May 29, 2015
Welcome to the second of our two Friday Fives interviews, where we take a few minutes to showcase and chat with our new JRA co-ops. Today we interview Adriana Alvarez, a Graphic Communication major from the University of Cincinnati's DAAP Program.
Favorite Entertainment Experience?
One of my favorite entertainment experiences was the Disney World ride “Expedition Everest”. They made every aspect of the ride experience a fun one. Even while I was waiting in line, I got to read Yeti folklore and adventurers experience’s while climbing Mount Everest.
Biggest challenge for a designer is…
My biggest challenge as a designer right now is trying to find a useful creative avenue for my skill set. We, as designers, are always torn between what we want to do and what a client wants us to do. Finding that balance can be very challenging, but ultimately rewarding.
If I had an extra hour in a day….
If I had an extra hour in the day, I would (hopefully) spend to reading. I have a really bad habit of starting books, but never finishing them. It’d be nice to have an extra hour to catch up.
Currently I am reading The Wind-Up Bird Chronicle by Haruki Mirakami. I’m 50 pages away from the end, so I think I’ll be able to finish this one.
My favorite movies…
My favorite movies are any movies by the genius Hayao Miyazaki. My personal favorite is Spirited Away, but all his movies are beautiful.
Dream design project….
My dream design project would be to illustrate a huge mural in a city. I would really like this mural to be in my hometown, Cleveland. I’m not sure what it would look like, but I want it to be big.
Thanks, Adriana! For more information on Adriana, and a look at her work, check out her website.
That wraps up our Friday Fives for now. Starting next week, we've got blogs galore, as we move into "China month" in honor of the the upcoming Asian Attractions Expo. We'll discuss how the Expo comes together, the intricacies of working in China, a look at Blooloop LIVE! Hong Kong and some exciting news about our latest Chinese project opening, so stay tuned!
Tags: JRA Team
May 29, 2015
“Buildings now have to be designed like submarines. Do we have to completely rethink our infrastructure? Do we have to completely rethink everything?”
- Kevin Schorn, Engineer, Renzo Piano
If you follow media accounts, the topic of climate change appears to be a study in contradictions. Recently, President Obama gave a speech at the US Coast Guard Academy, decrying those refuting climate change: “denying it, or refusing to deal with it, endangers our national security. It undermines the readiness of our forces.” He pointed to the Pentagon’s 2014 Climate Change Adaptation Roadmap, which states that because of its effects on access to food, water and electricity, as well as human displacement and mass migration, climate change may cause “instability in other countries.” But as a 2013 Rolling Stone article revealed, by the 2016 election, the US will surpass Saudi Arabia as the world’s largest producer of oil and leap frog Russia as the #1 producer of oil and gas. Earlier this month, the Obama Administration granted Shell the rights to resume exploratory drilling in the Artic Circle, at the exact place where the oil company’s vessel ran aground in 2012.
As Obama predicts catastrophe, one of the world’s biggest environmental enthusiasts is singing a rosier tune. Al Gore, former US vice president and writer behind the Academy Award winning documentary An Inconvenient Truth, is optimistic that, due to a ground swell of fossil fuel divestment campaigns and climate marches, as well as the advent of cleaner technologies and products, the outlook for the world’s climate might not be as apocalyptic as he originally prophesized nine years ago. But University College London professor Bill McGuire, who has studied the recent devastating earthquakes in Nepal that have left 7,000 dead and 14,000 injured, sites climate change as the cause of both this disaster and inevitable future ones. As climate change unleashes monsoons and raises water temperatures, water levels elevate, exerting pressure grinding tectonic plates. Seismic faults are sensitive to even the slightest pressure changes brought by climate change, so this level of tectonic disruption produces disastrous results. As McGuire explains, “climate change may play a critical role in triggering faults in certain places where they could kill a hell of a lot of people.”
