PROCEDURAL

observations based on my personal experience at the Artery site in Houston, Texas – ML

The first, most essential mandate for a ‘steward’ of a space such as the Artery, is to respect and honor the artists, presenters and technicians that make the activity possible and worthwhile.

• on matters of cleanliness, order and preparation, one measure of successful enactment of the site is if artists, presenters and guests consistently experience a sense of comfort and familiarity, guests must feel safe and welcome (C)
• the design should happen in phases, activities can begin to generate for the space a network of connections and a sense of history while undergoing constant refinement (C)
• refinement should happen throughout the space over time, the entire space should be treated as reverent, no part should be ‘loved’ more than another (C)
• preserve the sense of relationship between the ‘parts’ and the ‘whole’, this is integral to the evolving design and imitates the rewards of nature, which are stretched from the micro to the macro (C)
• as a media-compatible site the production and exhibition aspects of the space must be malleable to meet the needs of the wide range of exhibiting artists and performers (C)
• on stage presentations: the goal is an absolute minimum of introduction, explanation, extrapolation and announcements; bulletin boards can take the place of lengthy event announcements, a properly maintained events calendar on a website can replace distracting public service announcements, treat the audience to art and magic, not expository
• on ergonomics of maintenance: this is something the proprietor will learn soon enough, but suffice to say that well designed pathways and arraignments of seating, as well as the design of the interior space, will save thousands of hours of labor over the years; examples of this include curved pathways that direct leaves when clearing the space with an electric blower (a most indispensable tool), and lightweight furniture indoors that can be stored or moved easily when reconfiguring the space
• design for as much flexibility as possible in regard to interchange of usefulness of inside and outside spaces, many events can be saved from rain by moving indoors; requirements for documentation require a redundant system to cover indoors and outside for last-minute weather contingencies
• on issues of documentation: strike a balance between the needs of the audience (to have an unencumbered experience) and the needs of technology, such as camera placement, wires, microphones and control room… try to integrate the tech requirements such that they contribute to the aesthetic rather than distract
• consistent consideration should be given to the entrance of the space, incorporate the reception table, sign in, programs and other reception activities in a way that’s not obtrusive
• performing artists have many needs, including sound checks and rehearsals, the sound system should be ready to function with the highest attention to their technological requirements
• the needs of visual artists often include curatorial decisions; as such these decisions establish the criteria and the quality of artistic expression for the space, and as with the quality of the music and poetry and dance, it is imperative that the visual art reflect the highest degree of social and(or) formal consciousness
• multiple performance areas, inside and outside, allow for simultaneous presentations, flexibility during bad weather, and multiple presenters on a single night (C)
• on neighbor relations: all effort should be made to inform neighbors of the contribution that the space is making to the community and to invite all to attend, all effort must be made to maintain cooperation with neighbors in all issues of shared importance
• on announcements/publicity: all effort must be made to share news of events throughout the community so as to provide for the artists and presenters the widest possible reception
• events should have minimum introduction, nothing extraneous, avoid explanations, allow for mystery (C)
• documentation of the activities at the space should be made available to the artists, either free of charge or at minimal cost (C)
• considering documentation, a compromise must be struck between the needs of the attending audience and the needs of the cameras, invasive documentary tools and practices should be minimized (C)

CONCEPTUAL

observations based on my personal experience at the Artery site in Houston, Texas – ML

Above all, authenticity of an artspace comes from its history. There is no substitute for a reputation of ‘good work’. Once I found myself custodian of such a remarkable sanctuary, I realized a mission to facilitate as much inspirational and experiential activity as possible. These positive memories accumulate, fueling a desire for more.

In the sense that nature is feminine (Mother Nature, Mother Earth, nurturing), the Artery site lends itself to events that celebrate such virtue, common themes include the advancement of women’s rights and understanding women’s issues. Its often a perfect marriage; a nurturing sanctuary in a sea of concrete playing host to activities that promote healing over destruction and aggression.

