P H OTO G R A P H : D O M E O F S TAT I O N B U I L D I N G . ( C U T P R O G R E S S P H OTO G R A P H S C O L L E C T I O N , S C #3 19 _ 2 14) . C I N C I N N AT I M U S E U M C E N T E R , C I N C I N N AT I H I S TO R Y L I B R A R Y A N D A R C H I V E S .

43

We’ve been designing Cincinnati’s

built environment for more than 200
years, trying out trendy architectural
styles and popularizing some of our
own. All the while we reconsider,
reconfigure, and rehabilitate what’s
come before, blending the past and
the future into what feels like home.

BY
KATIE COBURN, JOHN FOX, KAILEIGH PEYTON,
KEVIN SCHULTZ, AND AMANDA BOYD WALTERS
 Built Original Use Current Use Architectural Style
Circa 1820 Private home Museum Federal in the Palladian style

Significance Designated as a National Historic Landmark in 1976, this stately downtown residence-turned-museum was originally
commissioned by businessman and two-term Cincinnati mayor Martin Baum, though a financial crisis meant he couldn’t complete
the project. Prominent Cincinnati lawyer and winemaker Nicholas Longworth acquired the residence in 1829 and notably hired
African-American artist Robert S. Duncanson to paint the foyer’s still-intact and carefully preserved landscape murals. Iron tycoon
David Sinton later bought the house and passed it to his daughter Anna. She and her husband, Charles P. Taft, half-brother of William
H. Taft (who famously made his presidential nomination acceptance speech from the home’s portico in 1908), filled the home with
what was then one of the world’s most valuable art collections. They donated the home and art to the people of Cincinnati, opening
the museum to the public in 1932.

Next The Taft marks its bicentennial by refurbishing the building’s exterior siding; removing, repairing, and reinstalling windows and
shutters; and overhauling its ventilation system to better regulate temperature and humidity. The historic galleries will be closed
October 2020 through February 2021, but approximately 80 works from the museum’s permanent collection will remain on display in
the Fifth Third Gallery throughout the process.

P H O T O G R A P H : M U S I C R O O M , H O M E O F C H A R L E S A N D A N N A T A F T, A B O U T 1 9 2 5 . C O U R T E S Y O F T H E T A F T M U S E U M O F A R T A R C H I V E S
 45

PAINTED LADIES, TUSCULUM

AVENUE, COLUMBIA-TUSCULUM
Built Original Use Current Use
1880s–1910s Private homes Same

Architectural Style Victorian and Queen Anne

Significance Cincinnati’s very first residential

settlement is one of many neighborhoods that
embraced this design style at the turn of the
20th century. Colorful paint details bring extra
attention to intricate woodwork trim along a
hilly street just uphill from Columbia Parkway.

HANNAFORD MANSION, CLASSIC ITALIANATE, 12TH AND

BROOKLINE AVENUE, CLIFTON VINE STS., OVER-THE-RHINE
Built Original Use Current Use Built Original Use Current Use
1894 Private home Clifton branch, 1850–1900 Homes, retail stores, Same
Public Library of bars, restaurants
Cincinnati and
Hamilton County Architectural Style Italianate brick

Architectural Style Châteauesque sandstone Significance If there’s one architectural style

Cincinnati is known for, it’s Italianate. Over-
Significance One of 20 local homes designed the-Rhine has the finest concentration of intact
by Samuel Hannaford between 1862 and 1896, Italianate buildings in the U.S., but you’ll find
these mansions dotted emerging suburban them everywhere from Newport to Camp Wash-
villages like Clifton, Price Hill, and Northside. ington. The corner structure housing Taste of
Built for George “Boss” Cox, Cincinnati’s corrupt Belgium is one of the oldest surviving buildings
political fixer of the time, this home later served in OTR; it and the row of buildings north of 12th
as a UC fraternity house until a 2015 restoration Street were among the 3CDC’s first renovation
turned it into the neighborhood’s public library. projects.

