Warren Feld Jewelry

Taking Jewelry Making Beyond Craft

Posts Tagged ‘art and planning’

THE JEWELERS’ PALETTE, 11/15/2024

Posted by learntobead on November 12, 2024


The Jewelers’ Palette, 11/15/2024

Join my community of jewelry designers on my Patreon hub
From Warren and
Land of Odds

Use November’s Discount Code For Extra 25% Off @Land of Odds:
NOVEMBER25
www.landofodds.com

November 15, 2024

Hi everyone,

Some Updates and Things Happening.
(Please share this newsletter)

1. I have been participating with the Columbia TN Arts Council over the last several months. Their major tasks are to develop a sense of community among artists (broadly defined), and a sense of place in a several block area off the downtown identified as the Columbia Arts District. I wrote a visioning plan for this District which I want to share, and welcome any feedback and ideas for programs, and community and economic development.

Read the full plan here.

The Columbia ARTS DISTRICT (CAD) was created to provide a haven for artists to live and work. The CAD is located a few blocks from Downtown Columbia in the South Garden/High Street area. The City has established historic zoning overlays to protect historic and cultural assets that include distinct neighborhoods like the ARTS DISTRICT. The area currently comprises several blocks of old warehouses, old houses (some historically significant), mobile homes and manufactured homes, and vacant lots. One warehouse building was turned into a multi-story mix of artist studios, retail spaces, coffee house, some office space. There are some restaurants and specialty shops in the District, but not many. Columbia is a small town of about 45,000 residents, growing 2–3% annually, and is located about 45 miles south of Nashville.

The BIG question for me was whether you can create a community-based Arts District, where the focus and energy emerge from how the community interacts with and finds meaningful experiences within the space, rather than focusing on physical design per se.

My SECONDARY question was whether a District designed to bring artists to live, work and play together can remain competitively viable over time, or will the community either lose interest or will the area become so attractive that gentrification negates its original reason for being. Time will tell, … as will smart thinking, planning, and cooperative partnering.

What makes a space into a place? Placemaking inspires people to collectively reimagine and reinvent public spaces as the heart of every community. Strengthening the connection between people and the places they share, placemaking refers to a collaborative process by which we can shape our public realm in order to maximize shared value. More than just promoting better urban design, placemaking facilitates creative patterns of use, paying particular attention to the physical, cultural, and social identities that define a place and support its ongoing evolution.

Great public spaces are those places where celebrations are held, social and economic exchanges occur, friends run into each other, and cultures mix. They are the “front porches” of our public institutions — libraries, field houses, schools — where we interact with each other and government. When these spaces work well, they serve as the stage for our public lives.

Read the full plan here.


2. I created several kits using leather cord and larger hole glass beads, and call your attention to these. They make great gifts!

Beads On Leather Kits
@Land of Odds
https://landofodds.com/beads-on-leather/

LATTICEWORKS BRACELET
Criss-crossed leather full of unusual glass belly donut rondelle beads.

STREETSENSE BRACELET
When you walk down the street, everyone knows you’re with it.

WALK-A-BOUTS BRACELET
A hip bracelet for those casual occasions.

Beads On Leather Kits
@Land of Odds
https://landofodds.com/beads-on-leather/


3. I encourage you to take advantage of the very low prices of delica beads on the Land of Odds website.

Compare Our Prices To What You Are Paying:

In this monthly newsletter, occasionally, like in this newsletter, you will find a discount coupon code that you can use on the Land of Odds website.

You can also become a paid subscribing member on our Jewelry Designers’ Patreon Hub, which entitles you to a 25% discount as long as you maintain your subscription.


4. If you have the resources, I strongly suggest you look into furthering your jewelry design education by attending a degree program. Here are the top 30 jewelry design programs in the United States:

Here are some of the leading jewelry design programs in the United States, known for their specialized curriculums, faculty expertise, and facilities. While specific rankings can vary by source, these schools are widely regarded as some of the best for jewelry design.

1. Rhode Island School of Design (RISD) — Providence, RI

  • Offers a strong focus on metalwork, traditional jewelry techniques, and contemporary design principles.

2. Savannah College of Art and Design (SCAD) — Savannah, GA

  • Provides a comprehensive approach with state-of-the-art facilities and focuses on various facets of jewelry design and business.

3. Fashion Institute of Technology (FIT) — New York, NY

  • Known for hands-on learning and access to New York City’s fashion and jewelry industry.

4. California College of the Arts (CCA) — San Francisco, CA

  • Emphasizes interdisciplinary approaches and sustainable design practices.

5. Parsons School of Design — New York, NY

  • Offers access to an extensive network in the fashion and luxury sectors, with an emphasis on innovative design.

6. Pratt Institute — Brooklyn, NY

  • Known for a strong arts program and a metal/jewelry design program focused on both technical skills and creativity.

7. Cranbrook Academy of Art — Bloomfield Hills, MI

  • Known for a small student body and intensive, personalized instruction.

8. University of the Arts — Philadelphia, PA

  • Offers a jewelry and metals program that includes contemporary jewelry, metalsmithing, and interdisciplinary work.

9. School of the Art Institute of Chicago (SAIC) — Chicago, IL

  • Known for an experimental approach that blends traditional and digital techniques.

10. Temple University’s Tyler School of Art — Philadelphia, PA

  • Focuses on combining creative expression with technical skill development.

11. University of Washington — Seattle, WA

  • Known for a broad curriculum that includes both traditional metalworking and experimental materials.

