EMPOWER Vatsal Patel Historically, the Northeast Neighborhoods were formed by wealthy households who gradually moved out to the suburbs; this migration left behind a community that has struggled over the years and today is looking for ways to bring itself up again. Ethnically diverse and disproportionately high youth population are strong features in the area, lending themselves as major assets to rejuvenation. In order to redevelop the area into a source of pride for the youth of the neighborhood, a careful, close relationship between designers and citizens is required. By doing so, the locality has a chance to flourish within an already unique identity and help its at-risk youth cultivate a sense of place that uplifts their morale and trust in the strength of Northeast Kansas City as a community for all.
Figure 01.01:
Central courtyard view
Research EXECUTIVE SUMMARY Today, the Northeast Kansas City neighborhoods are often associated with a high crime rate and visibly blighted properties, but they can also be associated with racial and ethnic diversity and a sense of conviction to build a more cohesive Kansas City subculture. The role of this proposal is to empower the at-risk youth ages 11-18 through after-school arts education which can give them mastery and confidence to express their unique identity and to help improve the ways in which middle and high school youth think about their surroundings and their place in Northeast Kansas City. By imagining their capabilities, a shift in focus on individuals and situations is created. Doing so, they uplift the hope and resilience of communities of which they are an important part. The proposal will achieve the goal of empowering the at-risk youth through a planning model inspired by research done by Youth ARTS that realizes the different stages of the process.1 The model allows for all the agencies required in different steps of the proposal to be involved and communicate with each other; as well identify the chief organization that will be in charge for the successful functioning of proposal. The four categories of the planning model are: Condition
Activities
Outcomes
Impacts
The first stage in the process is to define the condition that would a. Necessitate such a program b. Identify the agencies that could take on the core responsibility of continued success Research suggests that youth are likely to develop unhealthy behaviors when they are exposed to risk factors such as the availability of drugs or associations with peers involved in problem behaviors.2 Moreover, youth exposed to more than one risk factor are even more likely to develop unhealthy behaviors.3 The youth of neighborhoods that go to schools at Gladstone Elementary, James Elementary, Holy Cross Catholic, Northeast Middle and Northeast High school are predominantly from lower income, minority families.4 90% of their families live at or below the poverty line, and 100% students qualify for the free and reduced lunch program.5 Limited resources and opportunities at school as well as home contribute to lack of much needed academic attention resulting in higher rate of truancy and lower graduation rates. This knowledge necessitates the proposal. Northeast Arts, a non-profit in Northeast Kansas City is the local chief organization around which the arts program proposal is developed. Their current mission is centered around the idea that when we make art a part of everyday life it has the power to transform our community.6 By supporting performing arts such as music, dance and theatre; and visual arts such as mosaic, pottery, mural and painting the proposal will help amplify their mission and Empower will become the new home for the Northeast Arts KC. They will be responsible for making the administrative decisions about the functioning of Empower such as hiring the local artist to teach youth, inviting outside artists and organizing engagement opportunities such as having art sales, dance, music and theatre performance, etc. so as to insure the continued success of the proposal. The second stage in the process, activities, relates to: a. Services provided to the youth as it relates to local interest b. Architecture to provide for aforementioned services The proposal will need to incorporate a 12-week introductory program that invites the at-risk youth from Northeast middle and high school. The program will serve as first step towards empowerment of youth by the method known as Social Development strategy.7 The strategy explains that youth require three conditions to bond with any social unit, which in the case of the proposal is the community of NEKC. First, they need opportunities to make meaningful contributions to the social unit; second, they need the skills to contribute effectively; and third, they need recognition for their contributions by that social unit. By giving the youth of Northeast Kansas City the ability to participate in 12-week introductory program for different art mediums such as painting, mosaic, pottery, ceramics, music – vocal and instrument, dance and theatre, youth have the opportunity at self expression. The very ability to create an art piece and be able to express their stories is what entices the at risk youth to the program over other unhealthy habits in the neighborhood. Architecture serves this proposal 02
