HomeMy WebLinkAbout2024-06-25_Planning MIN WIIIIW���////r �� ',�q�wi��IIII �IIII �VIII VIII��q w�0111 o Viu`'�i uonm" ��a�IIIIh IIII IIII IIIIh IIII VIII 4�Irk fl�ur�VIII`'�i uonm"IIII � VIII IIII IIID�u�Illi a�l�V��'�'k°��'IY Q�,u�
Note: Anyone wishing to speak at any Planning Commission meeting is encouraged to do so. If you wish to speak,please rise and,after you
have been recognized by the Chair,give your name and complete address for the record. You will then be allowed to speak. Please note the
public testimony may be limited by the Chair.
June 25,2024
STUDY SESSION
Minutes
1. CALL TO ORDER:
Chair Verner called the meeting to order at 7:00 p.m.at the Civic Center Council Chambers,1175 E.
Main Street.
Commissioners Present: Staff Present:
Lisa Verner Brandon Goldman,Community Development Director
Doug Knauer Derek Severson, Planning Manager
Susan MacCracken Jain Michael Sullivan, Executive Assistant
Gregory Perkinson
Russell Phillips
Eric Herron
Kerry KenCairn
Absent Members: Council Liaison:
Paula Hyatt (absent)
11. ANNOUNCEMENTS
Community Development Director Brandon Goldman made the following announcement:
• The Commission will review an annexation and park installation proposal at 2228 East
Main Street,as well as an appeal of staff's denial of a Verizon Wireless tower at the
SOU Science Building,at the July 9, 2024 Regular Meeting.
111. PUBLIC FORUM - None
V. DISCUSSION ITEM
A.SOU Masterplan Background&Update Discussion
Staff Presentation
Mr.Goldman stated that the SOU Masterplan is a guiding document created by SOU, but also
references SOU as a special district and guides how the Commission is to review new development
in the area. Mr.Goldman described how SOU is proposing an update to the current Masterplan,
....................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
Page 1 of 4
In compliance with the Americans with Disabilities Act,if you need special assistance to participate in this meeting,please emailra
j
l s.rt.rti.0 c;.ft4)c sftic rtd.cr.i..a<.Notification 72 hours prior to the meeting will enable the City to make reasonable arrangements to
ensure accessibility to the meeting(28 CFR 35.102-35.104 ADA Title 1).
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which was last updated in 2010,which will then present full changes to the Commission before
submitting them to the Council for approval.
Planning Manager Derek Severson stated that a formal SOU Masterplan update will come back to
the Commission as a legislative action in the Fall of 2024. He described key elements of the original
SOU Masterplan,which included:additional gateways and circulation; shifting student life to the
northside of Siskiyou; refined parking treatment; promoting alternative transportation; faculty
housing; and establishing a mixed-use corridor along Siskiyou Boulevard. Mr. Severson described
how the development of SOU changed since this Masterplan was adopted,such as the faculty
housing being converted into The Farm, and the Jefferson Public Radio (JPR) location shifting to the
Theater Arts building (see attachment#1).
Mr. Severson listed some potential issues as the Masterplan Update progresses,such as:
• Public/Private Partnerships on Campus (Dorms were a PPP with American Campus
Communities)
• Tree Removal Requirements (Could be more like Parks regulations)
• Demolition Process
• (Criteria for typical demolition have to do with waste stream and economically
beneficial re-use)
• Parking &Parking Lots in light of eliminating parking minimums (Potential for solar
Installations)
• Campus Art Installations & Sign Permit Program
• Disposition of University-owned Properties (How to zone/regulate once private)
• University District: Consistent palette of crosswalk markings,wayfinding and festival
street treatment
• LEED certification requirements
• Temporary Uses (such as the Growers Market) & Food Trucks
Questions of Staff
Commissioner Perkinson asked if there had been a discussion to expand the boundary line of the
University District. Mr.Goldman responded that he had been a party to some of those discussions,
but that the current SOU Masterplan does not have an adopted map with defined boundary lines
that would be subject to any wayfinding standards. He added that this could be a broader
discussion outside of the SOU Masterplan update because it would impact private property in the
vicinity.
Commissioner KenCairn asked if SOU has an arborist on staff. Mr. Severson responded that SOU did
in the past,one with which the City had a good working relationship.
....................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
Page 2 of 4
In compliance with the Americans with Disabilities Act,if you need special assistance to participate in this meeting,please emailra
j
l s.rt.rti.rtc..;..(t4)c sftic rtd.cr.i..a<.Notification 72 hours prior to the meeting will enable the City to make reasonable arrangements to
ensure accessibility to the meeting(28 CFR 35.102-35.104 ADA Title 1).
