7
160-Person Banquet/Event Expanded Bathrooms Retractable Seating Storage
Catwalk The Bullpen Faculty Lounge Dean’s Office Conference Room Office Printing Area
CONFIGURATION 4 2
2 10
4
8
10
9
1
2
8
9
10
6
10
10
10
1
11
3
10
4
10
7
11
3
2 5
6
5
SOUTH WING:
NORTH WING:
SOUTH WING:
NORTH WING:
1 2 3 4
5 6 7 8 9 10 11
1 2 3 4
5 6 7 8 9 10 11
Overflow Classrooms (4 x 20 Students) Expanded Bathrooms Retractable Seating Storage
Memphis College of Art
Catwalk The Bullpen Faculty Lounge Dean’s Office Conference Room Office Printing Area
1800 SF Flexible Exhibit Space Expanded Bathrooms Retractable Seating Storage
7
Catwalk The Bullpen Faculty Lounge Dean’s Office Conference Room Office Printing Area
107 EXAMPLE FLOOR CONFIGURATIONS
4.2 moves & improvements
A COHESIVE NEW IDENTITY
DE
SIG
NA
FI
NE
RT S
AR
(3
D)
FINE ARTS
DIA)
(MIXED ME
FIN
EA
RT S(
2D )
TS
DESIGN ARTS// ANIMATION/DIGITAL CINEMA, GRAPHIC DESIGN FINE ARTS (3D)// SCULPTURE, METALS, CERAMICS, WOOD FINE ARTS (2D)// PHOTOGRAPHY, ILLUSTRATION FINE ARTS (MIXED MEDIA)// PAINTING & DRAWING, FOUNDATIONS, PRINTMAKING LIBERAL ARTS
ART-MAKING
LIBERAL ARTS
By drawing all of the maker-spaces into the lower level, new synergies emerge for cross-collaboration, experimentation, and innovation. The science and logistics of Rust Hall undergo a surgical makeover, as key circulation arteries and centers of gravity are expanded to provide greater visibility (lightness and air). Transforming the podium from a dark and stiffened basement to a nodal and non-linear system, positions the school against an unpredictable future, as informal cross-over spaces are planned to absorb program expansion in a variety of directions. Likewise, landscape interventions and new entries around the building help ease program creep, and offer outdoor workshops. This interconnected village of makers not along solidifies the school’s identity, but positions MCA in a new and responsive relationship with Overton Park and the general public.
Extracting Liberal Arts out of the podium to a new home on the second level offers both optimum flexibility and detailed customization. Unrestricted by the demands and barriers of neighboring programs, Liberal Arts may structure and re-align itself consistent with the ebbs and flows of its own internal demands. As its program criteria is parsed into one contiguous space, it is able to refresh its brand, improving the psychology of students and faculty as they engage, for once, an integrated identity of the Liberal Arts program.
Memphis College of Art
109
4.2 moves & improvements
FLOOR PLANS
43
24 39
25
20 18
38
9
9 27
27
23 21
19
27
18
26
28
20
41 43
17
9
16
11
22
43
9
9
20
10
20
6
29
11
13
12
14
8
3
40
30 37
44
11
6 7
43
10
13
15
2
13
35
20
7
10
4
9 5
36
10
20
32
20
4
4
9
4
6
1
11
34
42
3
2
14
15
19
13 18
12 9
41 9
17
5
8 13
16
1
40
31
21 33
LEVEL 00 Through careful re-description of the lower level, art disciplines are strategically grouped to maximize cross-collaboration. Callicott Auditorium has been replaced with a media hub, housing the Design Arts program. An overhaul of the circulation grid yields new spaces of informal production, such as The Underpass, Student Life Center, and Relocated Cafe, all working to promote experimentation, open forums of exhibit/critique, and improvement to student confidence and school identity. Transitioning from a utilitarian basement architecture to a more contempory nodal landscape, the lower level is well-posititoned for both internal and external expansion. New entries and externalized programs, such as The Junkyard, breathe new life into the lower level, as internal streets cut through its urban fabric to reconnect programs both with each other, and to the surrounded park context.
