Insight report

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Insight report

  1. 1. SAVANNAH ART R I S E An Ethnographic study im{pact} DEFINING
  2. 2. TABLE OF CONTENTS Introduction 8 Research 12 Analysis 16 Synthesis 28 Insights 28 Project scope Research plan Introduction secondary research Primary research Affinity mapping Fish-bone diagramSWOT analysis Experience map
  3. 3. 4 At its foundation, ethnography (from the root ethno- or folk, and graphy meaning the writing of) is use as a mode to understand the relation- ship between humans and artifacts. To put it simply, it is the participation, observation, and reflection of life. As for the study of design, eth- nography reveals that what people say and what they actually do can vary significantly, and it is thus a useful and important exploration practice. Ethnographic research is a holistic approach that addresses the large context of the everything and removes the preconceived notion that activities can be observed in isolation. It is first and fore- most a study of what is: observation. Secondly, it is an interaction with perspective – through the perspective – of the individual: participation. Finally it is a conversation that transcends tacit knowledge on to elicit knowledge: reflection. WHAT IS ETHNOGRAPHIC RESEARCH?
  4. 4. 5 As an institution that not only serves its commu- nity, but thrives off of it. Art Rise Savannah has a critical role of becoming a cornerstone for the local art (and beyond) community. In order to best utilize their own strength, it is important for Art Rise to have a clear vision of what the envi- ronmental make-up of Savannah can inherently foster, how the community is functioning (is it healthy?), as well as who these people actually are, beyond the historic façade. Whether envi- ronmental, societal, or economical, it is import- ant to understand how this system behaves in its own context. how can it help Art rise savannah?
  5. 5. 6 In the fall of 2013, we had the opportunity to work with Art Rise Savannah (ARS), a local non-profit organization. Over a ten week course we developed our understanding of design re- search methodologies through observational and participatory studies. Using Art Rise as a vehicle for inspiration, direction, and creation, we have passionately studied the community art base of Savannah. We have attended local art scenes, community days, and campaigns, as well as par- ticipated in events, both in the creation and the celebration of art. We have chosen to call this project Defining Art Im(pact), keeping the intrinsic connections between art, its creator and its observer, within its community and environment, we have sought to find the hidden connections that exist within Savannah’s established art roots. INTRODUCTION
  6. 6. 7 Although our research may have ended, we feel even more connected with not only the organi- zation but the community as a whole. We have gained a perspective of the life and vibrancy of a still very young art movement that we feel can lead this infant organization. This project is not an end by any means, but an ongoing conversa- tion of expression, creativity, and life.
  7. 7. 8 Defining Art Im(pact) exists as a collection of observations, personal accounts, and direct interactions that have developed into informed insights and conceptual sketches. This collaborative research project was conducted over ten weeks between five SCAD students and members of the Art Rise Savannah non- profit organization. At its core this project was a means to develop design research modes and methodologies through observation and experience. The initial study focused on the first level of ethnographic methodologies, or observation. We spent several weeks conducting primary and secondary research. This research led us to develop basic understanding at global, regional, and local scales through the use of design modes, the frameworks of innovative design process. From these insights we moved to more participatory roles as we engaged with local community members by shadowing and interviewing. PROJECT SCOPE
  8. 8. 9 who how how where what How can Art Rise help express concerns in the community? Where is Art rise’s current impact? How does Art Rise connect to the community? what is the voice of Savannah’s art community ? Who are the key players in Savannah’s art scene?