WIIIIW���////r �� ',�q�wi��IIII �IIII �VIII VIII��q w0111 o Viu`'�i uonm" �aIIIIh IIII IIII IIIIh IIII VIII 4�Irk fl�ur�VIII`'�i uonm"IIII � VIII IIII IIID�u�Illi a�l�V��'�'k°��'IY Q�,u�
Applicant Presentation
Alan Harper introduced himself as a land use attorney and a former member of the Commission.
Also present was Jim McNamara from the SOU Facilities Department. Mr. Harper stated that the goal
is to update the community on what SOU has accomplished thus far,and to begin laying the
groundwork for future projects to ensure their success.
Mr. McNamara spoke to the changing nature of the Masterplan,and how some projects succeeded
while others floundered. He noted that one key difference from the current Masterplan was the early
projection of SOU accommodating nearly 6,000 students by this time,while this number has reached
closer to 3,500. Because of this, no new building projects are being proposed, and instead an
emphasis is being made to make SOU a focal point of the community and to foster sustainability. Mr.
Harper emphasized SOU's public outreach to the community as a cornerstone of the Masterplan.
Questions of the Applicant
Chair Verner asked inquired about rumors regarding combing senior housing and student housing
in the future. Mr. Harper responded that this has been implemented in other campuses and being
considered for SOU. Mr. McNamara added that a more diverse student age group for SOU is needed,
which senior housing could assist in achieving. Commissioner MacCracken Jain asked if SOU would
also consider other forms of additional housing, such as affordable housing,as many students find
themselves priced-out of the area. Mr. Harper responded that SOU is willing to innovate and is open
to pursuing all avenues.
Commissioner KenCairn noted that SOU should be held to the same standard as Parks, and
therefore should have a arborist on staff or have some form of contractual agreement to have an
arborist as part of the process.
Commissioner Knauer asked if the current developments surrounding SOU have improved the
student and faculty experience, and how the City could incentivize such developments. Mr. Harper
responded that this could be done by identifying potentially beneficial developments and then using
the zoning process to achieve this while maintaining appropriate oversight.
The Commission discussed including a daycare facility for students with children. Mr. McNamara
responded that SOU does have a daycare facility but that it is relatively small.
Mr. Harper informed the Commission that the SOU team would consult with other stakeholders
before bringing the final product back before the Commission.
B.SOU Business Venture Tournament Team Presentation
....................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
Page 3 of 4
In compliance with the Americans with Disabilities Act,if you need special assistance to participate in this meeting,please emailra
j
l s.rt.rti.rtc..;..(t4)c sftic rtd.cr.i..a<.Notification 72 hours prior to the meeting will enable the City to make reasonable arrangements to
ensure accessibility to the meeting(28 CFR 35.102-35.104 ADA Title 1).
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SOU MBA Program Coordinator Douglas Daley gave a brief background on the history of the
tournament and the struggles most businesses face (see attachment#2). He stated that most
business fail for a variety of reasons, but primarily because the business owners do not have
business backgrounds.This tournament would be open to students of all disciplines to foster ideas
on how best to use the now-vacant Ashland Street Cinema building,with $3,000 going to the
winning student. Mr. Daley described how students were required to attend a tournament workshop,
develop a business venture plan,give a 5-10 minute presentation,and create a one-minute or less
video pitch to market their pitch and receive student votes.
Mr. Daley noted that this "Shark-Tank" style tournament received a limited number of entrants due to
the heavy workload required and the demands of final exams.
Presentation
Holden Hellman introduced herself as an MBA student of SOU and active member of the community.
Her plan involved transforming the Ashland Cinema building into an informal public activity center
she titled Third Space.This would be act as a center for young people to engage with their
communities and build skills that are being lost, such as sewing or gardening. It could also cater to
young children, be leased for small events, and be used to soft-launch other entrepreneurial
ventures.
Jenny Chynoweth stated that the strongest projects are those that can generate funding for
themselves once they have been launched,which would be the primary function behind her
proposal, Rogue Immersive Arts,an immersive venue similar to the Van Gogh exhibit in London. Ms.
Chynoweth described how virtual reality could transform an interior space using lighting, sound,
projection mapping, and interactive displays to attract locals and tourist alike. She noted that the
immersive market is projected to expand by 20% by 2030, benefitting stakeholders and making the
space self-sufficient (see attachment#3).
V1. OPEN DISCUSSION - None
VII. ADJOURNMENT
Meeting adjourned at 7:58 p.m.
Submitted by,
Michael Sullivan, Executive Assistant
....................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
Page 4 of 4
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j
l s.rt.rti.rtc..;..(t4)c sftic rtd.cr.i..a<.Notification 72 hours prior to the meeting will enable the City to make reasonable arrangements to
ensure accessibility to the meeting(28 CFR 35.102-35.104 ADA Title 1).