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Figure 01.02: [Right] Parti
Parďż˝
by the way of creating a central courtyard around which all the arts studios are arranged. It functions as the safe space for youth to gather and enjoy. On a nice day, they can take their easel and paint or have theatre rehearsals outside. Spaces here are also shielded from exterior world by the medium of central orientation. Different art spaces have unique light quality best suited to the type of art. This distinction creates a unique atmosphere in each studio. At the end of the introductory program, the youth will transition into a year long arts program of their choice from the various arts offered at the site. During this time, the youth will also be exposed to places of culture and art outside Northeast Kansas City through visiting artists as well as field trips to places in and around Kansas City. Spaces in proposal that contribute to development of skills and exposure includes the artist residency at 5020 Saint John Ave and studios for visiting artist to teach while being exposed to the culture of Northeast Kansas City. Finally, the youth will have the opportunity to make meaningful contribution through dance, music, and theatre performances in their black box theatre as well as exhibition of the art in gallery, along with art sales conducted there to further empower them by giving them the pride in being able to make meaningful contribution to their family, friends, and the community. The third stage in the process is realization of produced outcomes that the program addresses. Empower will help the youth in the neighborhood see an improvement in art and program related skills- which will serve as a recognition of new competencies, showcasing their abilities, further increasing their engagement in school. The youth will have renewed sense of place and healthy bonds will develop. The opportunity to share the skills learned with adults will reinforce intergenerational bonds and build a healthier, more stable community. The fourth stage in the process is to realize the long-term impacts of Empower. Over time, due to increase in engagement and joy gained from the programs, increased academic success and decreased truancy is expected. With improved skills and ability to express their individual stories to the community in their medium of choice, youth will feel empowered. Finally, being recognized for their talent gives them a lasting sense of pride in themselves. ResearchIntroduction
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SITE SELECTION Looking at the context of NEKC, I found the example of Scarritt Elementary among various others where the local students under the leadership of art professor from Kansas City Art Institute sought out to improve their neighborhood.8 This is one of many concrete examples of how folks are helping students see the light. Wealthier districts have the ability to expose their students to quality artistic experiences in school. But that can be replicated in underserved communities such as NEKC with the help of local masters. The map [Right] shows various places in the neighborhoods where the local masters have their art studios that focus on art specific to NEKC. By learning from these local masters, youth can see more clearly what the arts can offer.
Figure 01.03:
[Top Left] Economic Growth Building
Figure 01.04:
[Center Left] West wall of Mayfair Cleaners
Figure 01.05:
[Bottom Left] Scarritt Elementary 04
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St. John Ave.
Independence Ave. Local art studios Site Schools Religious places Budd Park
Figure 01.06:
[Right] Map of schools in Indian mound neighborhoods and its proximity to site ResearchIntroduction
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Schematic Design Building upon the notion of helping the at-risk youth with art, the schematic design focused on the role of how architecture can help improve academic performance as well as civic engagement through spaces to learn, space to be and space to exhibit. The project at this stage was divided into 3 phases: The place for Art Exploration, Artist Residency and Park Redevelopment.
Students entrance Ceramics
Kiln yard
Service entrance
Workshop-2 Office
Workshop-1 Literary arts
Artist residency
Performing arts
Students entrance
Temporary exhibit
Public Entrance
Ceramics Office
Workshop-1
Performing arts
Kiln yard
Workshop-2 Literary arts
Artist residency Temporary exhibit
Figure 01.07:
[Top Left] Massing diagram
Figure 01.08:
[Center Left] Circulation diagram that dictates the arrangement of spaces
Figure 01.09:
[Bottom Left] Plan 06
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Reflection
The overall scheme needed to be more focused through the understanding for whom specifically the architecture was intended. Another component was to engage the local masters in arts to so as to give a clear organizational strategy of each art studio and its supporting spaces.