So, what is the truth about climate change, and why are we discussing it in a cultural context? How does it affect museums, and what is the role of museums in preventing it? In part four of our six-part recap of the Center for the Future of Museums’ Trendswatch 2015 report, we’ll strive to find the facts behind the propaganda, provide a real world example of how one cultural treasure literally weathered the storm, and offer suggestions on how museums can not only prepare for climate change, but potentially change the dialogue surrounding it.
Climate Change By the Numbers
As reported by ClimateCentral, the global sea level could rise four feet in the next 200 years, with a total rise of ten feet before the West Arctic Ice Sheet fully decays. This rise would result in the erosion of 28,800 square miles of U.S. land, currently home to 12.3 million people. Their study, “Surging Seas: A Sea Level Rise Analysis”, ranked cities by the most population on affected land. Forty of the larger cities (with populations over 50,000), rest less than 10 feet above the high tide line. Florida, where one-third of current housing sits below this line, is home state to twenty-seven of the cities on the list. Overall, New York City is the most threatened, with a “low-lying population count” of over 700,000.
Climate Change Map of New York City. Image courtesy ClimateCentral.
States on the West Coast aren’t faring much better. According to the report “Sea-Level Rise for the Coasts of California, Oregon and Washington: Past, Present and Future,” “any significant sea-level rise will post enormous risks to the valuable infrastructure, development and wetlands that line much of the 1,600-mile shoreline” of these three states. Sea level rises caused by climate change are exacerbated by the El Nino-Southern Oscillation Effect, which can raise sea levels four to twelve inches during the winter months; meanwhile, land in southern Washington, Oregon and California is sinking one to two millimeters per year. South of Cape Medocino, California, sea levels will rise 2 to 12 inches by 2030, 5 to 24 inches by 2050 and 17 to 66 inches by 2010. These swells will “magnify the adverse impact of storm surges and high waves on the coast”, affecting freeways, airports, sports facilities and military outposts.
But what about museums? The Center for the Future of Museums recently asked the Institute of Museum and Library Services to cull their Museum Universe Date File (MUDF) to identify cultural organizations on US coasts. The results were rather staggering: 34.6% of museums and cultural organizations lie with 62 miles of the coast, and 25% of these organizations rank as high risk on the Coastal Vulnerability Index. In addition to the museums featured in the study, 90,000 sites on the National Register of Historic Places are considered high risk. As cited in the Preservation Leadership Forum blog, in Annapolis Maryland, several historic sites suffered a deluge when Hurricane Isobel hit in 2003. And inland cultural and historical sites are not immune – as desert climes become hotter and drier, the risks of wildfires and their resulting flash floods threaten buildings and communities, particularly in the Southwestern US. From Maine to California, in wetlands and dry, the facts and figures behind climate change portend an uncertain future for the nation’s (and the world’s) historic buildings and cultural icons.
A Story of Rebirth
One cultural icon destroyed by nature’s forces was the historic Casino Pier in Seaside Heights, New Jersey. In October of 2012, Superstorm Sandy laid a powerful swath of destruction, from Jamaica all the way up the East Coast of the United States. Its 13-foot storm surge leveled homes, flooded subway tunnels and cut power, resulting in $70 billion in damages and the deaths of 230 people. The boardwalk and pier had been welcoming guests to its rides, games and attractions since 1960, but the hurricane washed all that history away in an instant, as evidenced by the iconic photo of a roller coaster washing out to sea.
In a 2013 presentation at the International Association of Amusement Parks and Attractions (IAAPA) Expo, Vincent Storino, Owner of Casino Pier, offered some advice to those whose buildings, organizations, and livelihoods could be threatened by weather events:
Jersey Strong: Casino Pier After Sandy. Video courtesy Casino Pier.