Memphis College of Art
PLAN KEY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
Main Entry The Underpass Graphic Design* Photography Studio Shooting Studio Editing Room Photo Lab Painting Studio* Faculty Office Foundations Studio* Drawing/Painting Digital Media Hub Media Classroom* D.A. Tutorial Sound Mixing Fabrication Lab Digital Sculpture Sculpture Sculpture Expansion Restrooms Backyard Entry Small Metals
PLAN KEY 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44
Metals Expansion* Foundry Woodshop Plaster Room Pottery Studio Kiln Student Services Student Life Relocated Cafe Dining/Exhibit Outdoor Dining School Store Printmaking Surface Studio Granny’s Garden The Junkyard Amphitheater Student Storage Kitchen Security Mechanical Future Expansion *divisible space
LEVEL 01 The Main Lobby is transformed into a hybridized library-gallery experience. New fluidities and layered transitions frame this level as the “Living Room” for the entire school, showcasing student-run exhibits while providing state-of-the-art research and digital media facilities. The plan flickers between formal and informal moments, building a dynamic that is continually re-established and re-oriented, rather than static and understood all at once. Multiple scales of spatial typogies are offered for individual reading, group study, and lounging. Sandwiched between the art podium below and Liberal Arts above, the raised lobby level is meant to give agency back to students, as their patterns of use begin to characterize the upgraded spaces.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
Main Entry Atrium Stair Media Lobby Library Floor Stacks Mezzanine Group Flex-Space* Group Study Study Carrel Career Services Outdoor Reading Expanded Collection Resource Center Circulation Desk Lobby Lounge Rotating Exhibition Gallery Office Gallery Storage Security External Promenade Back Entry Steps Front Entry Steps *divisible space
111
4.2 moves & improvements
FLOOR PLANS
10
3
10
8
8 4
11
3 5
4
7
6
9
3
3
2
2
3
3
15 12
2
12 10
12
1
11
11
14
6
5
12 13
6
4 1
8 3
9
LEVEL 02 The concept of re-locating all of the classrooms to the second floor is for the opportunity to create a purely customized experience based on the needs of every class, no matter how small or large--so that they may function more closely to their pedagogical intention. Through the strategic integration of operable wall systems and flexible furniture, dozens of configurations become possible, which can house classroom sizes from 15 to 115 people. Compared against the most recent schedule, this floor-plate is sufficient for supporting all classes throughout the week, at any given time period. This means that for a majority of time slots, there will be residual flex-space available for group meeting, student conference, or program overflow. Unrestricted by the demands and barriers of neighboring programs, Liberal Arts may structure and re-align itself consistent with the ebbs and flows of its own internal demands.
Memphis College of Art
5 5
PLAN KEY 1 2 3 4 5 6 7 8 9 10 11
Liberal Arts Terrace Medium Classroom (25)* Small Classroom (12-15)* Projector Classroom (30-40)* Faculty Office Cluster Printing Station Waiting Area Expanded Restroom Office (Misc.) Mechanical Perimeter Promenade *divisible space
7
9 3
PLAN KEY
LEVEL 03 The north wing of Level 03 would function very similarly to the existing first floor, with Dean’s office, faculty lounge, printing stations, and associated administration. However, relocating this to a tower floor helps free the Main Lobby for student circulation and the exposure of student work. The move gives faculty additional real estate for a “bullpen” (faculty-driven think-tank) for discussion on how to advance the school pedagogically and operationally. The south wing is designated as an open, 2,000 SF Flex-Space, ideal for oversized classes, artist lectures, faculty exhibitions, and events. Creative storage solutions, including retractable seating, would be used, making it possible to accommodate as many students as the former Callicott Auditorium, in likewise tiered fashion.
1 200-Person Tiered Classroom* (100 Retractable) 2 Stage Area 3 Expanded Bathrooms 4 Retractable Seating 5 Storage 6 Perimeter Promenade 7 Catwalk 8 The Bullpen 9 Faculty Lounge 10 Dean’s Office 11 Conference Room 12 Office 13 Printing Area 14 Waiting Area 15 Mechanical *divisible space
113
4.2 moves & improvements
Strategic Directive
Key Areas Of Focus
DIRECTIVE 1
DIRECTIVE 2
DIRECTIVE 3
BUILD a singular unifying identity for MCA that reflects and encourages collaboration between disciplines, creating a cohesive MCA experience.
DEVELOP an open information and communication pipeline between administration, staff, and students that encourages input and provides transparent and timely response.
ENCOURAGE and PROMOTE cross collaboration of students and ideas in all aspects of policy, program, and space design.
INTEGRATED IDENTITY • Communicate identity through the built environment • Develop shared spaces to create culture of shared experiences and connection
CLARITY & CONFIDENCE • Digitize work order resolution system • Create help desk position with customer approach
OPEN RESOURCE • Combine shared spaces and resources into unified access • Open-resource policies that promote learning through access • Reduce physical and mental barriers
DIRECTIVE 4
DIRECTIVE 5
DIRECTIVE 6
FOCUS on student needs and experiences first as a way to support learning and create engaged students with deep and lasting connections.
DESIGN space and facilities with adaptability and flexibility in mind in order to address the ever-changing needs of administration, faculty, and students.
MAKE considered and intentional decisions about the programming of space based on its ability to enhance collaboration and provide an open-resource mindset.