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Current Master Plan's Vision
for Jefferson Public Radio at the
Corner of Ashland Street & Walker Avenue
(now in Theater Arts on Mountain Avenue)
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Thalden Pavilion at the Center for Sustainability on Walker Avenue (The Farm in the background)
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Changes Since 2010
✓ Residence Halls & Dining Hall ("North Campus Village")
■ Replaced Cascade (SDC credits transferred)
■ Designation of Future Building Envelope along Ashland Street
■ Shift of Residential Population North of Siskiyou
✓ Lithia Pavilion & Student Rec Center
✓ Theater Arts Building (Theater & Jefferson Public Radio)
■ JPR was to have been at Walker/Ashland corner
✓ Siskiyou Arboretum
■ Some lots on Roca have now sold out of SOU ownership
✓ The Farm/Center for Sustainability
Potential Issues/Themes
❑ Public/Private Partnerships on Campus (Dorms were a PPP with American Campus Communities)
❑ Tree Removal Requirements (Could be more like Parks regulations)
❑ Demolition Process
(Criteria for typical demolition have to do with waste stream and economically beneficial re-use)
❑ Parking & Parking Lots in light of eliminating parking minimums (Potential for solar Installations)
❑ Campus Art Installations & Sign Permit Program
❑ Disposition of University-owned Properties (How to zone/regulate once private)
❑ University District: Consistent palette of crosswalk markings, wayfinding and festival street treatment
❑ LEED certification requirements
❑ Temporary Uses (like the Growers Market) & Food Trucks
7
Any Questions ?
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Problem :
New businesses have
about a 50/50 chance of success
65
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INTop Reasons for Failure
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Fail Fall Fail Succeed Market Research
2 5 1 � 10+ � Business Plan
• Financial Support
years years years years 0 Location
I found in my experience that new business owners excel at their
passion but lack sufficient business knowledge and skills to succeed.
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Business Venture Tournament
Open to students from all disciplines, majors, & programs
Student ideas far a $ 3 ,1000
new Venture can win
All participants must attend the Tournament Workshop. The
workshop emulates real-world business needs to [each and
expose students to concepts needed for success.
Future development intended for
graduate students and local communities.
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Four Deliverables
• Business Venture Plan
' Think
• 5t 10-minute in-person presentation Shark Tan . ..��
• 1-minute or less video pitch
• Market the pitch and get student votes
Top Reasons for Failure
y0 Market Research
• Business Plan
The deliverables address the 0 Financial Support
top reasons wl-ry businesses fa-il 0 Location
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Benefactors Jim Teece & Deena Matthews
Sponsor Partnerships
Jim Teece & Dena Matthews
Ashland Food Coop
Southern Oregon Wilderness Adventures
Talent Maker City
SOU Institute of Applied Sustainability
SOU Small Business Development Center
SCORE Jackson County Mentorship
Rogue To-Go I Be the Change
Rogue Valley Women in Business
Larry Sullivan LLC
SEED Collective
Craterworks Maker Space
Scharren Berger Chocolate Maker
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Tournament Objectives
Prepare students for real-life scenarios.
Enrich communities with fresh ideas.
The tournament workshop can assist the planning commission with
fresh ideas for the Ashland Cinema project that are
generated by interested students in the local communities.
A category was added at tha and of Spring Term to generate student ideas for ihe
Cinema project. Unfortunately, finals, grad uatlon and study fatigue contributed to
limited responses. Two students did subm-it ideas who are I-iere today.
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Holden Hellman
MBA Student
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Jenny Chynoweth
MBA Student
Rogue Immersive Arts: Ashland's newest attraction and community center
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may have been one of the first to market in
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Rogue Irnmersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Mission:
To help raise money for local non-profits and community benefit programs, including
youth development and community-based events, through the development and continual
creative and entrepreneurial evolution of a high-tech immersive arts venue with food
service, gift store, and a multimedia maker space inside the former Ashland Street Cinema
property at 1644 Ashland Street.
Vision:
A one-of-a-kind immersive arts event venue that features its own proprietary shows
and experiences that attract visitors and locals alike, including Shakespeare: The immersive
Experience and Southern Oregon: The immersive Experience. The interior spaces will be
transformed through creative design, lighting, sound, projection mapping, interactive
displays, and extended reality experiences. The venue will offer food service and gift shop
opportunities for additional earned income and educational training opportunities.