Most of the damage to Casino Pier was caused by water, as the winds were minimal. The waves surged 11.5 feet above sea level, and the flood height reached 7.9 feet. A car featured in Casino Pier’s haunted house attraction actually washed 8 miles north and into one of the Storino family’s arcades. “It was a big mess,” said Storino. “That’s the only way to describe it.” Casino Pier’s power was not restored until May 15th, and the basement “was a toxic wasteland.” But if Hurricane Sandy was strong, the Storino’s were stronger. They were determined to re-open the boardwalk and pier in a miraculous 6 months. They also vowed to make it bigger, better and more robust, spacing more and larger pilings closer together, raising transformers from the basement to the first floor and including galvanized steel walls to keep out the waves. It took 1,000 man hours per day to re-open the park, but on May 24, 2013, Casino Pier welcomed visitors to its arcades, restaurants and retail, and two months later, 15 rides (including the aptly-named “Superstorm”) were up and running. "That's what we do on the Jersey Shore," explained Storino. "We fight and we come back."
Preparing for the Worst
“While the country has been stuck in a surreal debate over the reality of climate change, disaster-preparedness has become a matter of pressing concern, and institutions in vulnerable areas are having to respond in real time.” – John Whitaker, The Atlantic
So, how can museums avoid Casino Pier’s fate, or at least better prepare for climate change disruptions like Superstorm Sandy? The Trendswatch report suggests that museums examine the long-term risk projections for their current site and create “malleable master plans” to address climate change issues. If a cultural institution is considering a renovation, they should consider whether staying in their current location is advisable, or whether they should move to higher or more stable ground. They should also assess the choice of building materials used.
The Whitney Museum's massive flood prevention door. Photo Kevin Schorn.
As reported by John Whitaker in The Atlantic, famed architect Renzo Piano designed the new Whitney Museum of American Art akin to an aircraft carrier, incorporating a custom, yet virtually invisible flood-mitigation system that features a 15,500-pound door designed by the same engineers as those of US Navy destroyers. The museum, which opened May 1 and whose lobby rests a mere 10 feet above sea level, is now considered water-tight against a 16.5-foot flood level. Its 14-foot high, 27-foot wide flood door can withstand 6,750 pounds of impact from debris. Efforts such as the Whitney’s echo a growing need for museums to address climate related disasters before they destroy buildings, lives and priceless works of art.
And as with the other trends we have examined in the report, all cultural institutions should consider not only the impact of climate change on their buildings but also on their programming and their responsibility to the community, examining the role they can play as safe havens for community discussion. As the report asserts, museums should “take the lead in emotionally fraught conversations, helping communities make intelligent decisions about their future.”
The Perez Museum in Miami recently opened their $131 million buiding, which includes some of the largest hurricane-resistant panes ever installed. Photo courtesy Architectural Digest.
As with several of the trends we have discussed throughout our recap of the Trendswatch report, museums need to decide for themselves what role, if any, they want to play in the climate change discussion. But in the short to midterm, these cultural institutions need to examine their own place in nature’s web and assess their preparedness for whatever storms may lie ahead.
For more information on the effect of climate change on cultural institutions, please visit the Center for the Future of Museums blog. And be sure to check back with us for Trendswatch recap #5, wearable technology.
Tags: Blog N Learn
May 27, 2015
Children's Museum of Atlanta's "Gateway to the World" Exhibit
Children’s Museum of Atlanta officials recently announced plans for a massive renovation of the downtown attraction. The project, set to be completed in late 2015, will add two new permanent exhibits and a new 3,000 square foot mezzanine level. Project highlights also include the reinvigoration of the four existing galleries of the Museum, the addition of a new permanent performance space for the Imaginators, the Museum’s troupe of professional actors and educators, and many other upgrades to existing spaces that will completely transform the experience for Museum visitors.
As Atlanta’s only children’s museum, this nonprofit organization was among the first to take an important step towards the revitalization of downtown Atlanta with its opening in 2003. Now, alongside the Georgia Aquarium, World of Coca-Cola, Center for Civil and Human Rights, College Football Hall of Fame and many others, the Children’s Museum of Atlanta has become an iconic gathering place for families representing the importance of early childhood education and the power of play. This extensive renovation allows the Museum to further its commitment to the community as a world-class children’s museum and continue to help ignite curiosity, imagination, problem-solving skills and a love of learning in the next generation of Atlantans. JRA was honored to provide complete planning, design and project management for this exciting project.