  9. 9. 11 RESEARCH METHODS
  10. 10. 12 This particular method is described by Vijay Kumar as, “[a map that] uses three ways to look at innovation opportunities: the “offerings” (products, services) with their function and features, the “activities” people do with those offerings, and the “cultural context” in which people use those offerings.” This is an exercise that was conducted early in our project base on secondary research. We used this method to deepen our understanding of community and to create our base level framework to draw connections between the community members, what they do, and how they live. UNDERSTANDING THE COMMUNITY OFFERING-ACTIVITY- CULTURE MAP
  11. 11. 13 COMMUNITY Gardening Learning Eating Making art religion Maintaining neighborhood neighborhood perceptionQuality control Family Hobby Health and fitness wellness Nutrition Leisure sustaining community financial status economic background trends self- image self- empowerment social status social circle community involvement relationships Playing Sharing selling socializing shopping praying relaxing participating in events partying exercising CULTURE ACTIVITY
  12. 12. 14 A systems map is a model that consists of individual elements that each have a purpose and the connections between these elements. In order to build off of our original Offering-activi- ty-culture map, we constructed a basic systems map with Art Rise as our focus. We used our observations and first-hand experiences/ interactions to create connections based on our outside perspective. This model grew to incorporate new con- nections (and discrepancies) after a collaborative session with the Art Rise director. This system began to defined the who, what, and how these key elements and purposed connected. SYSTEMS MAP UNDERSTANDING THE STRUCTURE OF ARS
  13. 13. 15
  14. 14. 16 Art Rise Savannah Community Spaces vents oca ei h orhoo s oca a eries useum oca Ca e Restaurant ourists o a Stu ies ntertainers rint e ia Connecte e Stu ents eop e ami ies Architectures Art oca usinesses ARS na e oca v enors Vendors Gardens Parks Streets Churches YMCA Blue Cross Play Street CITY Partnership for a healthier America Sustainability Co-ordinator Politics Police Department Culture Art Jazz Festival Music Food Dance Theaters Schools Professors Libraries UNN Chains Local Food Suppliers Local Events Playstreets Art March Food Day Social Media Blogs Sav Street stories Cultrual Traditions NEA Savannah Art Informer Fresh Environmental Concerns Public Health Crime Poverty n a e commun ity pan reach throu h n a e the pu ic et een events throu h e p re uce crimina s y ui in s tron ercommunity a e oca nei h orhoo s stron er Supporteneavorso Sponsoro Support oca economy enhance Support oca economy y en a inSupport conom y o unteers to supp ort ay money to sho or sh o unteer o r rovi e space or Connectithpeopeo community throu h Sponsor event or
  15. 15. 17
  16. 16. 18 As to create some inspiration and allow for some creative play, we decided to use this method to connect to the commu- nity at an Art Rise event. These activity-based probes were designed not to find specific data, but more to get a sense of who the participants of Art Rise events are. The activities were “art-based” and asked participants to draw, write, and arrange. CULTURAL PROBES UNDERSTANDING THE USERS
  17. 17. 19
  18. 18. 20
  19. 19. 21
  20. 20. 22 This method not only addresses a user (or element) in a community (or system), but that user’s relative role or activity within the topic. As Vijay Kumar explains, “The resulting map provides an overview of the kinds of participants to be includ- ed in the study and how they differ in relation to one another.” The resulting map helped us to make decisions about which participant group to focus our efforts and define the scope of the project. The structure of the map defined four user groups: the prac- titioners, the enjoyers, the propagators, and the supporters. What we recognized that although there are various areas in which these groups overlapped, however we chose to focus on the practitioners and the propagators. We felt these were two areas that could best inform Art Rise in its current infant state. That is, by understanding the needs, wants and aspirations of local practicing artists, as well as the aspirations of those who generate the local art economy, we can assist Art Rise in its goals of developing a creative sustainable economy. USER GROUPS UNDERSTANDING THE USERS
  21. 21. 23 OrganizationIndividual Recreational Occupational THEENJOYERS THE supporters THE PRACTIONERS THEpropagators
  22. 22. 24 These participatory conversations became some of our most valuable assets. It seems that as we focused our efforts on practicing artists, developing artists, and cultivators of art, we were beginning to understand the art community had a lot to say. In each of our interviews, the interviewees seemed to be so passionate about the subject of art that it left little time for awkwardness or hesitation. So much so that during these, there was always a topic in which the interviewee would al- most take over the interview. INTERVIEWS UNDERSTANDING THE USERS