• visitors, artists and performers should perceive that ‘this place is worthy of me’, this makes their experience resonate with a sense of primacy and significance (P)
• an appropriate conception of scale is essential, the site should accommodate the highest number of people short of compromising a sense of intimacy
• the site should evolve in phases, like a living work of art; it should evolve according to discoveries and the rate of discovery cannot be rushed (P)
• certain aspects of the construction, as well as some of the art itself, might be built with the intention to rebuild, rather than designed for permanence, thereby achieving a sense of grace (think of Japanese Shaolin temples) and flexibility (M)
• in time, the space will be known for the type of events it features, the calendar should reflect the ethics and dreams of the producer(s)
• for the space to be regarded as spiritual and egalitarian it must not be conceived or operated as a business; this experiment is only tenable as long as it breaks from the confines of capital, hence, admission charges should be avoided (other than benefits or fund raisers for good causes), any entrance charges must be voluntary, requested as donation
• ‘reward the curious’, in the placement of objects of interest the designer should think of ‘layers’, major elements read on one level of perception, more subtle elements reveal themselves upon reflection and inspection
• the main infrastructure should function as a skeleton for pieces on temporary/rotating exhibit
• space should be as malleable as possible for the exhibiting and performing artists’ needs
• multiple performance and exhibition areas allow for more fluid choreography of events and simultaneous presentations (P)
• kinetic art is premium, wind generated movement, whether as moving art objects or reflected light, has the capacity to bring to the space a sense of energy from outside (F)
• much has been written about the practice in the plastic arts of reclaimed materials; art made from discarded material takes on an added significance in its new use, it defies materialism and consumer culture, it is the ultimate recycling (M, F)
• an essential concept for a living artspace is that organic matter stays on property, the tree canopy generates an enormous amount of debris, this is precious for the soil, it should be composted and the new ‘dirt’ spread around every season
• documentation of events is a powerful enticement to the artists and presenters, its unconditional use by the artist is of value to them, its legal use by the producer(s) can extend the message/expression to a wider audience than those able to attend the site (F)
• production values are eminently important, the reputation of the site should include punctuality of presentations and the absolute best quality audio and theatrical presentation possible (P)
• integral to the function of the site as a gathering place is small spaces throughout the grounds, settings that accommodate small numbers of people, thus allowing for more intimate interaction outside of the broader group activity (P)
• concerning outreach; most essential is ‘word of mouth’, if activities are broad ranged and ethical, if all manner of diversity is allowed to flourish, the space will enjoy a growing base of participation from the community (P)

FORMAL

observations based on my personal experience at the Artery site in Houston, Texas -ML

As a painter I have experienced the Artery as a four dimensional canvas with time a constant factor, time allows for the most unexpected intervention of form and enables the experience of space to take on the a personal texture, via history and memory.

• a successful application of the Artery ‘formula’ should demonstrate (as with any good composition) harmony between the ‘whole’ and the ‘parts’
• essential to the invitation for nature to help define the space is the role of patina, surfaces should be allowed to weather, a premium should be placed on diverse forms of ‘rustication’
• the aesthetic of the space should consider art from refuse as an underlining recurring theme, this convention integrates the space into the surrounding matter of the city
• dead trees are a treasure for an urban forest, providing nutrients for the soil and habitat for other life, resist the urge to over-manage the trees, life is never neat and a forest requires decay
• the vocabulary of the space should recall timeless and universal forms; distinct elements are a premium; stone, wood, metal, water, light
• a space derives its energy from motion and well as thoughtful design, motion introduces a chaotic element, as such, kinetic motion from light and water is essential
• on placement: discover harmonious distance between points of interest, maintain aesthetic consideration for foreground, background, middle ground, underfoot, in shadows
• always balance the hidden with that which is apparent, allow areas for the eye to rest or search for form, space objects that involve literal interpretation carefully, use generic or natural forms to buffer points of interest
• in regard to patterns, try to establish rhythm counter to orientation of lot, patterns running in diagonal lines to property boundaries are a premium
• interior and exterior should match in style, use and orderliness
• color, the most subjective of the elements of design, should be used with caution not to interfere with the balance between parts and whole, color shouldn’t draw too much attention to itself
• color should be used consistently; whether used as illumination or on surfaces, color can be used to establish common tones that can be seen as ‘trademark’ to the space, with other color usage remaining subordinate
• space should relate to the human, like any good forest it should ‘envelope’ the visitor
• space should reveal broader dimensions gradually, trees can serve to obscure or frame any given sculpture or vista, mass or void
• just as the content of the presentations might share a common impulse, such as ecological or humanitarian, the artwork exhibited should fall within a range of expression that is consistent in subject, quality and ideals
• caution should be taken when presenting decorative art in that there is a risk of superficiality… mystery and the sublime are essential, and are compromised by art that is meant to be simply pleasing to the eye
• in daylight, night, dusk and dawn the design of the site should reflect consideration for placement of points of interest under the varied light, the density of visual information should spread evenly as natural light gives way to illumination
• exterior lighting should be subtle in a way that conjures a sense of mystery, it is better to under-light than over-light, never so bright as to offend, even decorative low-watt holiday string lights are too bright under most circumstances (and too familiar)
• illumination should originate throughout the space, underground, at surface level, in the tree canopy (especially effective for the viewer’s peripheral vision); experiences of peripheral vision are equally essential to what is visible by direct light, the specific must never dominate the general
• generous use of kinetic lighting effects will lend to the space a sense of mystery and fantasy; light reflecting off mirrors, light that causes a sense of movement when affected by the wind, these effects should be used to fill in the viewer’s peripheral vision in relation to how they see the main performance area(s)
• wind generated kinetic light movement creates a magic combination of motion and shape, reflecting sunlight during cloudless conditions, creating hypnotic and entrancing moving beams and shadows at night
• kinetic reflective water lighting is an essential component – elemental and sublime in effect, capable of generating vibration and rhythm in many zones (reflected on walls and tree canopy, contained within enclosed areas or behind transparent surfaces)