“This is the Museum’s first major renovation since opening our doors 12 years ago, and we cannot wait to share all of the big improvements and additions coming our way with the community!” said Jane Turner, executive director of the Children’s Museum of Atlanta. “We have taken into account several years of extensive and thoughtful planning as well as combined feedback from our members, visitors, educators, industry experts and established Children’s Museums around the country to ensure every detail of the redesigned Museum will be reflective of our community’s needs. It truly will be a world-class children’s museum unlike any other!”
Once completed, the newly renovated space will feature targeted, age-appropriate programming with the adaptability to correspond to changing themes, enabling the Museum to be a source for hands-on, experiential learning and engagement. In addition to literacy, social studies, health, nutrition and the arts, Children’s Museum programming will have a new focus on science, technology, engineering and math education (STEM) to equip young visitors with the skills needed to drive innovation, foster critical thinking and make meaningful connections between school, community, work and global issues.
Specific project highlights include:
New Learning Zones:
Revitalized Learning Zones:
All of the current learning zones will be enhanced with new components and state-of-the art technology. Once renovated, the Museum will feature many beloved favorites, alongside new surprises.
The Children’s Museum of Atlanta will close for a brief period beginning on August 1, 2015 to complete renovation work. The Museum is expected to unveil its new space in late 2015.
For more information on Children's Museum of Atlanta, visit www.childrensmuseumatlanta.org.
Tags: Project Spotlight
May 22, 2015
It's time for another installment of the Friday Fives! In this series, we put our new co-ops in the hot seat, asking them about their deepest desires, their designing dreams, and well, some random fun facts. Today we meet Ian Mooney, industrial design student at the University of Cincinnati's School of Design, Art, Architecture and Planning (DAAP).
My favorite entertainment experience is...
...Cheyenne Mountain Zoo. You feed the giraffes by hand, see the interior of a prairie dog community, climb up a stairwell lined with monkeys, and be eye level with bears in their bathing pool. I went when I was 17, but I was as excited as an eight-year-old there.
My favorite part of the design experience is...
...Ideating. The drawing is fast and the ideas are all over the place. You can make something great and have it be drawn next to something terrible, but both are just as helpful.
I beat a creative block by...
...Leaving it. Doing anything else, preferably exercise. Then I feel I'm doing something productive still. Come back to it later with a fresh mind.
The first thing I notice about a person I meet...
If my house had to be made of something edible, it would be...
...double stuf mint oreos. They're my kryptonite. If I buy a box it barely lasts three days.
Thanks, Ian! Next week, we'll talk Mount Everest, wind-up birds and Japanese film with graphics co-op Adriana Alvarez.
Tags: JRA Team
May 21, 2015
“While technology fuels our sense of alienation, it also provides the tools to fight back against being treated as interchangeable cogs in the machine.”
– Trendswatch 2015
One hundred years ago, mass production was the name of the game. Assembly lines created standardized goods, so families no longer had to make their own clothes, assemble their own bicycles, or even bake their own bread. What was good enough for one was good enough for everyone. In the 21st century, the consumer pendulum has shifted. People now want medicines concocted to best suit their genetic profile. They want schools that cater to their child’s individual academic needs and subject matter interests. And they want entertainment and cultural experiences that engage their own unique intellects and emotions. In Part 3 of our Trendswatch 2015 review, we’ll examine the different ways that personalization has regained its place in our world, and how museums might tap into this trend to create “only here, only you” experiences for their guests.
Personalization has reclaimed its fame based in large part to the rise of “recommendation engines”. Search engines like Google, online retailers like Amazon, apps like Spotify, and media conglomerates like Netflix all learn from your past choices to make recommendations for future products or services. In this sense, these sites filter big data into small data. Netflix suggests a dozen or so movies from the hundreds of thousands in its database. LinkedIn recommends a handful of connections from its 300 million members.