Architectural Style
Federal with touches of
Greek Revival

Significance The
oldest surviving brick
building in Northern
Kentucky was built by
Thomas Carneal, one of
Covington’s founders,
though he never lived
in it. The Greek-style
columns here and on
neighboring homes in
the Licking Riverside
Historic District offered
CARNEAL HOUSE, SECOND STREET, COVINGTON a touch a class in the
frontier era.
Built Original Use Current Use
1815 Private home Same

P H OTO G R A P H S ( TO P ) BY B R I T TA N Y D E X T E R / ( M I D D L E ) BY PA I S L E Y S TO N E / ( B OT TO M ) C O U R T E SY K E N TO N C O U N T Y P U B L I C L I B R A R Y / I L LU S T R AT I O N BY C AT S I M S
 INGALLS BUILDING, FOURTH AND
VINE STS., DOWNTOWN
Built Original Use Current Use
1903 Office tower Converting to hotel

Architectural Style Beaux Arts

Significance This unassuming building is the

world’s very first reinforced concrete skyscraper.
Skeptics thought the 15-story tower would col-
lapse under its own weight or get blown over by
wind, but architects were intrigued by concrete’s
fire-resistance and noise-dampening strengths as
well as lower construction costs. And it still stands
100-plus years later.

Next Courtyard by Marriott (with a bar, food

market, and meeting rooms) is expected to open
by the end of the year.

P H OTO G R A P H S ( TO P ) BY C I N C I N N AT I M U S E U M C E N T E R /G E T T Y I M AG E S / ( B OT TO M ) BY PA I S L E Y S TO N E
 47

Carew Tower, Fifth and

Vine Sts., downtown
Built Original Use Mixed-use urban complex Current Use Although landmark tenants like
1930 with retail, restaurant, and office space, Mabley & Carew and H&S Pogue Company no lon-
plus a hotel ger call Carew Tower home, around 40 businesses
do, including Hellman Clothiers, Paragon Salon,
Architectural Style Dramatic Art Deco skyscraper Cincinnati Magazine, Frisch’s Big Boy, Hammond
with ornate interior details, including lavish metal- Law Group, and, of course, the Hilton Cincinnati
work, murals, inlaid Rookwood Pottery tiles, and Netherland Plaza. Four retail spaces and 17 floors
polished wood and marble finishes are currently vacant.

Significance At 49 stories and 574 feet tall, Carew Tower reigned as Cincinnati’s tallest building until 2011,
when Great American Tower was completed. Registered as a National Historic Landmark, it was the first
large-scale mixed-use commercial development of its kind in the U.S., known as a “city within a city.”

Next According to USA Today, owners submitted plans in 2017 to convert part of the building into condo
units. Carew management declined to comment on the status of future development.

MUSIC HALL, ELM STREET,

OVER-THE-RHINE
Built Original Use Current Use
1878 Public entertainment Same

Architectural Style Victorian Gothic

Significance Samuel Hannaford’s masterpiece is

likely Cincinnati’s most important and best-known
building. It’s a cathedral to the arts and culture;
home for symphony, opera, ballet, and May
Festival performances; and the cornerstone of
Over-the-Rhine’s renaissance.

Next The recent $143 million renovation assures

that Music Hall will continue to inspire and delight
Cincinnatians long after we’re all gone.

Significance Despite
spectacular exterior and
interior design work,
TIMES-STAR BUILDING, EIGHTH Union Terminal was a
AND BROADWAY STS., DOWNTOWN little late to the heyday
of passenger train travel
Built Original Use Current Use and a little too far from
1933 Newspaper presses Hamilton County downtown to spur devel-
and offices courts and offices opment. Its current life
as home to five muse-
ums and an OMNIMAX
Architectural Style Art Deco
movie theater, though,
Significance This building was commissioned is Cincinnati’s best
example of “adaptive
by the Taft family to house Cincinnati’s third daily
newspaper, The Times-Star. Its decorative details, reuse”—boosted by a
from ornate front doors and lobby to stylized carv- 2014 sales tax levy that
funded most of the $228
ings of animals and historic figures, reward close
million upgrade.
UNION TERMINAL, WEST END
observation. The pyramid roof would later inspire
Procter & Gamble’s twin tower design.
Next Rehabbed exhibit
Next Hamilton County has considered selling the Built Original Use Current Use Architectural Style space will continue to
building. Could a developer swoop in and convert 1933 Train station Cincinnati Art Deco come back online
it to residential? Stay tuned. Museum Center throughout this year.