12. Virginia Commonwealth University (VCU) — Richmond, VA

  • Offers a BFA in Craft and Material Studies with a focus on metals and jewelry.

13. SUNY New Paltz — New Paltz, NY

  • Known for its Metal/Jewelry Design program that integrates both artistic development and technical skill.

14. Massachusetts College of Art and Design (MassArt) — Boston, MA

  • Offers a program with a focus on metalsmithing, jewelry, and art history.

15. University of Oregon — Eugene, OR

  • Known for a jewelry program that encourages both traditional and experimental methods.

16. California State University, Long Beach (CSULB) — Long Beach, CA

  • Offers a BFA in 3D Media focusing on metal and jewelry arts.

17. University of Georgia — Athens, GA

  • Strong focus on craftsmanship and a broad approach to metal and jewelry design.

18. University of Kansas — Lawrence, KS

  • The jewelry and metals program is known for its commitment to traditional techniques and design principles.

19. Texas State University — San Marcos, TX

  • Offers a BFA with a concentration in Metals and Jewelry, focusing on both technique and conceptual development.

20. Indiana University Bloomington — Bloomington, IN

  • Known for its craft-focused metalsmithing program, including traditional and contemporary approaches.

21. North Bennet Street School — Boston, MA

  • Provides a specialized training program in jewelry-making with a focus on bench skills and craftsmanship.

22. College for Creative Studies (CCS) — Detroit, MI

  • Focuses on both jewelry and metalsmithing, providing a solid technical foundation.

23. Kent State University — Kent, OH

  • Offers a jewelry/metals concentration that emphasizes craftsmanship and innovative design.

24. University of Illinois at Urbana-Champaign — Champaign, IL

  • Known for an interdisciplinary approach, blending jewelry design with broader art and design disciplines.

25. Rochester Institute of Technology (RIT) — Rochester, NY

  • The School for American Crafts at RIT is highly regarded for its jewelry and metals programs.

26. Appalachian State University — Boone, NC

  • Offers a focused jewelry and metals concentration that emphasizes skill development and conceptual work.

27. University of North Texas (UNT) — Denton, TX

  • Known for a metals and jewelry program that encourages experimentation and craftsmanship.

28. University of Wisconsin-Milwaukee (UWM) — Milwaukee, WI

  • Provides a curriculum that emphasizes both skill and design in jewelry-making.

29. Arizona State University (ASU) — Tempe, AZ

  • Offers a robust jewelry program as part of its larger art program, with access to a variety of tools and techniques.

30. Oregon College of Art and Craft (OCAC) — Portland, OR

  • Although it closed in 2019, its legacy remains influential, and several of its faculty and alumni continue to contribute to the field.

Each program has unique strengths, from technical skills to conceptual approaches and connections to the industry.


5. I wanted to share this email I received from Miguel Mayher at the Professional Artists Assn. We were beginning to discuss the need to be consistent in using Instagram and Emails to promote our businesses. I had brought up that it was difficult to maintain my motivation, especially given the time it takes to use social media.

Hi warren feld,

Yesterday, we talked about feeling overwhelmed.

Overwhelmed by the amount of energy and time that seems required to stay up to date on Instagram & your Email Newsletters.

And how that can hold you back from getting the consistent art income you desire.

Today, I want to dive deeper into why this feeling is SO COMMON in artists and what’s actually causing it.

📱 There are over *2 billion* monthly active users on Instagram.
🤯 And when you open the feed, it can be overwhelming.
🙅🏻‍♀️ It’s enough to make an established artist yell “nope!”…

…and close the app immediately, never to open it again.

Avoiding Instagram & Email doesn’t just stop you from using the tools, it also affects your entire “sharing your journey” workflow.

Some artists hold their cards close to their chest, but then expect strangers to buy the finished artwork at first glance.

Because when you’re opposed to these tools (and yes, they are just tools), you’re left waiting until you finish every artwork before you share it.

Or even worse — waiting for your next “show” to announce it to the world.

Then your audience doesn’t feel like they were part of that creative process…
…they are not invested in your artist journey…
…because you are not sharing it with them.

And so surprise, surprise… they are not “bought in”.

Maybe you do end up sending that jam-packed newsletter with a smorgasbord of updates about the last 6 months…

….not QUITE what you wanted, but you settle, “good enough I guess…”.

And a whole world of steady monthly direct sales seems out of reach for you.

Here’s the truth though… it’s not your fault:

  • Instagram is a hungry beast and the algorithm does reward consistency.
  • Emails are easy for writers, using WORDS, but not for most visual artists.

So without a good framework to simplify all this, it’s natural to get lost.

The big problem is the time and energy required to keep the Instagram & Email wheels turning…

👨‍👩‍👧‍👦 Competes with your family time
🎨 Competes with your studio time
🤹‍♀️ Competes with “life’s demands” time

And so how can you justify investing your precious time and energy in them?

You don’t have a simple system to navigate the sea of online art marketing.

If you had a clear system, it’d be hard to get lost, even if you’re an introvert.

I have an amazingly simple framework to share with you at the end of this week, but for now, here’s some encouragement…

❌ You DON’T need to POST EVERY DAY.
❌ You DON’T need to EMAIL EVERY WEEK.

And most importantly… stop thinking of your newsletters as NEWS.

Start thinking of them as Letters, or even better, POSTCARDS.