  23. 23. 25 “ “ “ “ “ “ Savannah is a city that is constantly inspiring me... The mission of Art Rise is to increase the community involvement and conversation about art in Savannah ...but through these projects you can engage the people of the city in the process of making art.... Art can benefit the community in bringing new ideas, or new ways of looking at things HARRIET,PROFESSIONALARTISTMATT,MURALARTIST KAYLA,EDITORARTRISERUTH,ARTIST
  24. 24. 27 ANALYSIS
  25. 25. SWOT ANALYSIS SAVANNAH AS AN ART INCUBATOR
  26. 26. 29 W TO S This method evaluates an organization’s strengths, weaknesses, opportunities, and threats. This analysis was one of the first diagrams that we developed individually but was one of the only diagrams that went through multiple iterations throughout the term. We felt that this was important not only for our own observations but for Art Rise as well. Because of this, we initiated co-design sessions with the Art Rise director. What we found was that as our understanding of Art Rise grew, we began to see certain threats as new opportunities or certain strengths were actually weaknesses. After several designs, one thing became clear, Savannah has a vast network of resources and opportunities that are readily available to be tapped into. WHAT IS A SWOT ANALYSIS?
  27. 27. 30 W TO STourism SCAD Diverse culture Art-centric community Art galleries and museums Presence of art organizations Media events Rise of micro networks Tapping into art network Tourist input and output Existing vacant architectural spaces Floating population(tourists, students) from around the world Schools cutting out art programs from their curriculum due to funding cuts Policies that regulate street use People migrating to larger cities The perception of “the south” Not a metropolitan Resistance to change Art community is too close-knit No “famous” artists
  28. 28. 31 KEY TAKE-AWAYSR #1 There is an opportunity to extend relationships with tourists after their visit #1 Having more participatory art making activities to prolong interaction between the artist and the art consumer
  29. 29. WHY IS THE ART COMMUNITY SO CLOSE-KNIT?FISH BONE DIAGRAM
  30. 30. 33 The Fishbone diagram is a way to illustrate the cause and effect of specific elements within a system. For us, we had explored the notions of Savannah’s close-knit artist community – that is, those who make up the majority of Savannah’s local artists, events, and participants. We perceived a disconnect between the established artist community and people who may be visitors or those who are just trying to break into the art scene. We explored this discrepancy by addressing perception, people, ego, and environment. What we found were different scenarios that could play in the artist community and there needs to be a way to bridge the gap between how the exclusive community sees itself and how the outsider perceives the community. Within this lies the opportunity of creating an entirely new image, one that not only promotes but values collaboration within and outside of the community. WHAT IS A FISH-BONE DIAGRAM?
  31. 31. 34 why is the artist community so close- knit? PERCEPTION How people view them Value in exclusivity Resistance to change victims to larger (in) exclusivity How they view themselves Whether they feel they are artistic Different schools of thought Need to develop rapport to fit in These businesses offer a ‘home-like’ experience They frequent select places Lack of communication EGO PEOPLE ENVIRONMENT
  32. 32. 35 KEY TAKE-AWAYSR #1 there are layers of exclusivity with the art community #2 sub-seclusion between art community/groups #3 they tend to form close-knit circles due to people’s perception of them #4 this exclusivity gives them a sense of a greater purpose and role in the community
  33. 33. HOW CAN WE MAKE ART MARCH MORE ENGAGING?EXPERIENCE MAPPING
  34. 34. 37 An experience map is an exercise that visually identifies and organizes the encounters a user has within a set of parameters that includes attraction, engagement, and extension. This type of mapping accounts for not only the users experience during an event or with a specific product, but what brought the user to interact in the first place and the effectiveness of said event or product. We thought this was the perfect way to examine the Art March that is head each first Friday of ev- ery month. In doing such, we recognized that the attraction stage of Art March is lacking in creating innovative solutions for advertising the event. Currently the flyer/map that they have created has done a great job of “defining” Art March, but does little to make the majority of people aware of the opportunities beyond the event. Its great- est strength is during the event, and through interviews during the November 2013 Art March, many of the participants stated that they would like to bring someone to the next event. Thus, it is imperative to define new ways of connecting to the community beyond word of mouth. WHAT IS AN EXPERIENCE MAP?