I L LU S T R AT I O N BY C AT S I M S / P H OTO G R A P H C O U R T E SY C I N C I N N AT I M U S E U M C E N T E R

A RENAISSANCE
MAN
Architect Kurt Platte embraces the design and funding
challenges inherent in Over-the-Rhine historic renova-
tions. — S T E V E N RO SE N
P H O T O G R A P H B Y A A R O N M . C O N W AY
URT PLATTE, FOUNDER
of Over-the-Rhine-based
Platte Architecture + Design,
has a soft spot for the historic
neighborhood. As an undergraduate archi-
tecture student at Miami University in the
1980s, his first project was reimagining a
whole block of OTR along Vine Street. “So
Over-the-Rhine was pretty dear to my
heart,” he says in the conference room of
his sleekly modernist offices near Findlay
Market. “But it sure didn’t look like the re-
naissance that would save Over-the-Rhine
was going to happen in my lifetime.”
The renaissance is in fact happening, and
now entering a busy new decade. Platte and

his staff of 20—includ-
ing architects, designers, a “That’s the beauty of Over-the-
bookkeeper, and a manag- Rhine. It’s mixed everything.”
ing director, plus a drone—
partner with developers,
contractors, or individual
clients on projects. They don’t work exclu-
sively in Over-the-Rhine, but they’re ex-
cited to play a high-profile role there.
Platte recently completed the 3CDC-
developed Elm Industries Building, actually
three joined-together separate structures
centered at 1537 Race St. The former car-
riage and wagon manufacturing facility was
converted to office and retail space using
federal historic tax credits. “When you do
a building that has historic tax credits, you
just say There are certain things we’re not do-
ing,” says Platte.“We’re not doing roof decks
that change the roofline, not exposing brick
unless it was exposed, not dry-walling over
brick, not moving staircases. Any vertical
circulation has to remain there.”
The design challenges are worth it,
though, Platte says, because tax credits of-
ten cover a portion of renovation costs and
put developers in better financial shape to
borrow the remainder.“A lot of projects here
would not exist if those weren’t available.
You may win at the state level, which is su-
per competitive, or you may not, but OTR
projects can usually get the federal [credits].”
In the third-floor kitchen space at Elm
Industries, not far from newly installed
vents that run below the roofline, is a large
pulley wheel attached to the original wood-
en support beams. That kind of embedded
artifact, often a feature in Over-the-Rhine
49
restorations, is something Platte enjoys
adding to his projects.
With historic residential buildings, an
ongoing issue is figuring out where people
put their 21st century stuff—including
cars—in 19th century buildings. Platte
came up with a creative parking solution
for condos in the Market Square project
along the 1800 block of Race, which the
Model Group developed. “It was an existing
building and we were able to carve out the
back, which mostly used to be residential,
and put garage doors off Goose Alley into
the rear of these buildings,” he says. Be-
cause there was room, he was able to install
mechanical lifts to stack one car above the
other, turning some two-car garages into
four-car ones and single car garages into
two-car ones.
The variety of Platte’s projects reflects
the neighborhood itself: converting an old
Pendleton mechanic’s shop into the Lucius
Q barbecue restaurant (before and after, be-
low), combining three vacant buildings near
Washington Park with a new infill structure
for the Saengerhalle office project, designing
a new single-family home on narrow Pleas-
ant Street with a tunnel through the facade
to access a rear auto courtyard. “That’s the
beauty of Over-the-Rhine,” he says.“It’s not
just mixed generationally, socioeconomi-
cally, and ethnically. It’s mixed everything.”
P H OTO G R A P H S C O U R T E SY P L AT T E A R C H I T E C T U R E + D E S I G N
BUNGALOW, VERNE AVENUE, OAKLEY
Built Original Use Current Use Architectural Style
1924 Private home Same Craftsman Bungalow

Significance These
simple one-and-a-half
story houses sprang
up as starter homes in
Norwood, Oakley, Pleas-
ant Ridge, Bellevue, and
other neighborhoods
seeing explosive growth
in the early 20th century.
Most have a first floor
exterior of brick or stone,
topped by wood shingles,
clapboard, or siding.