Key Stakeholders Advisor Board Leadership Structure
Each group contributes its strengths to support programming components:
• City of Ashland
• Ashland Chamber of Commerce
• Southern Oregon University
• Southern Oregon University Foundation
• SOU Youth Development Program
• SOU School of Business
• SOU Institute of Applied Sustainability
• SOU Depts of Digital Media & Emerging Arts and Digital Cinema
• SOU The Farm
• Oregon State University Extension --Jackson County 4-H
• Ashland Food Co-op
• Travel Southern Oregon
• Oregon Shakespeare Festival
• The Tech Interactive
• Southern Oregon Regional Economic Development Inc.
• Business Oregon Digital copy at
lit tps://bit,ly/rogueI"itile rsiveelms
Rogue Immersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Key Stakeholders Advisory Board Leadership Structure
(arranged through bylaws and agreements)
Each group contributes its strengths to support programming components:
• City of Ashland (planning & zoning support, grant collaboration)
• Ashland Chamber of Commerce (support for entrepreneurship programming, grant
collaboration)
• Southern Oregon University (student involvement as hands-on learning
practicum/muitimedia lab, internships, workshops, work-study, and student opportunities =
job experience and job tracks)
• Southern Oregon University Foundation (fundraising event opportunities, grant
collaboration)
• SOU Youth Development Program (summer programs for STEAM workshops)
• SOU School of Business (entrepreneurship programming support)
• SOU Institute of Applied Sustainability (advising on sustainable events elements and
operations incorporated throughout)
• SOU Depts of Digital Media & Emerging Arts and Digital Cinema (supports the
creation of multimedia content development and use of technology)
• SOU The Farm (supports the culinary arts youth education programs and provides
some produce for concessions)
• Oregon State University Extension —Jackson County 4-H (grant collaboration, supports and
provides the legal and educational infrastructure for some of the youth programming for ages
5-19, creative arts, culinary arts, entrepreneurship, community service, science, and
technology, and more)
• Ashland Food Co-op (support for the culinary arts youth programs, food supplier for
concessions)
• Travel Southern Oregon (support for content creation for Southern Oregon: The Immersive
Experience shows including VR tours, augmented reality, and immersive projection mapping
content, grant collaboration)
• Oregon Shakespeare Festival (grant collaboration, support for content creation for
Shakespeare:The immersive Experience shows including VR tours, augmented reality, live
performances, and immersive projection mapping content, fundraising events)
• The Tech interactive (grant collaboration, support for technological aspects of educational,
interactive displays, their head grant writer lives in Ashland)
• Southern Oregon Regional Economic Development Inc. (grant collaboration, support for
sustainable, long-term economic development goals , and helping the local economy rise with
the success of Rogue Immersive Arts programming)
• Business Oregon (grant collaboration, support for venue rentals and brand activations for
businesses)
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Rogue Immersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
What is an Immersive Art Experience?
Travel writer Quintin Willekens (April 2024) explains in his article "Discover the New
Era of Immersive Experiences: 25 Immersive Art Exhibits and Museums Around the
World,"
"An immersive experience involves using technology and the surrounding
environment to transport you into a new, simulated world. immersive
technologies like AR, VR, and projection mapping help change your perception
and make you feel as if you are a part of a different reality."
An immersive experience combines technology, the surrounding environment, and
additional sensory engagement:
• Virtual Reality (VR) uses headsets headsets with programmed content.
• Augmented Reality (AR) uses your smartphone or AR glasses to display
digital content in the real world.
• Mixed Reality (MR) connects both VR and AR to allow you to see and
interact with both real and digital objects.
• Projection mapping systems of projectors turn everything into a screen,
including entire rooms and individual objects.
• Digital displays (floor, walls, kiosks) go beyond traditional screens, using
touch panels and creative LED setups to enhance interactivity and visual
engagement.
• Audio and sensory equipment technologies like spatial audio (31) audio) and
haptic feedback enhance immersion.
• Props, sensory effects, and live performance elements create 4-D
experience opportunities.
https.//rusticpathways.com/inside-rustic/online-magazine/new-era-immersive-experiences-vr-a r-
mr-art-exhibits-museums-worldwide
Digital copy at
httpswt)it,ly/rogueimmersivearts
Rogue Immersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Income Strategies:
• Ticket sales to proprietary shows and experiences
• Venue rental
• Customized media content fees
• Food concessions
• Gift store
• Grant funding
• Individual donations/ membership revenue
Programming:
• Immersive art and digital galleries
• Integrated immersive environments
• Extended reality (XR) experiences (VR, AR, Mixed)
• Interactive and Participatory Art
• Experiential Immersive Center (combo of digital and physical aids to create an
adventure experience)
• Custom content events / "themed experiences to order"
Education:
• Youth education programming utilizing Jackson County 4-H program and SOU Youth
Development department (emerging media, science, technology, engineering,
mathematics, entrepreneurship, community service, design, customer service, culinary
arts, creative content creation, expressive arts)
• SOU college education programming (AR/VR/Mixed Reality course training, workshops,
internships, apprenticeships, work-study)
• Educational immersive experiences (for field trips and groups)
Community:
• Discounted / scholarship venue rental opportunities are reserved for local non-profits
and groups to use for fundraising and outreach events that benefit the community
• Year-round, family-friendly experiences that encourage locals and students to gather,
engage, and learn together.