STUDENT & FACULTY FIRST • Update tech to better facilitate learning & teaching • Provide access to professional tools • Focus on student & faculty physical needs
REACTIVE DESIGN • Focus physical spaces on flexibility • Facilitate differing learning & teaching styles and needs • Plan shared spaces from shared needs
INTENTIONAL PLANNING • Find and capitalize on under-utilized • Centers of gravity
Library Expansion Woodshop Swap Lobby Gallery Student Life Cafe Relocation Tunnel Vision Underpass Junkyard Digital Calicott Liberal Arts Terrace Future Ready
Memphis College of Art
115
4.3 opportunities and initiatives
improvement opprtunities and key initiatives
to continuously build the path to MCA’s new vision with all parties involved and confident in change.
In addition to the larger spatial moves for improvement, there are a number of opportunities discovered in the initial assessment and research that are key to executing the larger strategic vision. These initiatives cannot be clearly illustrated in the concrete way the Big Moves have been, but are as much a part of the startegy for growth as the changes to the physical space. 1
CATALYST FOR IMPROVEMENTS In order for the following initiatives to be made reality, certain cababilities must be cultivated within the organization to ensure that along with spatial changes there is a shared mission and vision for a new culture within MCA. These are the steps needed to build to momentum and achieve the necessary buy-in for such dramatic changes. Vision planning_ While this report serves as a roadmap to future solutions, the real direction of MCA will be defined not by this report, but by MCA itself and in how it choses to create its culture and identity from these recommendations. What is the story MCA wants to tell? Once this report has been shared and communicated to the stakeholders, the real work of building culture begins. Defining the vision and creating a story that can be told and retold to all stakeholders serves to gather momentum and backing as MCA moves into next steps. A story doesn’t create culture. Shared mindsets backed by action creates culture. A shared vision is key, but taking steps to make it real is where trust is built within the organization. The idea that this vision is truly more than a story comes from that first action of forming the team who is charged with its execution.
Memphis College of Art
Leadership development_ Building a team with the right skill sets and empowering them with resources and support is not only the start to executing on these initiative but also a first step in creating a capability and culture that is continuously looking forward and working towards creative solutions. Besides the necessary skills and mindsets to work towards better solutions, the team needs inclusive and transparent stakeholder representation and a diverse set of perspectives. No longer is a top down management style sufficient to tackle such large strategic initiaties in the comprehensive manner required. Campfire meetings_ Even with a core team of champions who truly want to bring this vision to life and are tasked with the execution of larger goals, consistant and transparent communication is necessary to spread the message to the community. This serves to show the beginnings of ways in which the systems of communication will function differently from here on out. An informal but transparent communication system for continuing to cutivate this new vision and mindset should come through regular ‘campfire meetings’ between the core team and various stakeholders. Initiatives can be discussed, updates given, and constructive feedback shared in order
Clean up sweep up_ At the same time a narrative is being shared out and a team asembled for execution, small impactful moves can be made to demonstrate action and commitment to the new directives. An easy first step is to find and take back underutilized space. Cleaning out storage spaces and purging old unused tools is a small gesture, but shows that the school is defining what their space will be in the future instead of allowing that to be dictated to them by existing conditions. 2
BRANDED EXPERIENCE Building culture and identity through brand will be a big part of the decisions made on the larger scale of spatial reconfiguration, but seeing as culture is defined through even the smallest moves and interactions it must be a consideration early and often as a cohesive identity is formed. This should be prioritized and achieved in small but impactful ways. Integrating branding within a designed environment requires a deft touch with a large design palette including campus plan, exterior spaces, building design, interior design, furnishings, environmental graphics, landscaping, imagery, and signage. Many factors— themes, icons, words, places, products, and services—come together to embody the mood, ambience, and feelings associated with a brand’s unique personality. Blending place with interaction and connection to
community allows MCA to move beyond designing only for function and instead enhance the sense of place that should define the school for students. Successful branding creates an educational experience that alumni cherish. It’s about the experience of being in this unique place, and if done well it is an experience that alumni speak about to their grandchildren with special memories and deep attachment. It should be noted that this is not a simple task and requires consistant effort and enforcement when we are talking about such experiences. Add Color to Define Identities_ Color, which can be quiet and restrained or boldly expressed, plays a significant role in branding environments. It can be used to send a subtle message that connects and builds continuity within a campus palette, explained Perkins+Will’s Eileen Jones. The use of color can be part of a ‘quick win’ strategy that begins to give students and departments the ability to differentiate themselves through self-created departmental identities that include color as a differntiator. Since many changes will be occurring in the space, an initial attempt to form identities can be thought of as a prototype in an effort to help define the best possible long term approach, In the spirit of creating departmental identities, prioritizing more public display space is key to a departments ability to showcase work and celebrate students.