But while recommendation sites have become big business, they do have their limitations. First and foremost is the “Cold Start Problem”. In order to recommend data, you need to have data. In order to suggest a song, you need to know who has listened to it before. Some websites have conquered this problem by requiring that consumers rate a series of items before they can rent a film or view a selection of retail goods. Secondly, it is difficult to create effective data-driven algorithms. As Trendswatch reports, Netflix famously “offered $1 million to anyone who could improve its recommendation engine by ten percent.” Even after a winner was chosen three years later, the “improvement” was scrapped as too cumbersome to execute. The third challenge is how to keep the data from being predictable. Obviously, if someone likes “The Empire Strikes Back”, they are probably going to enjoy “Return of the Jedi”, so making that recommendation isn’t particularly helpful or surprising. The attraction of a recommendation engine is the unexpected find, the product, film or tune the consumer didn’t know they needed. Despite these limitations, recommendation engines have made searching for everything from daycare providers to the right toothbrush easier and more efficient.
The Right Medicine at the Right Time
While retail-based personalization has been in the news for years, other areas are quickly gaining steam. One of the faster growing sectors is personalized medicine, defined by the US Food and Drug Administration as “providing the right patient with the right drug at the right dose at the right time.” With the advent of technology, including mobile, wireless, and 3D printing, doctors and other health care providers can better match care to the unique genetic composition of and environmental factors impacting each patient. For example, in 2012, the FDA approved a promising new drug, Kalydeco, for those cystic fibrosis patients that carry a specific genetic mutation. In 2013, the organization crafted a tracheal splint from a 3D printer that saved a critically ill infant. Efforts like these pave the way for “more effective patient monitoring and treatment outside of traditional care settings.”
The Obama Administration hopes to up the ante with its proposed $215 million Precision Medicine Initiative. The plan seeks to “accumulate genetic data in one million or more [American] volunteers, analyze people’s full genetic makeup, and identify genetic causes for diseases.” In the short term, the Precision Medicine Initiative hopes to intensify efforts to apply targeted therapies to cancer, by way of clinical trials, combination drug therapies and a greater understanding of how to combat resistance to cancer-fighting drugs. The longer-term objective is to create a “research cohort” of the million plus volunteers, who will “share genetic data, biological samples, and diet/lifestyle information, all linked to their electronic health records as they choose.” These millions of points of data could identify new breakthroughs for disease treatment and prevention, and offer new tools for providing personalized, and potentially life-saving medical treatment.
As the dissatisfaction with our nation’s public school system intensifies, so has the rallying cry for more personalized educational platforms. In 2013, frustrated with the state of the public school system and at a loss for where to send his kids even in swanky Silicon Valley, Google Executive Max Ventilla founded AltSchool, a for-profit educational corporation that operates highly-personalized schools in San Francisco, Palo Alto and Brooklyn. Not surprisingly, Ventilla funded the corporation with venture capital ($33 million to be exact), and earlier this month, Mark Zuckerberg offered an additional $100 million in support.
The uniqueness of AltSchool comes from its focus on individual learning objectives. The 60 to 100 students at each school are grouped by broad age categories – lower elementary, upper elementary and middle school. You’ll see no gymnasiums, cafeterias or administrative offices here – the schools house only open classrooms with modular furniture to suit the needs of a particular lesson. The school creates a “Learning Portrait” for each child, outlining their unique needs and passions. That way, if a student is passionate about whales, teachers can create biology, English and math lessons around cetaceans. The Portrait also matches the student’s progress with the school’s learning objectives, which are generally based on nationally recognized standards such as Common Core. The Portrait and the objectives together comprise the students Personalized Learning Plan.
AltSchool monitors the students’ progress against the plan with a groundbreaking technology and data collection system. According to Kevin Carey’s article in Pacific Standard, AltSchool employs “more software developers than the entire Los Angeles Unified School District.” Each child is given an iPad loaded with their “weekly playlist”, a personal set of activities for the student based on their Personal Learning Plan. Playlists are organized via “cards”, with each card displaying a goal and a list of assignments the student needs to complete to meet the goal. Teachers can use their mobile phones to take a photo of their student’s work, tag it with the correct name and card and enter it into AltSchool’s central database – all in 20 seconds. In addition to using the playlists to track progress, AltSchool equips each classroom with an HD camera. After class, the teacher can review the footage of children they may not have been able to spend as much time with personally. AltSchool’s corporate office can use the cards and the video feeds to improve the classroom experience for current and future students. While this level of technology seems potentially intrusive, AltSchool insists it is “mostly invisible” and is first and foremost a tool for parents and teachers to communicate.