• Boosts local economy, neighboring small businesses in the same shopping complex, and
Rogue Valley tourism/hospitality businesses by increasing visitor draw to Ashland with
unique attractions
• Oregon Shakespeare Festival benefits from incorporating Shakespeare: The Immersive
Experience shows into their program offerings, creating new interactive content each
season, adding to their earned income and fundraising event opportunities.
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Rogue Immersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Target Market— Paying Customers:
• Millennials (highest demand demographic for immersive experience economy)
• Tourists who come for Oregon Shakespeare Festival events
• Tourists who come to explore Southern Oregon sights
• Local businesses (customized brand activation events and corporate retreats)
• SOU students (discounted tickets)
• Locals looking for evening and weekend entertainment
Target Market— Educational Programming:
• SOU Youth Development: local families
• OSU Extension Jackson County 4-H: local families
• Local school districts: kids and teachers for field trips
Target Market—Community Use:
• Local non-profits (outreach and fundraising events)
• Local groups (gathering/ meeting space)
• Locals only events/ One free event per month
Target Market— Funders:
Grant program categories:
• Creative arts
• Youth development
• Entrepreneurship
• Sustainable development, operations, and tourism
• Capital grants
• Technology
• STEAM education
Digital copy at
fittps://hit.ly/rogcleiiiiEiiersivetirts
Rogue immersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Creating an immersive experience space and feature attraction show is cheaper than
imagined. As estimated in the Market Watch article titled "Van Gogh immersive shows have
become a money-making sensation," "Some producers are aided by the fact that shows can
be created at a relatively modest cost... The initial investment can be around $250,000 in
the digital production itself" (Passy, 2022). One of the reasons that the popular Van Gogh
immersive experiences are attractive to investors is the age of the artist's work. "Helping
matters, Van Gogh's works are in the public domain, so no licensing fees are involved"
(Massy, 2022).
Similarly, Shakespeare's works are in the public domain and, therefore, wide open for SOU
to utilize to create signature immersive experience content that evolves without ever
adding licensing fee expenses. In addition, creating a one-of-kind AR/VR travel experience
highlighting the best of the Rogue Valley region can be created relatively inexpensively
utilizing SOU's students and equipment.
Rogue Immersive Arts has the potential to strategically dominate the category of immersive
arts experiences. This property could be the permanent new home of the United States'
first and best Shakespeare: The immersive Experience. Its second signature show featuring
a VR/AR experience of the Rogue Valley and surrounding wonders could boost tourism and
local economy engagement. Because the event venue space design works not only for
Shakespeare but can also be customized with any multimedia content tailored to paying
clients, the event venue can dominate the rentable spaces category in Southern Oregon.
As for the category of higher learning, having this arts complex and a unique, revenue-
generating show and event venue allows SOU to dominate the category of high-tech, real-
world opportunities for students. The complex also provides a marketing opportunity for
SOU to increase enrollment, as it showcases the best of SOU's programs and resources.
SOU's signature arts complex would offer unique artistic experiences that cannot be found
anywhere else, positioning SOU to dominate in multiple categories beneficial to the
University, students, partners, and the surrounding community.
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Rogue Immersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
One-of-a-Kind Opportunities for Ashland:
The carefully designed venue spaces transform to meet almost any themed experience a
client could want. Multimedia content creation and venue rental packages, purchased
together or a la carte, maximize client options and profit margins. This venue design and
high-tech flexibility will do something that no other immersive experience space does,
which is monetize the space and the technology capabilities as rentals outside the regular
signature ticketed event times.The venue can make money more hours of the day, rather
than sitting idle outside ticketed show times. Instead, the venue has regular, special, and
private showings, attracting customers, visitors, and prospective students year-round as a
new leader in the experience economy.
The creative and sustainable design opportunities for the arts complex make unused spaces
into something new, saturated with active, ever-changing art, desirable places to
congregate, and over-the-top creative and technological amenities not accessible anywhere
else. The depth to which Rogue Immersive Arts can go to showcase a commitment to arts,
creative entrepreneurship, and sustainability could help provide a more secure financial
future for every department of the University.