117
4.3 opportunities and initiatives
improvement opprtunities and key initiatives-continued
Wayfinding_ Another application of this intentional color usage should be built into a new wayfinding system. The color palette that is developed can connect disparate elements in a subtle way enhancing the cohesive brand as well as allowing departments to stand out and more importantly create better spatial awareness within the campus. The existing space is confusing, difficult to navigate, and indistingishable from space to space. A new system that is focused on clear communcation and brand values will be an opportunity worth investing time and energy in. This initiative should be used as away to bring students into the process as well. It is an opportunity where students can use their skills to add real value and create even deeper connections with the space. Environmental Graphics_ In addition to wayfinding for clarity, the use of environmental graphics allows the story of each space, and of the school itself, to be told in a unique way. This is how we illustrate and communicate the culture and identity of MCA in the most captivating way. Elements can honor benefactors, celebrate staff, and reflect the institution’s history and purpose through literal messages, that when presented, illustrate the identity that MCA wants visitors and students alike to understand as they enter the space. Reception and Entry Experience_ The lobby space and entry experience is the first interaction many people will have with the school itself, and as such, it is an
Memphis College of Art
important opprtunity to capture attentions and begin building the brand of MCA in people’s minds. It must tell the story and demostrates MCA’s values to multiple audiences—employees, funding sources, future faculty and students, and the greater community we look to engage with further. While physical changes to the building itself convey a message about values, it is important to note that the brand is built in the communication and graphics as well. Departmental identities help define different units and capabilities within the institution as part of a larger common identity which is built through wayfinding and storytelling. It all begins in the entry space where tone is set. The importance of this space requires focus and prioritization when considering moves to be made while building the brand. this extends to interactions as well. Pleasant, service minded interactions are required in this space in stead of the current security experience that exists. New Doors_ As stated, brand values are communcated through elements in the built environment as well. Heavy opaque doors convey a message of restriction and also serve to hinder wayfinding and spatial awareness. New doors focused on tranparency and ease of use, serve in many capacities to help the system, but also to convey a brand attribute demonstrating openness and transparency, that will be continued throughout the new built environment. These moves focus on existing pain points that users pointed out and thus would result in greater impact if prioritized.
3
DIGITAL CAMPUS A more digital campus that focuses on systems and foundations, built with the modern student in mind, will go a long way to easing existing tensions with technology. An important first step is to update existing foundational systems, then focus on upgrading offerings that assist in facilitating learning and ultimately produce students who are ready for the future.
which is a key factor in the impact a projection system can have on learning.
Device Connectivity_ By and upgarding necessary fundamental systems like WiFi and electrical outlets that are currently hindering learning potential, MCA will be assisting their students by providing needed connectivity. Ease Projection_ The current projection process is a consistant pain point in classes that use projectors often. At the same time, a projection technology that could better facilitate learning in studio-based classes that didn’t currently use them was highly desired. In both cases, the technology desired focused on a seemless projection process that eliminated wasted time and allowed facilitators to get to lessons with ease and efficiency.
The Digital Geek Squad_ a digital support system needs to be developed in tandem with these initiatives. One key to its success is the addition of a help desk position with a customer service approach that doesn’t rely on systems-based IT staff to assist in marginal issues freeing them up to tackle the job of building out and manage the fundamental systems that must be in place. Feedback and transparency must be built into this sytem if it is to succeed. When problems arise and need attention, a clear delineation of what work is prioritized and why and when the issue might be resolved is necessary to build and maintain confidence in a system designed to assist people with their problems. Key tasks for focus are:
Dedicated computers in each room that had access to files on a drive or server, wireless hook up from a laptop directly to projection, or even videos of techniques being demonstrated and projected would all save time and better facilitate learning objectives. Updates to rooms to facilitate projection need to occur, as well as lighting
Completion and launch of a business function platform_ This will not only relieve multiple pain points associated with the student, faculty, and administrative experineces, but it will signal that MCA is ready for growth. These online systems are tablestakes for a 21st century college experience and MCA cannot become a
MOOCS_ Massive Open Online Courses should be an option in choosing classes primarily within the Art Ed and Liberal Arts departments. This initiative will be especially beneficial in assisting the Art Ed department expand it’s reach to as many potential students as possible.