  35. 35. ENGAGATTRACTION ENTER Social media Posters Buttons Flyers Publicity @ events Word of mouth Advertisement DEFINED FRESH IMMERSIVE ACCESSIBLE SIGNIFICANT TRANSFORMATIVE Interaction with friends and family Order food/drinks Listen to music Art viewing Art/music purchase Participation in activities and art making Interaction with local artists and craftsmen
  36. 36. 39 EXTENSIONGEMENT EXIT Uniqueness between locations Browse indie market Promotional activities at Indie market Interaction with business owners and gallery owners After party Tweet/instagram/facebook about art march experience Use items purchased Continue interaction with artist/craftsmen Made friends with people of similar interest Extensions of conversations Returning customers for businesses that participated in Art march Tell friends & bringing to next event
  37. 37. 40 BUSINESSES LOCAL BUSINESSES ART RISE BRAND ART CONSUMER += + ARTMARCH During the Art March, the ARS brand is a sum of all the brands of the local businesses. ARS is the interface between the local businesses and the art consumer.
  38. 38. 41
  39. 39. 43 SYNTHESIS
  40. 40. chaos
  41. 41. 45 affinity patterns mapping
  42. 42. 47 REPORTINSIGHT
  43. 43. #1 ART IM(PACT)The process of learning and making art can be a transcendent, participatory act: equally engaging as viewing, interacting and making for multiple users and perspectives. Transparent accessible art opportunities and experiences empower individuals who then proliferate its value into something larger than art itself .
  44. 44. 49 There is an opportunity for Art Rise to be an advocate for collaboration -between people and people, artists and people and artists and artists- through the process of art making in order to make a larger impact. There is an opportunity to allow for people to get vocal with their problems by involving them in making art. Make the process of art- making a more collaborative event? Encourage people to converse about issues in their community through art? Engage people from different walks of life to get involved in the process of making community art? Encourage more artists to work together collaboratively? COLLABO-art : modular art making toolkit for communities as a tool for talking about community issues ART-match: social networking service connecting like-minded artists together enabling collaborative art. Their process is made transparent to the public inspiring conversations and discussions around it. OPPORTUNITY HOW MIGHT WE..... CONCEPTS
  45. 45. 50 THE PROCESS OF LEARNING AN MAKING ART IS TRANSCENDENT. IT PROVIDES A LASTING IMPRESSION FROM THE BEGINNING OF CHILDHOOD THROUGH ADULTHOOD. “ “ Mom & I used to have green apples - Girl at Playstreets “ I was in art class making pottery and it was the first hands on project I ever made.... - Girl at Playstreets
  46. 46. 51 ART IS A DYNAMICALLY ENGAGING EXPERIENCE FOR THE ENTIRE FAMILY THROUGH THE PERSPECTIVE OF BOTH ADULTS AND CHILDREN. “ “ We have been trying to get more kids in...Its a good way to engage the community in a bit of a different way... getting the family together... - Steven, ARS
  47. 47. 52 THE PROCESS OF MAKING ART CAN BE A PARTICIPATORY ACT SO IT IS EQUALLY ENGAGING AS VIEWING AND INTERACTING. “ When you take it out in the public, you become a part of the process, the people of the community become a part of the process...they get a sense of ownership in the community.. - Matt, seeSAW “ “ Order a self-portrait and see the process! its so much fun... - tourist, Riverstreet