Some spaces could also be dedicated to artist/maker/student Pop-Up Shops that encourage
entrepreneurship by making retail space affordable and flexible. Budding entrepreneurs
could test the market with their products and gain valuable feedback through Pop-Up Shop
events. Local artists, makers, and 4-H kids age 10+ could also participate in the Pop-Up Shop
mall program to create retail opportunities that are not otherwise available.
Rogue Immersive Arts could create this venue complex without demolishing any buildings
or constructing new ones. Funding sources such as grants and refurbishment funds could be
directed to redesigning unused or outdated spaces for alternative use as revenue-
generating spaces. Updating HVAC systems to utilize solar power (if allowed) and smart
thermostat controls for individually controlled spaces while in use are just some examples
of sustainable design practices that could be implemented throughout.The entire arts
complex becomes an earned income source and a new shining star attraction.
Digital copy at
littp s://bit,ly/rush ei rairrn e rsive arts
Rogue Immersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
SWOT Analysis:
Strengths:
• The former cinema complex is already designed for this type of use (spaces can be easily
modified to be mixed-use).Technology and interior space modification would be the primary
start-up investments.
• A non-profit structure allows multiple parties to collaborate for mutual benefit, creating a
stronger grant funding position for the entire project.
• Earned income strategies through ticket sales, food concessions, and merchandise offset the
pressure to keep this immersive arts and community center funded purely from grants and
donations.
• Immersive arts, education, and community center programming allow the property to be
active daily year-round for public benefit and income generation.
• Dedicated multimedia maker space offers educational workshops, after-school activities,
community service opportunities, and hands-on learning experiences for youth middle school,
high school, and college students.
• It helps local nonprofits raise money through customized events and grant funding
opportunities for mutual projects.The gift store also creates entrepreneurial start-up
opportunities for local small business owners.
Weaknesses;
• Involves delayed process of recruiting Board from participating key stakeholders, forming a non-
profit organization, applying for and securing grant funding, hiring key staff, etc.
• Involves creating proprietary content, shows, and experiences that involve a lot of creative
troubleshooting.
Opportunities:
• Oregon Shakespeare Festival and Travel Southern Oregon are already working to increase
tourism draw.This creates proprietary experience opportunities that capitalize on existing
community assets.
• SOU subcontractor, Left Field Innovations, LLC, is a local company specializing in creating
immersive environments for private and public events and corporate brand activations
worldwide. The owner is willing to contribute a property walk-through for space and technology
designs for this property. LFI is available for a request for a project proposal for the full redesign,
build-out of the property interiors, technology system design, and all other specialty installations.
Threats:
• The property is currently for sale on the open market and could be sold to another party at any
time during the venture development phase.
• Annual property tax is about$103,000, not including mortgage, insurance, etc.The pressure to
generate sustainable income from ticket sales and venue rental fees is substantial.
• Logistically challenging to manage multiple youth education programs, community events, and
branded experiences.
• Demand for shows, venue rentals, and community events could eventually exceed the building
capacity. Digjtal copy c)t
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RogueImmersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Next Steps for Venture Development:
• Schedule property walk-through with stakeholders and
Chris Draheim, owner of Left Field Innovations, LLC, to
start an initial feasibility study and general start-up
budget for design/construction/technology installation.
• Identify and recruit key stakeholders for mutual
collaboration (pitch meetings, workshops, planning
sessions)
Develop pitch proposal and market research into full
start--up business plan with outreach materials
• Schedule a research session with Roslyn Donald, Jackson
County Business Librarian, to compile grant funding and
donor opportunities for start-up and first years of
operation until earned income and regular funding offset
expenses
Digital copy at
Iittl)s://hit.ly/i-ogtjeiiiiE-netsivearts
Roigue Irnmersive Arts
I
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Market Research on immersive Experience Industry
The proposed venue and signature events capitalize on experiential art's growing
popularity and! revenue capacity. "Experiential art refers to installations or exhibitions
aiming to deliver an immersive experience to the audience by relying on a range of new
media, such as projections, videos, VR (virtual reality);, or AR (augmented reality)
technologies" (Statista, 2022). Immersive experiences are exhibitions that "bring art to life
through immersive, digital experiences that project the pictures within massive spaces"
(Passy, 2022). So far, the leaders of this rising new industry have focused their business
model on traveling exhibits using temporarily converted venue spaces that require
substantial customized setup and modification with each move,.