119
4.3 opportunities and initiatives
improvement opprtunities and key initiatives continued
college of choice without a functioning system. Besides easing payment processes, financial aid management, registration, and those important student focused functions, this will serve to allow better data collection and management for administrative purposes as well as file management that can serve faculty in achieving better learning objectives. In addition to a system that addresses problems related to IT, a new digitized work order system should be built to handle issues of a physical nature in the same transparent and service-based way. Future Ready Students_ Success after graduation is a key focus while students are still in school. Professional development classes are one tool, but technical advances in the school need to be made to help students compete in the current and future job markets. The access to tech and spaces that allow students to seek out new ways of learnings and use the school as resource are fundamental to this effort as MCA looks to upgrade and be on the cuting edge of the industry. Policies that promote and encourage this mindset must be in place to ensure that students have the chance to do just that.
Memphis College of Art
Key initiatives: Access to professional tools_ Wacom Cintiq computers for digital work are what graduating students will be using once they leave, a familarity with the tool is required to make students ready for the work force. Photo Access Center_ High quality photo documentation is an important part of every artists work. Access to tools such as cameras, software, and even physical space should be open to all students for documentation and prioritized as a necessary skill. As a next step, a combined digital media cage will demonstrate MCA’s commitmnet to open resource learining through a dedicated space that encourages interdisciplinary study. Laptop model_ looking to the future of MCA, with a new focus on the multiplicity of student needs and learning styles, cannot ignore that learning will continue to rely on more mobile and connected technologies. Moving to a laptop or a tablet model will allow more freedom for discovering new learning opportunities while consequently freeing up necessary space within the school that can be captured and better utilized as growth occurs. This initiative should never dismiss the need for those digital-based departments to have screens necessary to facilitate students doing their best work.
4
SELF-ACTUALIZED STUDENTS Being one’s best self means being a more engaged student that better internalizes learnings and thus produces better outcomes. A focus on student wellness initiatives does more than demonstrate culture and values, but produces better students and outcomes in the long run. These initiative come to bare in all facets of the school system. Though space design, systems support, and even learning objectives, the prioritization of student wellness will become a key part of the culture and identity that defines MCA.
allow students to move in and out of spaces without deterrent.
Light and Access_ Certain elements of environmental designs should be prioritized for the impact it will have on student wellness. Adding natural light and promoting movement through open access are essential to facilitating wellness. Instead of closing off the natural light and exterior space as a distraction, it should be celebrated. According the the Haworth report, “Large windows with panoramic views, natural lighting, and furnished outdoor spaces enhance academic settings rather than disrupt them.” these moves provide psychological comfort through providing a connection with nature and beauty. The spatial moves outlined in the following section will demonstrate an attention to this initiative that permeates all facets of the built space. Inetrior and exterior moves serve to break down the literal and figurative barriers that exist between departments and serve to promote movement and access to light in an effort to
Community Building_ Necessary to self actualization is a strong and supportive commmunity that is built on shared experiences and trust. Space can facilitate and encourage this in many ways. Many of the following initiatives create dedicated space for interaction, idea exchange, and community building for students, for faculty, and for the college as a whole. This space is a resource for all of those who make up the MCA community to be used to further their desired goals and should be utilized as such including the greater community outside the school walls.
Relaxation and Renewal_ Another initiative achieved through the built space that will have a big impact on wellness is the inclusion of spaces that facilitate all modes of learning and promote students to prioritize time for renewal in order to reach their potential. In these spaces and in the culture built around them, promoting mindfulness and focusing on reducing stress will assist in students actually achieving the necessary renewal for high performance.
Support Channels_ Support is the foundation of community building and needs to be a big part of the culture moving forward especially as a means to build identity and focus on engagement and retention. Supporting freshmen in the first six weeks—the make-or-break period for a student’s academic, social and emotional
121
4.3 opportunities and initiatives
improvement opprtunities and key initiatives continued
engagement—is the key to a successful transition and improved retention. Providing space to facilitate such services addresses the larger issues, as well as clear communication and access to all of this creates a sustainable support network that has real value. Food as Fuel_ A new and expanded cafe space will be one of these initatives created to build community around the impactful shared experiences of food and facilitate renewal between periods of intense focus. Coupled with educational tools that emphasize food as fuel will grant students the opportunity to make better nutritional and health conscious choices. 5
PARK AS LAB While classrooms traditionally close off the outside in an effort to focus attention onto the lecturer, today’s classrooms should be more engaged with context and embrace the setting as another tool to facilitate creative problem solving. In this case, taking advantage of the amazing assets right outside the walls. The use of Overton Park can serve as space where students and community come together in benefit to all parties. While this should be activated as a small initiative quickly, the current tensions dictate that moves not be made until the current political issues surrounding the part have died down.
