Aliza Shapiro, Final Report

PROJECT REPORT

Artist Name: Aliza Shapiro as POD LAB
Title of Project: POD LAB Elements: A Master Plan for the Berwick Research Institute

Summary

POD LAB set out to find and create solutions to accommodate a complex list of interrelated programmatic needs for the Berwick Research Institute. Through research, investigation, experimentation, and practice the design process culminated in the presentation of flexible, transformable, multi-functional elements that are aesthetically inspiring and nurturing to the efforts of the Berwick Research Institute. I approached the Artist In Research residency both as an architect and as a producer of multimedia events, both professions of collaborative methodologies. My firsthand knowledge of the space, the people involved, and the people served by it, led my investigation.

The Berwick Research Institute is an organization built by individual artists who have become administrators. They are creators and they facilitate creation by others. Independent producers, like myself, are also invited to come and work in the exhibition space. This unusual relationship between the administrators, outsiders, and the space created a rich stepping off point.

This residency was an opportunity to study the programmatic needs of a unique and young client. These issues may not have been brought to light by a more established foundation. POD LAB has the distinction of being a catalyst for positive change in the way The Berwick Research Institute functions internally (on a business level), in relation to the art and artists it hosts, and in relation to its larger artistic and urban community.


Process

The POD LAB process was intentionally open-ended and conceptual. The POD LAB collaborators researched precedents and assembled a collection of images, texts and ideas to inspire our process—ranging from modular architecture and trailer design to transformable/system furniture designs and interior architecture, to conceptual, installation and sculptural art.

POD LAB collaborators also brainstormed extensively the possibilities for the space. We made a conscious effort to purge all preconceived ideas and visions for the place to allow the people involved and the space itself to influence our work. Occasionally the images and concepts we purged were revisited to gage their merit and pull them back into the process.

POD LAB also explored other veins of inquiry such as the relationship between artists, arts administrators, and the viewing public. We addressed the forms of space these groups needed in order to perform their functions and how they should be situated in relation to each other, and how these groups interact with each other, the gallery space, and the greater arts environment growing in Dudley Square. This led to a discussion about way-finding and signage. The BRI main entry is one door, of many, on a block-long façade on Palmer Street. It is not distinct or visible from afar. POD LAB designed many options for exterior signage that would relate to interior signage and didactics and then created a test model of one exterior sign.

After the initial phase of inquiry and at other milestones in the process, dialogs were initiated. The Berwick staff continued to formulate their visions for the future of the space, programming, and organization. POD LAB intended to flood the Berwick staff with a broad array of concepts/forms/designs rather than coalescing prematurely around any particular one. The openness of this creative process enabled all involved to think expansively about how to match the possibilities for the space with programmatic needs and our collective visions.


Assumptions

Through this process, we determined that all designs must meet the criteria of flexibility, changeability, transformability, order, ease of use/transformation. Essential functions for the space were identified as administration, storage, recording, greeting, and community. Programmatic elements adhere to spatial order. Audience/performers/art do not adhere to an order. They are fluid.

The Berwick Research Institute’s administration needs a space for work that is flexible, transformable, and adaptable. It must be able to support the actions of the administration, organizing, producing, and operating, and also be able to function as a workspace for others, like performers/producers before an event. This space should be fixed in place, an anchor for the rest of the elements to work off of. The workspace is the beginning of the special order—the jumping off point.

The exhibition space always changes to suit the art or performance presented; the spatial solutions will be modular and easily modified to meet multiple creative demands. The exhibition space needs to remain as flexible as possible while allowing an order to take hold. An order that is changeable, transformable, mutable. The method of this order will have the strength to support all of the art forms presented and will be able to be manipulated by all, or one, of the members of the Berwick team.

The greeting space needs close proximity to the main entry. Its function is greeting and informing visitors.

The community space will be adjacent to the greeting space. It functions as the place of connection between people/communities/groups/artists, etc. through dissemination of information about events not held in The Berwick Research Institute. This area will also house refreshments: coffee, tea, water, etc.

The storage space functions to secure, hide, and contain equipment not being used in the exhibit space. One half of the space of the existing bathroom will be used as storage. Equipment was cataloged and measured and the storage space is designed to contain it all.

The creation of an A/V space was needed to control and record sound events that happened in the exhibition space. This became a moveable A/V pod that fits inside the storage space. The pod will hold all of the A/V equipment (speakers, stands, monitors, mics, projectors, etc.) and will fit into the storage area. When A/V equipment is needed the A/V pod is taken out of storage and emptied of necessary items. The pod can be used to mount/hold speakers, film/video projectors, etc. for use. The pod will be soundproof and able to house a technician with a chair and all of the sound mixing and recording equipment needed for documentation of sound/music/spoken word programs.


Materials

All materials are to be inexpensive and easily procured at local businesses or able to be received or sought as donations. Plywood, homosote, corrugated plastic, window screen, wood and metal stud, etc.


Methods

Building methods will allow for the skills of novice construction crew with specialties being carried out by professionals.


Brent D. Zeigler and Sumi Fasolo both contributed to the early stages of this project as POD LAB contributors.