One of the first to develop and break through in this new industry is Lighthouse's
immersive Van Gogh Exhibit. "This is a new genre," says one of their producers (Passy,
2022). This new genre is shaking up the experience economy, and those looking to
capitalize on the high-profit margin potential are paying close attention and jumping on
board. "Investors are pouring hundreds of millions, of dollars into ticketed experiences —
immersive, interactive museum-Nike spaces that don't have the do-not-touch stuffiness of
traditional museums" (Salmon, 2021),
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Rogue Immersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Market Research on the Immersive Experience Industry
Soon, copycat augmented reality immersive experience companies popped up around the
United States, exploiting the original show's popularity, and launching their versions
featuring artists with public domain content they could produce cheaply. Despite the
competition, the Lighthouse Immersive Van Gogh Exhibit sold millions of tickets over the
past few years, generating over $250 million in revenue and tens of millions in additional
tourism revenue for the cities of the traveling exhibitions (Passy, 2022). The signature
attraction revenue has cash cascade effects for the local economy, providing even more
public benefit.
An excellent example of the cascade effects of immersive entertainment happened in
Charlotte, North Carolina, where the estimated local economic impact of the limited run of
the Immersive Van Gogh Exhibit was more than $40 million, including the tourism, hotels,
parking, dining, and other income generated from the ticket buyers (Blumenthal Performing
Arts, 2022). This growing experience economy is more than just a trend in the United
States.The demand for immersive experiences is also booming internationally, and
investors are grossing big profits. For example, between June 2018 and May 2019, two
immersive art spaces opened in Tokyo, teamLab Borderless and teamLab Planets, which
recorded a combined attendance of roughly 3.55 million. Over that period, the two venues
hosting the digital works created by the Japan-based art collective teamLab recorded
around 69 million and 37.5 million U.S. dollars in gross sales, respectively" (Statista, 2022).
So many cities are keen on partnering with immersive experience providers, knowing the
economic benefit it will bring to the venue space landlords, valuable partners, neighbors,
and other small business owners. Strong local economies are sustainable economies. A
booming immersive arts complex would support many more partners and small businesses
in Ashland while showcasing the best of what Southern Oregon University and Southern
Oregon, in general, have to offer.
The Oregon Shakespeare Festival attracts annual visitors from around the world and local
repeat fans. Since Shakespeare's works are in the public domain and available without
licensing price tags, SOU's development of a signature Shakespeare:.The Immersive
Experience capitalizes on this adjacent and existing market. Shakespeare fans number in the
millions across the world. Rogue Immersive Arts can tap into the experience economy
market and the Shakespeare fanbase market by partnering with the Oregon Shakespeare
Festival to create one-of-a-kind immersive experiences with live performance elements that
can create a more stable financial future for both organizations as well as local supporting
small businesses that benefit from added visitor revenue.
Digital copy at
https://bit.ly/fOgLjeiiitrtiersivearts
Rogue Irnmersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland, Street Cinerna Property
by Jenny Chynoweth
Market Research on the Irnmersive Experience Industry
As of 2024, 1131SWorld industry predictions report that admission to live performing
arts events is a 22 billion dollar per year industry. This predicted number should grow as
"demand for live events has skyrocketed since CO,VID-19 lockdown" (1131SWorld, 2024, p.
10). That means investing in this market category now could have potentially high-rate
payoffs for many years. "Continued demand for live event experiences and new investment
in alternative consumption options will drive industry revenue growth moving forward. As
tech-savvy generations, which are increasingly embracing culture and creation, continue to
advance the live event space, growth will follow. Following a period of instability (during the
COVID-19 lockdown), profit is expected to remain steady as favorable demand conditions
sustain demand for promoters...
Over the next few years, demand will be driven by a sustained economic recovery...
reaching $39.5 billion in 2028 (IBISWorld, 2024, p. 14). These events are made possible by
the explosion of immersive technology, which is now widely available. "Precedence
Research estimates that the immersive technology market will grow to USCI 138,18 billion
by 2030. In 2021, it was USID 21.66 billion, so this suggests a compound annual growth rate
of 22.46% from 2022 to 2030"' (Tullin, 2024). This technology creates entrepreneurial
opportunities to pair the technology with live events to meet growing market demand.
"Location-based experiences such as VR (virtual, reality) and mixed reality are both
expected to grow significantly. In fact, "a total of 755 new immersive experiences and
shows were catalogued in 2019 alone" (Tullin, 2024). Creating an eye-popping immersive
arts complex could allow Rogue Immiersive Arts to capitalize on this growth wave and be a
leader in sustainability while meeting the market's growing demand.