AltSchool’s tuition is far from cheap at $26,000-$28,000 per year, but Ventilla hopes that his model will “fundamentally re-defi[ne] the relationships between parents students and schools.” As Carey writes, “…innovation often develops first in a market for wealthy people and then spreads outward, as processes are refined and economies of scale are realized.” At the very least, models like AltSchool will challenge the one-size-fits all educational status quo, and hopefully help further develop personalized learning options at schools public and private, affluent and disadvantaged, large and small.
The above examples demonstrate that people want products and services delivered to them where they are, when and how they want it. But perhaps the greatest opportunities for personalization lie in the experience economy. By tailoring cultural and entertainment opportunities to the preferences of the individual consumer, museums, zoos, theaters and attractions can ensure repeat visitation and a deeper level of engagement. One cultural institution that is taking full advantage of the personalization trend is the Yerba Buena Center for the Arts (YBCA). For only $15 per month, their innovative “YBCA:You” program offers visitors a personal arts guide – think part social worker, part cruise director. By “integrating individualized curricula into a membership-based community engagement program,” YBCA:You seeks to build “deeply engaged and ongoing relationships with participants by increasing the frequency, diversity and community of art-going.”
The program is divided into three levels of benefit, each akin to wading deeper into the arts pool. For the first benefit, the member dips in the proverbial toe by receiving an all-access pass to YBCA’s programming, the menu for which includes a vast array of films, performance and visual art events. Once they feel comfortable with this initial introduction to the Center, YOUers (as members are called) step into the shallow end to enjoy YBCA’s exclusive YOU programming, opening them up to opportunities for meeting and greeting with other arts lovers. Finally, the YOUer is ready to submerge themselves into the deep water, building a one-on-one relationship with their Live Guide. These YBCA educators learn about YOUers’ preferences and past cultural encounters to create bespoke referrals to programs and performances both within and outside the Center. As explained on the initiative’s webpage, “any combination of the three benefits is intended to make art a habit in one’s life with the idea that increased frequency of cultural participation, increased diversity in one’s exploration of arts and ideas, and social modes of engagement result in healthier and happier individuals.”
Making Lifelong Friends
So how can other museums create “healthier and happier individuals” through personalization? The Trendwatch report suggests that museums consider how they can craft their membership programs to better suit individual tastes. To combat the “Cold Start Problem”, they can begin to gather simple data points about each guest, including name, location, demographic info, and information on previous visits (special exhibition viewed or events attended). Dallas Museum of Arts’ free Friends Program, which celebrated its 100,000th member last month, allows members to earn badges and unlock rewards in return for personal data sharing. Visitors simply log-in with their name and email and receive activity codes that can be entered via museum kiosk or mobile phone. Members receive a badge for the completion of an activity, enabling them to unlock rewards like admission discounts, free parking, or even an overnight stay at the museum. The DMA recently received a $450,000 grant from the Institute of Museum and Library Services to syndicate the program to the Denver Art Museum, the Los Angeles County Museum of Art and the Minneapolis Museum of Art over the next two years. Through the Friends membership, the DMA is gathering crucial intel on its visitors, enabling the museum to craft exhibits, programs and rewards that not only encourage repeat visitation but hopefully build long-term relationships with its visitors.
From health to education, retail products to entertainment, consumers are demanding that both commercial and cultural organizations tailor experiences to suit their individual needs, desires and skill levels. By collecting visitor data and creating programming with deep levels of personalized engagement, museums could see fewer one-time guests, and more lifelong patrons.
For more information about and recent examples of experiential personalization, visit the Center for the Future of Museums Blog. For tomorrow’s trend review, we turn up the heat on a global menace.
Tags: Blog N Learn