MCA and into the real world of the Memphis community they are an active part of. New perspectives will be taken into consideration and work will evolve through the testing and refining of ideas in context and with outside feedback. Observe and Learn_ Student work can now be displayed and feedback learned quickly. Students can understand through context what works and what doesn’t, what creates reaction, and how designs might evolve from learnings. This initiative gives students a chance to build a POV and develop a design eye that is sensitive to environmental awareness and context. In addition, students now have a new audience to elicit feedback from besides fellow students and professors that can give them new insights and directions for their work. Extend Brand into Park_ A supportive relationship between the park and the college will not only allow students to create better work and engage with the community for a different perspective, but further the MCA brand identity to an audience that may not be familiar with the college thus increasing awareness with each new park goer. Keep in mind, that each new park goer that engages with MCA students and their work is a potential connection that can serve to further the college’s vision and create new supporters.
6
DIGITAL FAB LAB 8 To ensure the future relevance of MCA students, in terms of familairity with digital production and prototyping tools, there will need to be a dedicated space to house these making tools for the digital age. The tools themselves need to be acquired and the education initiatives shifted to focus on their capabilities and relevance to many departments. These steps and the growth of the programs requiring their use willl facilitate a digital making space be a part of the plan for future expansion.
7
BACK PORCH If program growth dictates, there is opportunity to expand on the proposed Junkyard space by tearing down the Butlers (East and West) and building a new space that can support all of 3D and sculpture departments. This would also serve to create a more cohesive and studentfocused entrance experience from the back where many student enter as they come form the dorms. This initiative would also serve to address the long standing issue with the loading dock that deserves resolution as we look to improve processes and flow throughout the school.
SOUTH LAWN GREENHOUSE In the event that the plan for strategic growth for the expanded design department outgrows the designated space, there is opportunity to support this growth through some spatial moves on the South lawn. The creation of a thriving ‘Greenhouse’ (new design center) will allow, not only the square footage needed for the program, but an additional new space to further connect with the park and the cummunity right outside the doors.
Prototype and Test Ideas_ This relationship allows students the opportunity to test ideas outside of the protective bubble of
Memphis College of Art
123
How do we make it real?
section 5 activation
5.1 implement
5.2 portfolio management
5.3 phased approach
5.5 get going
5.6 college of choice
5.7 acknowledgements
Memphis College of Art
5.4 activating this report
127
5.1 implement
implementation strategy
A map of solutions is only the beginning. The path to implementation has many roadblocks and barriers, but a strategic phased approach allows MCA to know when to invest time, talent, and energy to focus on key aspects of growth and expansion. OPTIMIZE FIRST First steps require updating and optimizing foundational systems/ experiences and focusing on “quick wins”-those strategic moves with the most impact for the least investment. Challenges of deferred maintenance cannot be ignored in order to move from optimization to expansion. FOCUS ON EXPANSION Leverage momentum and capital campaign commitments to begin the process for structural improvements that drive the new spatial experience. BUILD FOR GROWTH Accelerate growth by adding new spatial experiences that create new forms of value.
< CCA’s Interior Gallery and Display/Critique Space
129
5.2 portfolio management
a portfolio approach to managing the strategic plans and initiatives
Branded Experience Initiatives
IMPACT
Liberal Arts Terrace
Catalyst for Improvements Initiatives
Digital Calicott
Digital Campus Initiatives
In order to execute on key initiative the relocation of certain departments requires a timed approach
General Relocation Move Self-Actualized Student Initiatives
Student Life
Back Porch Digital Fab Lab
Cafe Relocate Penthouse
Woodshop Swap
Underpass Park as Lab
South Lawn Greenhouse
Library Expansion Tunnel Vision Junkyard Lobby Gallery
PHASE 1 0-2 years
PHASE 2 2-3 years
PHASE 3 3-5 years
optimize
expand
build
Memphis College of Art
TIME
131
5.6 college of choice PHASE 2 _ Focus on Expansion Library Expansion
a phased approach
Lobby Gallery Tunnel Vision Student Life
**CAUTION
Deferred Maintenance
Growth
Challenge of deferred maintenance. When addressing the first step of optimizing systems, a significant investment in the consistent maintenance of these systems both physical and digital cannot be ignored. Ignoring this issue will result in an inability to achieve the vision and goals laid out in this plan. MCA cannot become a college of choice without the proper investment in infrastructure.