Other examples of successful immersive arts venues and installations include:
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Rogue Irnmersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Market Research on the Immersive Experience Industry
Venue Rental and Customizable Immersive Experiences
The strategic design of Rogue Immersive Arts mixed reality venue offers what no other
business is offering the growing market: an immersive experience space that can customize the
multimedia content for the client, bringing to life anything they might imagine with the help of
designers and event planners who can make event dreams to life. So,for example, the companies
who designed the Van Gogh exhibits built traveling set pieces and installations around a one-show
theme,and they were always limited to working around the architecture and restrictions of the
building(s)they were leasing, forced to create a different venue within a venue with each move.
These space restrictions limit these augmented reality companies from being able to transition the
space to another theme or offer clients service packages with new experience content. Thus,the
Van Gogh experiences are more akin to high-tech, traveling museum exhibitions rather than taking
full advantage of revenue-generating opportunities, creating in-demand, rentable spaces outside
show mode. "Digital technologies offer much faster and more personalized experiences, insights,
and touchpoint interactions.The virtually created spaces can adapt much more to individual
preferences, resulting in an incredible diversity in consumer engagement. Real and virtual worlds
will undoubtedly merge,and we are only at the beginning of this journey" (Weiss, 2023).
Private clients who want to create personalized events for celebrations, non-profit
organizations who need to create compelling fundraising events, corporate businesses who wish to
create their own branded event experiences, student and group artistic showcases, live
performance promoters who desire customized content, wedding clients who want one-of-a-kind
augmented reality content, all of these customer types could be Rogue Immersive Arts' new target
market for this venture. Indeed, the growing demand for this new service is drawing attention.
"These technologies are being deployed in multiple industries not just as immersive experiences and
entertainment but they are offering new possibilities for how we tell stories and engage audiences...
The increasing affordability and applications of these technologies is helping to drive their use in
individual sectors such as entertainment, education, and the games industries" (Tullin, 2024).
One of the most important target markets for immersive arts experience ticket buyers and
the future market for venue rentals is the millennial generation. Remix Summit explains in the web
article titled "What is driving the growth of immersive experiences?" that "Millennials are the most
powerful consumer cohort in history. Millennials love the experience economy and immersive
experience providers are well placed to benefit from their spend" (Tullin, 2024).As impressed
customers, the generations actively engaged in social media are highly influential marketing allies.
"Something very powerful (for) immersive companies is (millennials') ability to leverage their tribal
fan bases and social followings to fund their growth above and beyond more conventional
investment" (Tullin, 2024). Younger generations want their in-person experiences to interact with
their online experiences, real life and digital life overlapping.
Digital coley at
httl)s://I)it.ly/rogtieirti riiersivea its
Rogue Irnmersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
Developing new revenue strategies that align with branding and marketing goals requires
careful, risk assessment for experimentation. One of the tools taught in SOU's MBA Marketing
Strategies course is the Ansoff Matrix. "The Ansoff Matrix can, be used to categorize an existing
strategy, to determine risk associated with a new or proposed strategy, or to develop new
strategies— The matrix considers products or services in comparison to the markets the company
proposes to serve" and assesses associated risks with each strategy from low to moderate to high
(Wayland, M., & Wayland, M. S., 2015, p. 151), For example, strategies focusing solely on increasing
Student enrollment to generate more revenue would be categorized as "market penetration" on the
Ansoff Matrix. "Market penetration" is the lowest risk category by serving existing markets with
existing services(Wayland, M., & Wayland, M.S., 2015, p. 151). Maximizing student enrollment at
SOU is a strategy that takes time and depends on solving the current marketing and financial crisis.
So, while the tuition fees-for-service revenue model is well worth building over time with strategic
marketing, it is not enough to solve SOU's short-term problems. Low risk is a low reward in this case.
"Market development," as categorized by the Ansoff Matrix, is a moderate risk strategy because you
are trying to bring your existing service to a new customer market.There are inherent challenges, of
course, in reaching a new customer market, "Due diligence indicates that the market has a need for
the service, but the provider must repackage its marketing materials and other aspects of its
business to meet the needs of the new market" (Wayland, M., & Wayland, M. S., 2015, p., 151).
Immersive Arts Complex
Venture Opportunities Using the Ansoff Matrix
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Rogue Immersive Arts
Venture Proposal for City of Ashland Planning Commission for
Repurposing of Ashland Street Cinema Property
by Jenny Chynoweth
References:
Ansoff Matrix Chart Graphic. Professional Academy: Marketing Strategies Explained.
https://www.professionaIacademy.com/blcgs/ma rketing-theories-explaining-the-ansoff-matrix/)
IBISWorld. (2024,January).Concert and event promotion in the US. IBISWorld Industry
Report 71133. Retrieved February 6, 2024, from IBISWorld database.
Immersive Van Gogh (2024).The original immersive Van Gogh exhibit: Created by
Massilmiliano Siccardi. https://www.immersivevangogh.com/
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