They are a casual conversation.
Ideally one single topic per email.
And they either share your journey… or give an opportunity to buy from you.

No middle ground.

I know even this is a lot easier said than done, but don’t worry, over the next few days I’ll be holding your hand and helping you out.

In tomorrow’s email, I’ll share a simple framework that will help you look at your online marketing as an enjoyable documenting of your journey.

Even if you are not a writer.

Talk soon,

Miguel

Director of Education
The Professional Artist Association
ProfessionalArtist.com
P.S.
Remember, feeling overwhelmed is normal, but it doesn’t have to stop you.


6. I’ve added additional articles to my collection HOW TO BEAD A ROGUE ELEPHANT. Check these out:

TRANSITIONS
A piece of jewelry is a series of sections, each integral to the piece, which must flow together visually and functionally. For example, transitioning from the strap to the centerpiece. How the jewelry designer manages the transitions between each section will determine to a great degree the success of the piece. 

DOUBT / SELF-DOUBT
For the novice, all that excitement at the beginning, when thinking about making jewelry and making some pieces, sometimes collides with a wall of developing self-doubt. It’s not easy to quiet a doubt. Doubt may hold you back, but it can also be seen as an opportunity.


7. I liked this recent quote from KLIMT02

But the artist appeals to that part of our being which is not dependent on wisdom, to that in us which is a gift and not an acquisition- and, therefore, more permanently enduring. He speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation- and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts, to the solidarity in dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity- the dead to the living and the living to the unborn. / Joseph Conrad


8. Now is a good time to begin planning for enrichment travel and skills development opportunities you might take advantage of in 2025. Here are some ideas:

Here are 20 jewelry-related travel and learning opportunities in 2025, perfect for designers and enthusiasts who want hands-on experience, cultural immersion, and networking:

  1. Tucson Gem and Mineral Show — This iconic show offers a variety of workshops in jewelry making and design (Feb 8–11, Tucson, AZ). More information: Tucson Gem and Mineral Show.
  2. Colors of the Stone — Held in Tucson alongside the Gem Show, with classes in bead making, metal clay, enameling, and more (Feb 1–8, 2025). Details: Colors of the Stone
  3. Santa Fe Symposium — An annual jewelry technology conference, ideal for designers interested in advanced techniques and business insights (Santa Fe, NM). Find details at Santa Fe Symposium.
  4. Pasadena Bead & Design Show — Featuring jewelry making and design workshops, Pasadena’s show offers a space for artists and buyers (Jan 17–19, 2025). Learn more: Bead & Design Shows
  5. Studio di Mare — Sogni d’Oro — In Italy, join immersive jewelry retreats that blend cultural exploration with expert-led classes in enameling and stone setting (Summer 2025, San Mango Piemonte). More info: Studio di Mare
  6. Great Bead Escape Retreat — A jewelry workshop retreat in Florida offering classes by skilled instructors, suitable for beginners and experienced crafters alike (April 23–27, 2025, Live Oak, FL). Explore more: The Great Bead Escape
  7. Marin Arts & Crafts Show — A blend of jewelry and fine arts workshops in a scenic setting, ideal for creatives (Mar 7–9, 2025, San Rafael, CA). Details at Marin Arts & Crafts Show.
  8. Jewelry Arts Academy — Florence — Offers jewelry design and goldsmithing programs with Italian artisans in Florence. Contact them at Jewelry Arts Academy.
  9. SNAG Conference — Society of North American Goldsmiths hosts its annual conference with workshops and talks on metalsmithing and jewelry (Spring 2025, Location TBA). Info: SNAG Conference.
  10. Ecole des Arts Joailliers — A prestigious Parisian school offering workshops and courses on traditional French jewelry techniques. Check out L’École Van Cleef & Arpels.
  11. Penland School of Craft — Located in North Carolina, Penland offers workshops in metalworking and jewelry design throughout the year. Discover more: Penland School.
  12. Istanbul Jewelry Show — Workshops and networking in a historic jewelry hub, with thousands of international jewelers (March 2025, Istanbul, Turkey). Info at Istanbul Jewelry Show.
  13. John C. Campbell Folk School — This school in North Carolina provides jewelry and metalsmithing workshops year-round in a peaceful, rural setting. See John C. Campbell Folk School.
  14. Munich Jewellery Week — An annual celebration of contemporary jewelry art in Munich, Germany, with exhibitions, talks, and workshops (March 2025). Visit Munich Jewellery Week.
  15. Craft in America Jewelry Residency — A Los Angeles residency offering workshops, talks, and mentorship for emerging jewelers. Find out more at Craft in America.
  16. Arrowmont School of Arts and Crafts — Tennessee-based school offers multi-day workshops in metals and jewelry design. Learn more: Arrowmont.
  17. American Jewelry Design Council Workshop — A one-day workshop for emerging jewelry artists in the U.S. More details: AJDC.
  18. Jewelry Studies International — Offers annual workshops in Austin, Texas, on topics like CAD jewelry design and hand engraving. See Jewelry Studies International.
  19. Walnut Creek Bead & Design Show — A bead and jewelry show with classes in techniques like chainmaille and wire wrapping (Mar 21–23, 2025). Details: Bead & Design Shows
  20. Jewelry Design Lab NYC — Based in New York City, this lab offers short-term and seasonal classes in modern jewelry-making techniques. Find out more at Jewelry Design Lab NYC.

These programs provide a diverse range of learning, travel, and cultural experiences to enhance skills and deepen your appreciation of jewelry design worldwide.