  48. 48. 53 ARTISTS WITH THEIR ENERGY AND PASSION HAVE AN OPPORTUNITY TO STIMULATE AND PROGRESS ART COMMUNITIES THROUGH COLLABORATION AND COLLECTIVE ACTION. “ “ It’s about the ability to get together and move in the same direction - Jaime, designer “ “ ...how do you support communities to feel empowered to make art? - Molly, Loop it up, SAV
  49. 49. 54 BY OPENING UP ART AND INVITING PEOPLE TO PARTAKE IN THE PROCESS OF ART-MAKING, INDIVIDUALS ARE EMPOWERED. THEY PROLIFERATE ITS VALUE GIVING BENEFIT TO THE COMMUNITY AS A WHOLE. “ “ We want to empower the individual by involving them in making art. You dont have to be an artist to make art. “ There no such thing as a terrible artist. Nothing is wrong. There are no wrong answers. - Molly, Loop it up, SAV
  50. 50. 55 “ “ Creativity saves my life everyday... “ “ Whenever I get a chance, I’m in the studio... “ “ I think happiness is number one...not only for me but also bringing happiness to others through my work.... ART CAN BE MORE OF AN OUTLET COMPARED TO THAT OF A JOB. IT PROVIDES EMPOWERMENT, SELF EXPRESSION AND SOMETHING TO RELY ON. SUCCESS CAN BE MEASURED THROUGH THE POSITIVE IMPACT ON ONESELF AND THAT OF OTHERS.
  51. 51. 56 COLLABO-ART
  52. 52. 57 ART-MATCH
  53. 53. 58 #2 breaking the silosArt and its dialogue should be an open inclusive experience breaking down silos through leveraging a fusion of ethnicities, socioeconomic classes, perspectives, ages, cultures, etc.
  54. 54. 59 Bringing these seemingly disparate parts togeth- er held together by the fabric of the city. So there is an opportunity of using the existing structure of savannah as a platform. Create a sustainable creative community? Bring the native artifact back into the material society? Native artifact project: International art day, an open forum that creates opportunity for cultural education and storytelling. OPPORTUNITY HOW MIGHT WE..... CONCEPTS
  55. 55. 60 ART RISE EMBRACES SCAD WHILE EQUALLY EMPOWERING THE LOCAL COMMUNITY WITH THE GOAL OF INTEGRATING THE TWO FOR THE BENEFIT OF THE LARGER ART COMMUNITY. “ “ Throughout my time at SCAD, I was involved with other things that were going on..I was not limited to what SCAD had to offer.. - Lauren “ “ But there are so many people in Savannah that are not affiliated with scad but have so much talent...we want to push them out there m - Steven
  56. 56. 61 AS SOME ART COMMUNITIES CAN BE EXCLUSIVE AND HIGH CLASS IT IS IMPORTANT TO CATER TO THEIR TASTES WHILE ALSO PROVIDING THE INVITATION TO PARTAKE IN THE LARGER COMMUNITY AS A WHOLE “ “ Art since the dawn of time has flourished with money backers. You know people with a lot of money pay for art because they can, they have the income to be decadent ... “ “ In order to get them to buy your art you have to serve it to them on the silver platter...they are not going to come to you... - Steven
  57. 57. 62 ART RISE HAS AN OPPORTUNITY TO CREATE AN INCLUSIVE SYSTEM WHICH LEVERAGES THE LOCAL COMMUNITY’S ART SCENE, ETHNICITIES, FESTIVALS AND HISTORY. THIS ENABLES ARTISTS AND THEIR WORK TO CONNECT WITH REAL PEOPLE. “ “ We want to create an inclusive system for artists to make showcase their work and for people to view and enjoy it... “ I just like to do too many things...get my hands in all of these things around town.. - Jose
  58. 58. 63
  59. 59. 64 #3 Feeding the loopArt making and its dialogue are an internal and external process at both micro and macro interactions. It allows for people to connect with themselves as well as with the people and places around them. It allows for cities to strengthen bonds locally as well as engage with the global community. This journey acts as a feedback loop promoting, fostering and sustaining art and its impact. SELF LOCALGLOBAL