Figure 01.10:
[Top Right] Section
Figure 01.11:
[Bottom Right] Art exhibition by youth in Budd Park Schematic Design
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Mid Design
Figure 01.12:
[Top Left] Interior view of pottery studio
Figure 01.13:
[Bottom Left] Process model 08
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Massing Diagram
Program Diagram
Visual Arts Literary Arts Performance arts Office Space
Site Diagram
Figure 01.14:
[Top Right]Massing diagram
Figure 01.15:
[Center Right] Program diagram
Figure 01.16:
[Bottom Right] Site diagram Mid Design
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Figure 01.17:
[Top Left] Second floor plan
Figure 01.18:
[Bottom Left] First floor plan 10
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Figure 01.19:
[Top Right] Building section
Figure 01.20:
[Center Right] Site section
Figure 01.2101.24: [Bottom Right] Vignettes
Mid Design
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Final Design PROGRAM RESUME
Public space Lobby
|300 sf
Exhibition gallery
|1,500 sf
Resource center
|1,200 sf
Restrooms
|2 x 170 sf
Front desk storage
|75 sf
Performance arts
Pottery and ceramics
Visual arts
Music studio
|550 sf
Studio
|700 sf
Arts studio - 1
|700 sf
Dance studio
|600 sf
Wet storage
|350 sf
Arts studio - 2
|500 sf
Black box theatre
|1,100 sf
Glazing
|400 sf
Support space
|75 sf
Light booth
|70 sf
Wash area
|80 sf
Storage
|100 sf
Locker room
|2 x 300 sf
Storage
|200 sf
Pre-kiln storage Kiln
|150 sf |350 sf
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Figure 01.25:
[Left] Program
DIAGRAMS
Served vs Servant
Served spaces are supported here by servant spaces which are now moved to the front edge of the building creating the sense of safety for youth in courtyard.
Served Space Servant Space Central Courtyard
Public vs Private
The program strategy allowed Empower to have a public and privates space connected by a central entry that houses the exhibition gallery.
Building entryPublic and private Public spaces Private spaces
Experience of Spaces Ceiling Height The variation in the ceiling height in essence creates the threshold between the major spaces.
Figure 01.2601.28:
[Right] Diagrams
9’
18’
11’
24’
16’
25’
Final Design
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FLOOR PLAN
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5 10
20
40
Figure 01.29: Plan
Final Design
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SECTIONS
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Figure 01.30-01.32: Section
Final Design
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PUBLIC SPACES
Exhibition Gallery
Both public and youth who arrive here are greeted with a space where the artwork created by youth is exhibited as well as sold over weekend art sales. The skylights brings in natural light that washes down on the wall of existing structure. Sunlight here creates a dialogue between old and new and allows for the new building to become a part of the existing urban fabric of historic Northeast Kansas City. A distinct light quality can be experienced throughout the day further enhancing different light under which the art can be seen and experienced.
Great Hall
The youth that will be invited to Empower will have the option to come here and study in a space that was inspired by Great Hall at KSU. With its high ceiling and majority of natural light entering from north, the space evokes a feeling of calm. Warm colored material such as brick wall veneer and wood roof further help create a cozy and comfortable atmosphere.
Figure 01.33 01.34: [Left] Vignettes 18
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VISUAL ARTS
Inspiration
Work Area
Temporary exhibition
Exhibition gallery
Storage
Visual Arts Program Diagram The program diagram helps to inform the arrangement of spaces for successful visual arts activities. Areas are provided that serve the function of studio that is connected to the courtyard with a temporary exhibition nook and the exhibition gallery at the entrance.
Studio
Inspiration
Temporary exhibition nook
Studio Exhibition gallery
Visual Art Studio
The studios brings in the west light from the clerestory windows while connecting to the central courtyard and temporary exhibition nook through wall openings.
Figure 01.35:
[Top Right] Diagram
Figure 01.36: [Center Right] Enlarged plan
Figure 01.37: [Bottom Right] Vignette
Final Design
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POTTERY AND CERAMICS STUDIO
Wet clay delivery
Wet clay storage
Wedge table
Pottery wheel
Work table
Glazing area
Pre-kiln storage
Kiln
Follow the Clay
Pottery and Ceramics Program Diagram Wet clay delivery Wet clay storage
Pottery Work wheel table Glazing area
Kiln Pre-kiln storage
For the pottery and ceramics studio, the spaces function around the idea of following the clay in its life from wet storage to kiln. The major served area here is the pottery studio which houses the work and rotating table. The studio also contains a pottery exhibition gallery integrated into this north wall.