Some more ideas:

1. Gemstone Mining Experience in Sri Lanka

  • Travel to Sri Lanka to visit traditional sapphire mines, learn about sourcing gemstones, and attend workshops on stone cutting and polishing.

2. Jewelry Design Retreat in Bali

  • Join a retreat focused on traditional Balinese silversmithing techniques, including hands-on workshops with local artisans.

3. Italian Goldsmithing Tour in Florence, Italy

  • Explore Florence’s historic goldsmithing district, including visits to renowned ateliers and classes on classic Italian jewelry techniques.

4. Diamond District Tour in Antwerp, Belgium

  • Gain exclusive insights into the diamond trade with a behind-the-scenes tour of Antwerp’s Diamond District and attend a masterclass on diamond grading.

5. Native American Jewelry Workshop in Santa Fe, New Mexico

  • Discover Native American jewelry traditions with workshops led by expert artisans in silver and turquoise jewelry.

6. Gemstone Safari in Tanzania

  • Participate in a guided tour of Tanzanian tanzanite mines, with sessions on gem selection, sourcing ethics, and jewelry design.

7. Paris Jewelry Week

  • Attend Paris Jewelry Week, featuring exhibitions, workshops, and networking events with prominent European designers and jewelry houses.

8. Jewelry Design Masterclass in Jaipur, India

  • Study Indian jewelry design, from enameling to intricate gemstone settings, with local artisans in the “Pink City,” Jaipur.

9. Silversmithing Workshop in Taxco, Mexico

  • Taxco is famous for silver. Join a workshop to learn silver jewelry crafting techniques from skilled Mexican artisans.

10. Luxury Jewelry Show Tour in Dubai

  • Tour Dubai’s high-end jewelry markets, attend the International Jewellery Show, and visit the Gold Souk for an insider look at the luxury jewelry industry.

11. Art Deco Jewelry Tour in New York City

  • A guided tour through New York’s Art Deco landmarks and workshops focusing on jewelry inspired by this iconic style.

12. Lapidary Arts Course in Idar-Oberstein, Germany

  • Idar-Oberstein is known for its gem-cutting industry. Attend a course on lapidary arts and gem faceting techniques.

13. Pearl Cultivation Workshop in Okinawa, Japan

  • Learn about pearl farming in Okinawa with tours of pearl farms, plus hands-on sessions in pearl grading and jewelry design.

14. Scandinavian Design Tour in Copenhagen, Denmark

  • A guided tour focusing on Scandinavian jewelry design, featuring visits to design museums, workshops, and jewelry houses.

15. Thai Gold and Gemstone Tour in Bangkok, Thailand

  • Explore Bangkok’s gem and gold markets, attend workshops on Thai goldsmithing, and learn about local jewelry design traditions.

16. Russian Enameling and Filigree Workshop in St. Petersburg

  • Learn traditional Russian techniques of enameling and filigree in a workshop setting in historic St. Petersburg.

17. Artisanal Gold Mining Tour in Colombia

  • Visit artisanal gold mines in Colombia and attend workshops focused on sustainable and ethical jewelry sourcing.

18. Swiss Watchmaking and Jewelry Workshop in Geneva, Switzerland

  • Discover Swiss craftsmanship with a combination of jewelry-making and watchmaking workshops and factory tours.

19. African Beadwork and Jewelry Design Tour in Ghana

  • Join a cultural tour and workshop on traditional African beadwork and jewelry-making in Ghana’s artisan villages.

20. Modern Jewelry Design Course in Barcelona, Spain

  • Attend a design-intensive course focusing on modern techniques, including 3D jewelry design, hosted in Barcelona.

These trips offer unique learning experiences, hands-on practice, and exposure to global jewelry design techniques and cultures.

And don’t forget to use this 25% discount code

throughout November at Land of Odds!!
Use November’s Discount Code
For Extra 25% Off
@Land of Odds:
NOVEMBER25
www.landofodds.com


That’s it for now! There is a lot of creative expression all around the world right now. Hope you get to experience a lot of it, either first hand, or through social media online.

WSF

SOME POSTS YOU MAY HAVE MISSED:

(1) HOLD THEIR ATTENTION WITH TEXT HOOKS
One way of keeping and holding someone’s attention is to use what is called a text hook or verbal hook at the beginning — literally within the first 2 seconds. 

(2) How do you make the leap from another career to becoming a full-time jewelry designer?

(3) How To Bead A Rogue Elephant: DOUBT AND SELF-DOUBT
For the novice, all that excitement at the beginning, when thinking about making jewelry and making some pieces, sometimes collides with a wall of developing self-doubt. It’s not easy to quiet a doubt. Doubt may hold you back, but it can also be seen as an opportunity.

(4) How To Bead A Rogue Elephant: TRANSITIONS
A piece of jewelry is a series of sections, each integral to the piece, which must flow together visually and functionally. For example, transitioning from the strap to the centerpiece. How the jewelry designer manages the transitions between each section will determine to a great degree the success of the piece. 

(5) SIGNATURE READY? … You Judge!

(6) COLUMBIA ARTS DISTRICT: CASE STUDIES
There are many approaches various towns and cities have taken when finding that mix of art and planning necessary for revitalization, and community and economic development.