  60. 60. 65 Opportunity to strengthen bonds internally and externally so Savannah can be locally connected and globally integrated. Engage in conversations with visitors even after they are gone? Tap into the established network of SCAD to create new opportunities for non-SCAD artists? Encourage more artists to visit Savannah from outside? Traveling Coalition: a Savannah-based group of representatives would travel to other events/ areas. This group would become the face of Savannah’s art initiatives and would facilitate outside interest and recognition . Fine Art symposium: creating a relationship with SCAD to hold annual “fine art” symposiums that would attract leading industry professionals to hold presentations, demonstrations, and address issues within the profession. This would have the potential to annually attract visitors. OPPORTUNITY HOW MIGHT WE..... CONCEPTS
  61. 61. 66 OUR ART MEMORIES ARE ATTACHED TO PEOPLE AND PEOPLE ARE ATTACHED TO OUR LASTING IMPRESSIONS. “ “ Drawing picture for mommy and daddy. Drawing my love... -Favorite art memory “ Part 1: Making stuff with my mom when I was little and Part2: Doing the same stuff with loop up Savannah @YMCA -Molly People enjoying reading other people’s art memories...
  62. 62. 67 THE EXPERIENCE OF ART AND ITS DIALOGUE CAN BECOME A PLATFORM TO CONNECT PEOPLE ON COMMONALITIES BEYOND THE REALM OF LIFE AND INTO EVERYDAY LIFE. “ “ ..but for me a kid coming in and having an experience from that is just as important... -Steven “ Art is....finding ways to connect with others that are experiencing the same things.. -Steven A veteran speaks about a painting from war with an artist. They connect over their common experience in Vietnam.
  63. 63. 68 THE PROCESS OF ART MAKING IS AN INTERNALIZED AND EXTERNALIZED JOURNEY INSPIRED THROUGH A CONNECTION WITH OURSELVES AND THE PEOPLE/PLACES AROUND US. “ “ Taking in surrounding habitat and creating something new.. that is creative expression of day to day life.. -Matt, seeSAW “ “ Its a lot of self-absorption to be an artist..but through public art you can engage other people in the process... -Matt, seeSAW
  64. 64. 69 ARTRISE IS WORKING TO INSPIRE, FOSTER AND STRENGTHEN SAVANNAH’S LOCAL ART NETWORK WHICH POSITIONS THE CITY TO ENGAGE IN ART AND ITS DIALOGUE WITH THE GLOBAL COMMUNITY. THIS DIALOGUE ACTS A CONTINUOUS FEEDBACK LOOP TO FURTHER INSPIRE THE LOCAL SCENE. “ “ I stayed in France one year when I was 18. The experience has a big influence on me and my art... -Harriet, artist “ “ I think there is a lot of opportunity for savannah to make its mark as one of the top art communities in the country...we have this school, so many artists, so many opportunities and spaces that can be transformed by art.. -Steven
  65. 65. 70 ARTISTS ASPIRE FOR THE MOMENTS WHERE THEY CAN SHARE THEIR LIFE’S WORK AND THE OPPORTUNITY TO CONNECT WITH THOSE THAT SUPPORT THEIR PASSION. “ when I made a sculpture and my professor hung it up for all to see. -favorite art memory “ “ I like to surround myself with the people that support my work... -Matt, seeSAW Harriet hangs as much of her art on her walls as possible so she can show her work to people visiting..
  66. 66. 71
  67. 67. 72 #4 SAVANNAH AS AN ART INCUBATOR Savannah has beautifully preserved and curated its history and culture. There is an opportunity to seamlessly compliment the traditional and engage the community through the incorporation of new artistic perspectives and experiences.