Underpass Digital Calicott Digital Campus future ready students. build on existing platform capabilities + Access to professional tools + Media Center (photo center phase 2) + Laptop model Penthouse
PHASE 1 _ Getting to Momentum (Quick Wins) Winning hearts and mind by addressing major pain points for big pay off with smaller amount of investment. Catalyst for Improvement + Vision planning + Leadership development
+ Campfire meetings + Clean up sweep up
Cafe Relocation Junkyard Park as Lab + Prototype and learn + Extend brand into Park
Branded Experience prioritize and act on quick wins, work continues through pahse 2 + Add Color to Define Identities + New Doors + Add display space + Environmental graphics + Wayfinding + Reception and Entry experience PHASE 3 _ Build for Growth
Woodshop Swap
Digital Fab Lab
Liberal Arts Terrace Digital Campus build fundamental and base capabilities, build on capabilities in phase 2 + Device Connectivity + Digital Geek squad + Ease Projection + Add help desk position + Address Lighting Control + Launch Business Function Platform + Photo Access Center + MOOCS Self-Actualized Students + Light and Access + Relaxation and Renewal + Community building
Back Porch + Tear down the Butlers + Student-focused entrance + Address loading dock South Lawn Greenhouse
+ Support channels + Food as Fuel
133
5.4 activating this report
activating this report
The significant opportunities contained in this document will take investment and effort in order to â&#x20AC;&#x153;Get to Thereâ&#x20AC;?, to make MCA a college of choice.
TEAM APPROACH
INCLUSIVITY AND TRANSPARENCY
No one person can be in charge of this document. A collaborative team-based effort involving all stakeholders (administration, faculty, staff, students, trustees, and community members) is required to create the collective effort necessary to reach stated goals.
The processes required to activate such major shifts in the existing space and culture can be messy and time-intensive, requiring many stakeholders and inputs. Transparency in decision making through open communication is key to the success of projects requiring such extensive buy-in from stakeholders.
ALIGNMENT AND STORY
PROTOTYPING AND REPURPOSING
A strategic vision of this magnitude requires buy-in, support, and advocacy from those who have the ability to influence and make investment time, talent, and money. It should be clear and evident alignment means a compelling narrative that resonates with trustees, donors, faculty, staff, students, and other key partners in the community.
In order to aspire to ambitious goals with certainty and confidence, it is necessary to test ideas and strategies through prototyping to learn. An approach that continuously learns from testing ultimately building better ideas and systems. Through a team approach, finding easy quick ideas for prototypes develops ideas that are created by and unique to MCA.
Memphis College of Art
135
5.5 get going
get going! build capability.
Part of activating is setting up a cross-functional implementation team to begin experimenting and delivering results. Here are the steps recommended to make it happen.
1
2
3
STEP 1 - ALIGN INTERESTS Craft the narrative of the purpose, brand, and culture Communicate comprehensively and inclusively - up and down Share this document - open dialogue and discussion Focus on building alignment - winning hearts and minds
4
STEP 2 - AGREE & COMMUNICATE VISION Decide the story MCA wants to tell about the future Tell the story - communicate often and emphatically Choose the team - hire outsiders to bring new perspectives and skillsets, insiders to navigate and bridge credibility Take steps to building new inclusive culture
5
STEP 3 - PRIORITIZE THE WORK Evaluate phase one - prioritize impact toward reaching vision Plan initiatives - assumptions to test, goals, how to approach, documentation & plans Evolve ideas - seek stakeholder feedback and iterate Budget for implementing vision - secure source of funding shows dedication and commitment
Memphis College of Art
STEP 4 - BUILD THE TEAM Build from key skillsets + Leadership and Project Management + Craft/Build with focus on prototyping to learn - digital & physical + User experience + Communication and team building Requires Accountability, Empowerment, Support, Growth Mindset, Resources STEP 5 - TEST AND LEARN Experiment with intention to learn and evolve - elicit constant feedback Measure and learn- note initiatives with high value returns and focus efforts towards best outcomes Adjust - build the plan for full implementation Communicate constantly- up and down
Agree & Communicate Vision
1 Align Interests
Test and learn
2
5
STEPS TO GET STARTED
3
Prioritize the work
NEXT STEPS Move through the prioritized initiatives
4
Build the team
137
5.5 get going
example of how to run an experiment
The Liberal Arts Terrace represents an example of a big impact, low cost experiment. The experiment can be activated within 1-2 weeks once a team is in place.
PLAN THE EXPERIMENT Iterate on the concept to continuously make it better consider programming aspects Breakdown the concept into small components and what will be needed to construct the experience Define the goals for the experiment Build a list of assumptions about the concept to test Determine what is critical to measure to turn the experiment into a permanent experience and how to collect data Set experiment duration
ACTIVATE THE SPACE Construct the experience Market/ Advertise the new space to the institution Observe the initial experience to make quick iterations
MEASURE AND LEARN Evalute the data and feedback Review assumptions and assess outcomes Make decision and plan for implementation
Memphis College of Art
139
“We can’t solve problems by using the same kind of thinking we used when we created them.” ALBERT EINSTEIN
141
5.6 college of choice
college of choice
Innovating makes MCA a college of choice. A recent Haworth report on higher education environments states that, â&#x20AC;&#x153;even in traditional institutions, emerging technologies and the wider variety of teaching and learning styles demanded by Generation Y students and offered by younger faculty are creating pressure for change in everything from design of pedagogy to student unions. In the midst of all these challenges, the overriding need to attract and retain top students and faculty and to offer a high quality teaching and learning experience has never been greater.â&#x20AC;? Becoming a college of choice requires more than a one time investment. It requires a capability that invests in continuously setting the bar for the industry.