(7) COLUMBIA TENNESSEE ARTS DISTRICT VISIONING PLAN
Establishing an arts identity can take many directions. A vibrant arts scene no longer means a street lined with art galleries. It can include a broader segment of the creative community — theatre, music, writing, crafts, fashion, media arts, applied arts and graphic design, interior design. The specific arts identity for any community is shaped by those arts for which a community has a special affinity for, as well as the types of assets available to support those arts.

Feature your jewelry Here next week In This Newsletter, as well as, on our Jewelry Designer’s Hub!

Email a post (text and/or image) to warren@warrenfeldjewelry.com.

Promote your current projects, promotional copy, News & Views, videos, reels, tutorials, instructions, social media posts online in this newsletter and on our jewelry designers’ Patreon hub.

No deadlines! Opportunity available all the time. No fees. 

But don’t wait to take advantage of this opportunity.


FREEBIRD FEATHERS by B. Batson-Paculabo

https://www.freebirdfeathers.com

View the featured story in our App

“Our story is rooted in the personal testimony of our founder, B. Batson-Paculabo, which tells of how she overcame a low season of adversity with a God encounter and answered prayers that led to liberation and unlocking gifts from within.”


This copyrighted material is published here with permission of the author(s) as noted, or with Land of Odds or Warren Feld Jewelry. All rights reserved.

Repairs Stumping You?
Let Me Take A Look

I take in a lot of jewelry repairs. People either bring them to me in Columbia, TN, or, I pick them up and deliver them back in Nashville. I am in Nashville at least once a week. It’s been convenient for most people to meet me at Green Hills Mall. But if not, I can come to your workplace or your home. This is perfectly fine for me. My turnaround time typically is 3–4 weeks.

I do most repairs, but I do not do any soldering. I also do not repair watches. These are the kinds of repairs I do:

o Beaded jewelry
o Pearl knotting, hand knotting
o Size/Length adjustment
o Re-stringing
o Wire work/weave/wrap
o Micro macrame
o Broken clasp replacfement
o Earring repair
o Replace lost rhinestones or gemstones
o Stone setting
o Stretchy bracelet
o Metal working which does not involve soldering
o Bead woven jewelry and purses
o Beaded clothing
o Custom jewelry design

View my How-To-Repair-Jewelry videos on our Jewelry Designers’ Hub.
My most recent how-to: Converting 3-Strand Stretchy Bracelet to Cable Wire W/ Clasp