  68. 68. 73 Create an environment fostering the growth of art? Artrise as a new, dynamic and spirited brand can work to complement Savannah with an eco- system of inviting artistic touch points connecting the city and its people to the intrinsic value art has to offer. Use art to change negative preconceptions of community for an open and positive outlook into the future.? Seamlessly incorporate contemporary art into the historical architecture of Savannah in a beneficial and respectful manner? Engage tourists in conversation with local artists? Project Porthole: Online platform and physical installations across town connecting people to the art activities around town in real time. GoLOCAL: Kiosks across town that curate plans for tourists to best explore and experience the art culture that Savannah has to offer. OPPORTUNITY HOW MIGHT WE..... CONCEPTS
  69. 69. 74 MANY LOCAL SAVANNAH ARTISTS APPRECIATE THE CITIES HISTORIC PRESERVATION AND CULTURE, YET THEY WOULD LIKE TO SEAMLESSLY INCORPORATE CONTEMPORARY ART INTO THE FABRIC OF THE CITY. THESE ARTIST HAVE ONE FOOT IN THE BEAUTY OF THE PAST AND ONE FOOT INTO THE FUTURE OF THE UNTRADITIONAL. “ “ I think part of the issue is that we’ve spent so long preserving this history which is great. We’re super proud of that. But truth be told we are looking in the rear view mirror into 18whatever -Jaime, Designer “ “ ...and like in Windward district in Miami, there are all these abandoned warehouses, storehouse units and properties that you can paint... -Jose “ “ There could be so many opportunities for community art for mural, sculpture and all kinds of stuff downtown to brighten up those areas... but it doesnt happen because its not the way it looked in 1880.. -Steven
  70. 70. 75 ARTRISE IS A NEW, DYNAMIC AND SPIRITED BRAND WORKING TO IMPLEMENT AN ECO-SYSTEM OF INVITING AND INTERACTIVE TOUCH POINTS TO ENGAGE COMMUNITY WITH ART AND ITS INTRINSIC VALUE. “ “ ...the idea is to start an eco-system. Fresh gallery, savannah art informer, art march.. -Clinton “ “ ...I want it to be a family of products that everyone can engage with..and branded well.. -Clinton
  71. 71. 76 SAVANNAH AND ITS CONTEXT PROVIDES A UNIQUE OPPORTUNITY FOR ARTISTS TO SHARE THEIR WORK WITH VISITING TOURISTS. “ ..we’ve been here for one night..we’re constantly drinking..what else is there to do? -Tourist “ “ I used to come and paint here on weekends..there are a lot of tourists...During the week I draw at Forsyth park... -Artist
  72. 72. 77 IN ORDER TO PROMOTE POSITIVE CHANGE WITHIN COMMUNITIES, NEGATIVE PRECONCEPTIONS MUST BE SEEN OPENLY INSPIRING OPPORTUNITY FOR THE BETTER. “ “ ..we want people to experience this area first hand and see for themselves. We are trying to change the stereotype of this area.. -Steven “ “ ..past victory there are so many of these run down old buildings...we just want to paint those... -Jose “ ..integrating diverse ethnicities together and make it inviting with the fact that it is free..and that it is in an open place..activation of public space -Clinton
  73. 73. 78 THE CLOSE-KNIT COMMUNITY OF SAVANNAH AND ITS HISTORIC WALKABLE STREETS INSPIRE AND FOSTER THE LOCAL “SLOW ARTS MOVEMENT” WHICH IS EMBRACED BY LOCAL ARTISTS AND THE GROWING ECONOMY. “ “ I enjoy visiting NY and LA but I just couldn’t live there..I wanted to kick-back a little bit. Thats why I moved to Savannah... -Jose “ “ they kind of fit in with the easy-go and mystique that Savannah has.. -Jose
  74. 74. 79 PROJECT PORTHOLE
  75. 75. 80 GO LOCAL
  76. 76. 81
  77. 77. 82 #5 ‘POP’ ARTArt interfaces and interaction can be ephemeral, fluid and inviting. Pop up art can transparently integrate into decentralized public spaces leaving a lasting impression.