Memphis College of Art
The very same human-centered approach and mindset that built the strategic road map to a successful future for MCA is required to execute the directives and initiatives it helped develop. Without a continuous investment in cultivating and building a human-centered and innovationled mindset within the organization, MCAâ&#x20AC;&#x2122;s vision cannot be completed. More than a process or even a humancentered mindset, continuous innovation through these methods requires internal systems and capabilities. The four keys to activating this report (team approach, inclusivity and transparency, alignment
and story, and prototyping/purposing) are important parts of a larger system that, when complete, will differentiate MCA and make it a college of choice as well as a leader in design-led Higher Education. As discussed previously, the physical systems and the mindsets/culture surrounding them are not mutually exclusive. Just as a flexible space cannot be utilized to its fullest potential without mindsets that are equally as flexible and results-focused, the human-centered system capability cannot be achieved to its highest potential without the mindset of an entire organization aligned to the goals and vision.
143
5.7 acknowledgements
this project took a team effort and we are thankful for MCA’s openness and support to deliver this final report
LITTLE BIRD TEAM Zack Perry Cole Bradley Jennifer Peterson Trey Kirk Ruby Zielinski PRESIDENT’S CABINET Ron Jones, president Remy Miller, dean & VP academic affairs Laura Hine, vice president of college advancement George Ninan, vice president of operations/ CFO Susan Miller, vice president of student affairs Carrie Corbitt, vice president of communications & marketing Jonathan Welden, associate vice president for finance and administration FACULTY MEMBERS Lucienne Auz, liberal arts Maria Bibbs, liberal arts Elizabeth Brown, foundations Haley Morris-Cafiero, photography Angela Christopher, art ed Ellen Daugherty, liberal arts Maritza Dávila, printmaking Don DuMont, graphic design & sculpture Shannon Elliott, art ed Kate Gerry, liberal arts Adam Hawk, sculpture Tom Lee, sculpture Susan Maakestad, painting & drawing
Memphis College of Art
Joe Morzuch, painting & drawing Michele Noiset, illustration Cat Normoyle, graphic design Soyoung Park, liberal arts Bill Price, metals Marc Rouillard, painting & drawing Michael Shaw, animation Eszter Sziksz, printmaking & MFA Leandra Urrutia, ceramics Jill Wissmiller, animation ACADEMIC SUPPORT Zark Strausberger, P2 director Andrea Crowley, P2 Carrie Brooks, career services LIBRARY SERVICES Derrick Casey Sylvia Page GALLERY/ EXHIBITS/ ENGAGEMENT Melissa Farris, coordinator Holly Gutherie, director of events Katherine Lawson, director of community engagement ADMINISTRATIVE SUPPORT Anne Ballam, assistant to the president
STAFF Cody Barnhill, achievement support coordinator Nick Darmstaedter, director of student life Terrence Houston, food services manager Gail Massey, director of enrollment Annette James Moore, director of student success Cecilia Palazola, director of community education Les Pearson, chief information officer Natalie Schuh, staff photographer STUDENTS Student Alliance Group Student Project Team Allison Johnson Langley Osborn Ashley Segarra Human Centered Design Class Lex Balfour Misa Dowdy-Cannon Stephanie Godfrey Kala Johnson Ruby Zielinski To the many students that participated in intercept interviews we are greatly appreciative
BUILDING HISTORIAN Jim Ramsey
145
Sources used
360 Magazine - The Education Edition, Steelcase, 2015 “Adaptable spaces and their impact on learning,” Herman Miller, 2009 “Arts Education goes MOOC,” http://www.educationdive.com/news/arts-education-goesmooc/400913/ “Compelling Branded Environments in higher education,” Haworth, 2015 “Crafting the master plan: a collaboration challenge for community colleges,” Gensler, 2011 “Its hard to differentiate one higher ed brand from another,” http://www.gallup.com/ businessjournal/184538/hard-differentiate-one-higher-brand.aspx “Open Space: An asset without a champion,”Gensler, “We Are in the Midst of a Crisis of Higher Education in Art, and Now’s the Perfect Time to Reform It,” https://www.artsy.net/article/artsy-editorial-higher-education-in-art-is-in-crisisnow-s-the-time-to-reform-it
Memphis College of Art
147
Memphis College of Art the new center for creativity and innovation