WARREN FELD JEWELRY (www.warrenfeldjewelry.com)
Custom Design, Workshops, Video Tutorials, Webinars, Coaching, Kits, Group Activities, Repairs
~~~~~~~~~~~~~~~~~~~~~~~
Join our community of jewelry designers
on my Patreon hub
Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists.
One free downloadable Mini-Lesson of your choice for all new members!
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Follow me on social media: facebook, instagram

shop.warrenfeldjewelry.com
Where you can buy:
Seed Beads and Delicas, Kits, Books, Finished Jewelry

school.warrenfeldjewelry.com
Take advantage of our video tutorials, mini-lessons, projects and our coaching services:

Read articles about jewelry design and about the business of craft:
Articles on Medium.com 

Books (in kindle, ebook or print formats) by Warren Feld, purchase from Amazon.com or BarnesAndNoble.com:

Kits by Warren Feld

Ask about my COACHING services

Arrange a GROUP ACTIVITY

Add your email address to my Warren Feld Jewelry emailing list here.

Thanks for being here. I look forward to sharing more resources, tips,
sources of inspiration and insights with you.

Join A Community Of Jewelry Designers 
On My Patreon Hub

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How To Make A Space Into A Place: Art and Planning in the Columbia Tennessee Arts District

Posted by learntobead on October 17, 2024

Columbia ARTS DISTRICT

Read the full plan here.

The Columbia ARTS DISTRICT (CAD) was created to provide a haven for artists to live and work. The CAD is located a few blocks from Downtown Columbia in the South Garden/High Street area. The City has established historic zoning overlays to protect historic and cultural assets that include distinct neighborhoods like the ARTS DISTRICT. The area currently comprises several blocks of old warehouses, old houses (some historically significant), mobile homes and manufactured homes, and vacant lots. One warehouse building was turned into a multi-story mix of artist studios, retail spaces, coffee house, some office space. There are some restaurants and specialty shops in the District, but not many. Columbia is a small town of about 45,000 residents, growing 2–3% annually, and is located about 45 miles south of Nashville.

My Interest In Creating A Visioning Plan 
 For The ARTSWORKS ART DISTRICT

I am a relatively recent resident of Columbia, TN. I have an extensive background in city planning, city revitalization, art and design. The COLUMBIA ARTS DISTRICT area, about 1 square mile in size, and abutting the downtown, has excited me in so many ways, not least of which, because the idea to use the arts as a planning tool for community and economic development offers so many great possibilities.

The BIG question for me was whether you can create a community-based Arts District, where the focus and energy emerge from how the community interacts with and finds meaningful experiences within the space, rather than focusing on physical design per se.

My SECONDARY question was whether a District designed to bring artists to live, work and play together can remain competitively viable over time, or will the community either lose interest or will the area become so attractive that gentrification negates its original reason for being. Time will tell, … as will smart thinking, planning, and cooperative partnering.

My excitement comes from things like,

(1) Taking a proactive approach to planning for the arts, maximizing realistic and effective physical and social development, and minimizing unintended consequences, when making a space into a place.

(2) Promoting cooperative relationships among artists, planners, developers, educators, nonprofits, funding sources and the general public, leading to a greater sense of place, voicing a narrative for it, and celebrating it.

(3) Offering many possibilities for nontraditional engagement program and physical development and the community

(4) Focusing on the ‘arts’ (broadly defined) as a driver of community and economic development, perhaps generating new practices and ideas in urban planning, the arts and design, and thus elevating ideas about creative place-making

(5) Relying on a local framework to steer community and economic development, hopefully resulting in a more unique expression of the Columbia community

(6) Recognizing that the city has a strong commitment for developing the Arts District

(7) Having an early opportunity to create a strong vision for development, preventing some undesirable development outcomes.

The Arts As Defined By Columbia

Initially, Columbia Arts Council focused on 5:

· Visual Arts (painting, sculpture, applied arts, graphic arts)

· Theater

· Craft

· Music

· Writing

I suggested breaking out applied arts and graphic arts as their own discipline apart from visual arts.

I suggested adding:

· Fashion

· Interior Design

People pursue artistic and creative expression through a variety of outlets: formal theatrical performances, sculptures, paintings, and buildings; as well as the less formal arts, music and food festivals, celebrations and informal cultural gatherings, pickup bands, and crafts groups. Together, these formal and informal, tangible and intangible, professional and amateur artistic and cultural activities constitute a community’s cultural assets. These activities — which encompass a diverse set of locations, spaces, levels of professionalism and participation, products, events, consumers, creators, and critics — are essential to a community’s well-being, economic and cultural vitality, sense of identity, and heritage. (American Planning Association, 2011)

People participate in arts and culture at varying levels of skill and engagement. Participants include creators (from the professional actor to a child actor in a school play), consumers (from the audience member for an opera performance to the parent of the child in the school play), and supporters and critics (whether foundations, parents and school fund-raisers, or journalists).

Some create, while others listen to, watch, teach, critique, or learn a cultural activity, art form, or expression. Some are professional artists, designers, and inventors, while others engage informally in expressive activities or create innovative tools, relationships, or products.

The field as a whole can be represented within a framework that has four main aspects:

1. Degree of professionalism, (professional/formal à vocational/informal)

2. Type of product or activity, (tangible à intangible)

3. Locations and spaces, (specific purpose venue à non-arts venue)

4. Level of participation and involvement (creator à consumer)
 (American Planning Association, 2011)

What makes a great place? What keeps it great over a very long, sustained time?

These are questions we need to be asking ourselves as we translate visions of what can be into actual programs of community and economic development. This vision plan for the ARTSWORKS ARTS DISTRICT provides a lot of food for thought, some tools for clarifying options, and some suggestions for how to approach Placemaking over the next several years. It is an effort to help us collectively reinvent and reimagine what could be. Something more than attractive urban designs. Something distinctive from other cities and towns. Something with community and meaning and quality well-being, shaping how people come together, interact, share experiences and feel a special connection to this place we call the ARTSWORKS ARTS DISTRICT and this place we call Columbia.

The object is to create a place, not a design.

About Placemaking 
 (based on information from ArtPlace America
 
https://www.artplaceamerica.org/ )