  78. 78. 83 The process of co-creating across boundaries through art to enable the stories of the unheard. This integration can exemplify the uniqueness of place and its real people. The opportunity to create decentralized spaces for art making it more accessible and inclusive for the public. Engage the public in unexpected and untraditional ways by creating an element of surprise ? Use art as a tool to enable unheard stories to define and empower Savannah as a unique and passionate city? Mobile art wall: A graffiti wall on wheels for the people by the people. Gallery on wheels: If people wont come to the gallery, take the gallery to them! As an artist you can rent a space on this mobile gallery and expand your reach beyond just a particular area of town. Pop up art-maker: Art activities that follow a theme usually centered around issues in the community. The artwork made is later displayed in the gallery on wheels. OPPORTUNITY HOW MIGHT WE..... CONCEPTS
  79. 79. 84 ART INTERFACES AND INTERACTIONS CAN BE EPHEMERAL, FLUID, AND INVITING TRANSPARENTLY INTEGRATING INTO DECENTRALIZED PUBLIC SPACES LEAVING LASTING IMPRESSIONS ON THE COMMUNITY. “ “ ..I’m trying to break away from desotorow and to utilize the public architecture of Savannah like Forsyth park.. we have all these amazing public access points.. -Clinton “ “ ..business and tourists and trees and bicycles and the sky where they all meet... -Clinton “ “ ..if we can attract people on bikes that would be cool. or have an adhoc gallery show in a parking space..put dimes in the parking meter and now we own that space.. -Clinton
  80. 80. 85 ARTRISE HAS AN OPPORTUNITY TO COLLABORATE ACROSS BOUNDARIES ENABLING AND SHARING THE VOICE AND STORIES OF THE UNHEARD. THESE STORIES AND EXPERIENCES CONTRIBUTE TO THE UNIQUENESS OF SAVANNAH WHICH CAN BE LEVERAGED AS THE CITY CONTINUES TO FIND AND VALUE ITS OWN UNIQUE IDENTITY. “ “ ...so many people are being pushed out of these areas because of these new businesses. Through art march we are trying to target people who live in this area to come and experience these things.. -Steven “ “ Public art can give a sense of ownership to people in a community that they havent felt like a part of before... -Matt, seeSAW
  81. 81. 86 LIFE’S JOURNEY IS AN ITERATIVE EXPERIENCE; TEACHING, LEARNING AND BEING OPEN TO THE UNEXPLORED. “ “ ..So when I started out I was going to be a biologist and that lasted for about one semester in college...I ended up switching what I wanted to do.. -Steven “ “ ..overlapping relationship with people that have come in and out of my life through art... -Matt, seeSAW
  82. 82. 87 “ “ You can find art in a lot of unexpected places. sometimes a car mechanic uses some parts that he never thought of before and makes something functional again.. that can even be art.. -Animation Designer “ “ Even a cook can be a good artist... -artist, Riverstreet ART AND ITS BEAUTY CAN BE DISCOVERED BEYOND TRADITIONAL CONTEXT IN UNEXPECTED WAYS BY UNEXPECTED PEOPLE THROUGH A VARIETY OF AVENUES AND EXPERIMENTAL PROCESSES
  83. 83. 88 GALLERY ON WHEELS
  84. 84. 89 POP UP ART-MAKER
  85. 85. 90 MOBILE WALL
  86. 86. 91
  87. 87. Arielle Vilardo M.A Design for sustainability Eric Green M.F.A Service Design Wenchao Ma M.F.A Industrial Design Boqiang Su M.F.A Industrial Design Srujana Akkiraju M.A Industrial Design the team

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