Pottery and Ceramics Studio
South light washes down the slant wall which enhances the exhibition of the pottery as well elevating the experience of the studio. The thick wall has carved out spaces that can house past works of youth which can be exhibited to inspire future students.
Figure 01.38:
[Top Left] Diagram
Figure 01.39:
[Center Left] Enlarged plan
Figure 01.40: [Bottom Left] Vignette 20
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PERFORMANCE ARTS
Entry
Support spaces
Locker rooms and dressing rooms
Rehearsal studio
Black box theatre
Performance theatre
Performer
Support spaces
Gathering space
Lobby and ticket sale
Public
Performance Arts Program Diagram In designing space for a performance arts program, it was critical to consider how the performers and audience would interact within a single space-- in this case, a black box theater. To facilitate such program, the exhibition gallery in the entry becomes the gathering spot during a performance at theatre. The corridors can be closed to the public to allow for private space for performers.
Music studio Dance studio Locker & dressing rooms
Gathering space
Black box theatre Support space
Lobby and ticket sale Entry
Black Box Theatre
The black box theatre, where performance and rehearsal will occur, is designed to facilitate different types of arts. The bifold doors here allow for the space to be opened to outside on a nice day and the courtyard becomes the extension of the theatre.
Figure 01.41:
[Top Right] Diagram
Figure 01.42: [Center Right] Enlarged plan
Figure 01.43: [Bottom Right] Vignette
Final Design
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Music Studio
The music studio, where the youth can be taught to play instruments as well as vocal music, is oriented towards the courtyard. The portal behind the artist or the teacher connects back to courtyard. Day light coming down from the sky light above washes down the east wall creating a backdrop for the artist.
Dance Studio
The dance studio brings west light from clerestory windows that is behind the presented view. Another skylight brings in sunlight and creates a focus on to the mirror walls so as to direct the gaze towards the mirrors. The space is connected to the courtyard through windows so that youth in the courtyard can experience their friends learning to dance and be inspired to do so as well.
Figure 01.44 01.45: [Left] Vignettes 22
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WALL SECTION
Figure 01.45:
[Right] Wall section
Figure 01.46:
[Next page] Central courtyard view Final Design
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References ENDNOTES 1. YouthArts Toolkit -- arts programs for youth at risk. Accessed April 27, 2020. https://youtharts.artsusa.org/about/. 2. Simões, Celeste, Margarida Matos, and Equipa do Projecto Aventura Social. “Risk Behaviors in Adolescents with Special Needs: Are Social and Emotional Competences Important?” Procedia - Social and Behavioral Sciences. Elsevier, January 16, 2013. https://www. sciencedirect.com/science/article/pii/S1877042812056583. 3. Ibid. 4. “Overview of North India Mound, Kansas City, Missouri (Neighborhood).” The Demographic Statistical Atlas of the United States - Statistical Atlas. Accessed December 15, 2019. https://statisticalatlas.com/ neighborhood/ Missouri/Kansas-City/North-India-Mound/Overview. 5. Ibid. 6. “Northeast Arts KC - Our Mission.” northeastartskc. Accessed May 5, 2020. https://www.northeastartskc.org/copy-of-home. 7. Cambron, Christopher & Catalano, Richard & Hawkins, J.. (2018). The social development model. 10.1093/oxfordhb/9780190201371.013.13. 8. “Letting Art Instill Pride.” Flatland, April 4, 2017. https:// www.flatlandkc.org/arts-culture/art-instills-pride/.
FIGURE CITATION Figure 01.01 - 01.02: Illustrations by author. Figure 01.03 – 01.05: Images. “NEKC Chamber Commissions Murals along the Avenue.” Northeast News, August 31, 2018. http:// northeastnews.net/pages/nekc-chamber-commissions-murals-alongavenue/. Figure 01.06 – 01.46: Illustrations by author.
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