Placemaking inspires people to collectively reimagine and reinvent public spaces as the heart of every community. Strengthening the connection between people and the places they share, placemaking refers to a collaborative process by which we can shape our public realm in order to maximize shared value. More than just promoting better urban design, placemaking facilitates creative patterns of use, paying particular attention to the physical, cultural, and social identities that define a place and support its ongoing evolution.

Great public spaces are those places where celebrations are held, social and economic exchanges occur, friends run into each other, and cultures mix. They are the “front porches” of our public institutions — libraries, field houses, schools — where we interact with each other and government. When these spaces work well, they serve as the stage for our public lives.

What makes some places succeed while others fail?

To be successful, places generally share the following four qualities:

1. They are accessible

2. People are engaged in activities there

3. The space is comfortable and has a good image

4. It is a sociable place: one where people meet each other and take people when they come to visit.

Access & Linkages

You can judge the accessibility of a place by its connections to its surroundings, both visual and physical. A successful public space is easy to get to and get through; it is visible both from a distance and up close. The edges of a space are important as well: For instance, a row of shops along a street is more interesting and generally safer to walk by than a blank wall or empty lot. Accessible spaces have a high parking turnover and, ideally, are convenient to public transit.

Activities

Activities can take many forms — one-off programs, ongoing programs, small number of participants to a large number of participants. The placemaking goal of each activity is that participants have a meaningful experience, and one they want to share with others.

Comfort & Image

Whether a space is comfortable and presents itself well — has a good image — is key to its success. Comfort includes perceptions about safety, cleanliness, and the availability of places to sit — the importance of giving people the choice to sit where they want is generally underestimated, and the availability of shade.

When it comes to accessibility, it isn’t simply enough to be able to get to a place. To fully enjoy a space, people must be able to navigate it and spend time there with dignity and confidence. Unfortunately, many spaces deliver a message of exclusion to their visitors.

Sociability

This is a difficult quality for a place to achieve, but once attained it becomes an unmistakable feature. When people see friends, meet and greet their neighbors, and feel comfortable interacting with strangers, they tend to feel a stronger sense of place or attachment to their community — and to the place that fosters these types of social activities.

Power of 10+

The idea behind this concept is that places thrive when users have a range of reasons (10+) to be there. These might include a place to sit, playgrounds to enjoy, art to touch, music to hear, food to eat, history to experience, and people to meet. Ideally, some of these activities will be unique to that particular place, reflecting the culture and history of the surrounding community. Local residents who use this space most regularly will be the best source of ideas for which uses will work best.

Some questions/concerns to consider when placemaking

  • Does the space function for people with special needs?
  • Providing shade, ways to cool off, or spots to take cover during a storm not only ensure that public spaces are usable in all weather, but also that they become trusted refuges in an era of climate crisis.
  • Accessible bathrooms
  • Regular maintenance of public spaces
  • The more activities that are going on at one time, and that people have an opportunity to participate in, the better
  • Good balance between men and women
  • People of different ages are using the space
  • The space is used throughout the day
  • A space that is used by both singles and people in groups is better than one that is just used by people alone because it means that there are places for people to sit with friends, there is more socializing, and it is more fun.
  • The ultimate determinant of a place’s success is how well it is managed.
  • Are people using the space or is it empty?
  • Are people in groups?
  • How many different types of activities are occurring — people walking, eating, playing baseball, chess, relaxing, reading?
  • Which parts of the space are used and which are not?
  • Are there choices of things to do?
  • Is there a management presence, or can you identify anyone who is in charge of the space?
  • Is this a place where you would choose to meet your friends? Are others meeting friends here or running into them?
  • Are people in groups? Are they talking with one another?
  • Do people seem to know each other by face or by name?
  • Do people bring their friends and relatives to see the place or do they point to one of its features with pride?
  • Are people smiling? Do people make eye contact with each other?
  • Do people use the place regularly and by choice?
  • Does a mix of ages and ethnic groups that generally reflect the community at large?
  • Do people tend to pick up litter when they see it?

Establishing An Arts Identity

Establishing an arts identity can take many directions. A vibrant arts scene no longer means a street lined with art galleries. It can include a broader segment of the creative community — theatre, music, writing, crafts, fashion, media arts, applied arts and graphic design, interior design. The specific arts identity for any community is shaped by those arts for which a community has a special affinity for, as well as the types of assets available to support those arts.

Depending upon the values and decision making criteria put into action today, the area can evolve, over time, towards one of 4 ways:

(1) Museum: people come to look, but often do not linger or return to look again; the art is static

(2) Amusement Park: people come to play (think lower Broadway in Nashville); the art is ignored

(3) Gentrified and Residential: people come to live and the area becomes somewhat insular, with the importance of the arts often diminished to the role of ornamentation

(4) Community organized around the idea of “art”: people come from near and far to interact with the arts as a way of enhancing a meaningful and memorable sense of self and community

I prefer option #4, and that is my bias throughout this visioning plan.

Development takes time and patience. It takes vision and values. Development with little to no or poor planning is a waste of time, and typically fails in its quest to realize any set of vision and values. Decisions made today will impact what the area looks like 25–50 years from now.

Columbia’s Art Culture

Columbia’s arts, culture, and music scene add flavor to the region, cultivated with the support of:

· Non-profit arts organizations, including multiple community theater groups

· ARTS DISTRICT

· Columbia Arts Council

· Columbia citizens

Columbia nightlife highlights the growing music culture as more artists showcase their talents at local restaurants and local venues.

Columbia Arts Council

COLUMBIA ARTS COUNCIL Authority: Promotes Arts in the Community Appointed by the Mayor Confirmed by Council Terms: Three Years Composition: Nine Members Involved in the Arts

Advised by Tourism & Marketing Director Role in Planning Process:

Final Decision on Appeals of Zoning Administrator’s Determination of Arts-Related Uses in the Arts District Overlay

City Specified Guiding Essential Values

Columbia has set a development goal to make an area adjacent to the downtown, in this plan referred to as the ARTSWORKS ARTS DISTRICT, into a place where the community organizes around the arts (broadly defined). These are the guiding essential values toward that end.

· The Arts

· Viability

· Connection and Flow

· Vitality

· Interactivity

· Diversification and Flexibility

· Steadfast

· Neighborly

· Leverage

· Sustainability

· The Arts: Emphasize the arts as the ARTSWORKS ART DISTRICT’s main theme. The arts are to be broadly defined as inclusive of visual artists, theater, crafts, writers, and musicians. The Arts are to be represented in a variety of ways, from business development, to exhibitions, to demonstrations, to public art, to the structuring of meaningful public experiences, to education, to physical infrastructure planning, to one-off as well as ongoing programs and events.

· Viability: Build, attract and retain creative talent. Encourage additional development of arts-related uses that complement the district’s theme. This will enhance the life and energy of the city, contribute to the long-term viability and success of businesses in the ARTSWORKS ARTS DISTRICT, and help the city attract new types of businesses which will diversify its commercial base.

· Connection and Flow: Columbia provides options for safe, efficient and accessible movement throughout the ARTSWORKS ARTS DISTRICT, including pedestrian walkways, proposed INTERACTIVE ARTS TRAILS (one by auto, the other by foot), attention to areas of potential conflict between cars, bicycles and pedestrians. The ARTSWORKS ARTS DISTRICT should be easily navigable by all.

· Vitality: Columbia ARTSWORKS ARTS DISTRICT is a safe community with opportunities for the personal and community expression through the arts (broadly defined), and the setting and maintaining of high standards for the quality of the built environment, the commercial and residential environment. Retain many of The District’s architectural features and landscape. Enable affordable residential and commercial spaces for artists and art-related businesses. Ensure many comforts throughout, such as seating and shading. Designed for lingering.

· Interactivity: Engage visitors in ways traditional artwork does not. Encourage community participation and meaningful interaction and immersion in some form with the art they are seeing, hearing, touching, smelling, experiencing. The ARTSWORKS ARTS DISTRICT should be seen by the public as a sociable place, where they want to come to meet others, are comfortable with strangers, share meaningful experiences, and where they want to bring their friends and family to see and experience.

· Diversification and Flexibility: The ARTSWORKS ARTS DISTRICT will include a mix of residential, restaurant, retail, art, educational, other commercial, hotel/motel/conference/exhibition/B&B /inn infrastructure. The ARTSWORKS ARTS DISTRICT will be a place for programs, exhibits, demonstrations, special events, educational and training related to visual and sculptural art, craft, theatre, music and writing. The ARTSWORKS ARTS DISTRICT will host several flexible-use spaces.

· Steadfast: The ARTSWORKS ARTS DISTRICT is viable as a livable, workable, and commercial area of Columbia, where development is economically sustainable and pertinent to both community and economic development, new development is cohesive and compatible, that the distribution of new development is balanced and flows organically throughout the entire delineated area, and the unique character of this neighborhood develops as vibrant, interactive and community based. Tensions between historical preservation and land use and business development are resolved.

· Neighborly: Columbia ARTSWORKS ARTS DISTRICT is a place where all residents feel welcome and included in community decisions.

· Leverage: Where it makes sense, Columbia should use a leverage approach to encourage developments and programs. Columbia can leverage money, power, position, and authority. Columbia might offer an incentive where every private dollar raised would be matched with one dollar of city funds. Columbia might foster (and mentor) public/private partnerships. Columbia might use its location, population and industrial mix to its advantage. Columbia might develop additional criteria and planning/development standards and codes to the advantage of the ARTSWORKS ARTS DISTRICT and leading development in line with values, goals and objectives. Columbia might rely on volunteers to accomplish many of its development and program goals.

· Sustainability: The ARTSWORKS ARTS DISTRICT over time should become less and less dependent on city funds.

Concerns

It is important to try and anticipate what kinds of things can go right, and what kinds of things can go wrong, as the ARTSWORKS ARTS DISTRICT develops. Will initial investments prove overly optimistic about their return? Will the area generate a lot of excitement at first, but not be able to sustain that excitement over time? Will “art” remain the core organizing principle for the area, or be replaced by unrelated commercial and/or residential development?

It is also important to try and anticipate how Columbia’s ARTSWORKS ARTS DISTRICT will continue to provide stimulus to sense of community and fiscal viability, and how it might not. Will visitors to the district be motivated to stay long enough to spend money there? Will they return and visit again? Will they have a memorable experience that they want to share with others?

It is also important to try and anticipate how Columbia’s ARTSWORKS ARTS DISTRICT can create and retain a competitive advantage over similar or competing areas in neighboring towns, in other towns in Tennessee and in other towns throughout the United States. If every town takes an interior design approach (Museum) with placement of murals and sculptures, how will Columbia differentiate itself?

What things will keep the ARTSWORKS ARTS DISTRICT going over the next 10–50 years as it develops, and what things will prove to be impediments?

Goals and Objectives

COLUMBIA ARTSWORKS ARTS DISTRICT GOALS:
 A community organized around creative talent and businesses can improve…

#1: Character

#2: Opportunity

#3: Support

#4: Investment

#5: Administration and Regulation

Read the full plan here.

Table of Contents

1. THE ARTSWORKS DEVELOPMENT OPPORTUNITY, p. 2
2.
ESSENTIAL GUIDING VALUES, p. 8
3.
PLACEMAKING, p. 11
4.
WHAT IS INTERACTIVE ART, p. 15
5.
CONCERNS, p. 17
6.
THE FUNCTIONAL PRIMARY NEEDS AND SECONDARY EFFECTS
 OF THE VARIOUS ARTS, p. 21
7.
GOALS AND OBJECTIVES, p. 23
8.
LAND USE AND PROGRAM APPROACHES AND POSSIBILITIES, p. 29
Primary strategies and tools towns resort to, p. 30
9.
EXAMPLES OF TYPES OF PROGRAM ACTIVITIES, p. 39
What Is An Arts Trail, p. 40
9a. Visual Arts, p. 45
9b. Theatre, p. 50
9c. Outdoor Stage Options, p. 55
9d. Crafts, p. 60
9e. Music, p. 65
9f. Writing, p. 69
9g. Applied Arts and Graphic Arts, p. 73
9h. Fashion, p. 77
9i. Interior Design, p. 79
9j. Interdisciplinary Ideas, p. 82
10.
DESCRIPTION OF AREA, p. 83 
With Suggestions For High Priority Land Uses Development, p. 85
How a CONFERENCE HOTEL differs from a CONVENTION HOTEL, p. 98
11.
IMPLEMENTATION PROPOSALS AND RECOMMENDATIONS, p. 100
Creating Partners, p. 117
Organizing Volunteers, p. 118
12.
FUNDING POSSIBILITIES, p. 119
In-state Tennessee funds, p. 120
Funding methods used to develop arts districts across America, p. 122
Foundation and grant funds in Tennessee which may be used for the arts, p. 124
Funding and grant programs for the arts and artists, p. 125
13.
ORGANIZATIONAL RESPONSIBILITIES, p. 128
14.
STANDARDS & CRITERIA, p. 130
15.
CASE STUDIES, p.138

Read the full plan here.

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