MCM, LINCOLN ROAD, WHITE OAK

Built Original Use Current Use Architectural Style
1962 Private home Same Mid-Century Modern

Significance For a few

decades, architectural
disciples and contem-
poraries of Frank Lloyd
Wright designed a num-
ber of modest single-sto-
ry, open-floor-plan homes
in Wyoming, Finneytown,
Green Township, and
other inner-ring suburbs.
Today’s home buyers have
developed a serious crush
on the MCM look.

KIT HOME, HEREFORD STREET, HARTWELL

Built Original Use Current Use Architectural Style
1924 Private home Same Sears Kit Home
(Americus model)

Significance More than

1,000 of these pre-WWII
homes were built across
the area, chosen from
the Sears catalog. Before
1930, most were built by
the owners themselves,
then Sears started con-
necting them with local
contractors. Cincinnati
became a kit home hotbed
because a Sears subsid-
iary in Norwood did much
of the manufacturing.

P H OTO G R A P H S ( TO P ) BY B R I T TA N Y D E X T E R / ( M I D D L E ) C O U R T E SY S U S A N R I S S OV E R / ( B OT TO M ) BY J E N K AWA N A R I
 51

Covington-
Newport
Townhouse, Greer
Street, Covington
Built Original Use Current Use
1850s–1890s Single-family home Single-family or
multifamily dwelling

Architectural Style Italianate, featuring oversized ornate cornices

on the front facade and detailed molding over windows and doors, often
made of limestone.

Significance Northern Kentucky’s river cities were booming in the mid-

to late 1800s, and the area’s large number of skilled German-American
masons constructed these brick townhouses across the urban core to
house a skyrocketing population. Due to small lot sizes in dense neighbor-
hoods, these houses feature side entryways leading to a front room (living
room), back room (typically the kitchen), and a staircase to a second floor.
The side entry created a semiprivate alley away from the street, allowed
inhabitants to maximize space in the front entertainment room, and
enabled them to bypass that room after a long (and dirty) work shift.

Next Many were split into multifamily units throughout the 1900s but are
now being renovated and converted back into single-family dwellings.

TUDOR, URWILER AVENUE, WESTWOOD

Built Original Use Current Use
1928 Private home Same

Architectural Style Tudor Revival

Significance This home style swept Cincinnati and Northern Kentucky

neighborhoods in the early 20th century, featuring exposed timbers; brick,
stone, or stucco exterior walls; and steeply pitched roofs. They came in
various sizes, from starter homes to mansions, and were said to resemble
English country cottages.

P H OTO G R A P H BY D E V Y N G L I S TA / I L LU S T R AT I O N BY C AT S I M S
 DESIGNS ON
THE FUTURE
DAAP architecture students are taught to think outside of the computer and to keep
their options open. — L E Y L A SHOKO OH E

RCHITECTS FOCUS ON
more than just the physical
buildings we inhabit. They
consider human interac-
tions with and within each space and
how a space fits in context with the rest
of the street, city, and world. Within the
University of Cincinnati’s College of
Design, Architecture, Art, and Planning
(DAAP), the School of Architecture and
Interior Design (SAID) takes a—par-
don the pun—building block approach
to training the field’s next generation.
“Our focus, especially at the under-
graduate level, [really goes] back to ba-
sics—critical thinking, design thinking,
problem-solving—that are much more
universal components,” says Melanie
Swick, DAAP’s undergraduate archi-
tecture program coordinator and an as-
sistant professor. “Then when you’re in
a particular project and looking to solve
some of the basic challenges, you have
the tools to do that.”
Those basic tools are built into fresh-
man year “foundations” courses and el-
emental design labs that the rest of un-
dergraduate coursework is predicated
upon. “All first year, everything is done
by hand,” says Sam Sepaniak, a second-
year architecture student. “It makes
sense, because it teaches you a different
way to design, rather than being trapped
in the computer, which I like a lot.”
DAAP’s bachelor of science in ar-
chitecture program features an intense,
four-year curriculum, with three re-

P H O T O G R A P H B Y A A R O N M . C O N W AY

quired semester-long cooperative
education experiences. The co-op it-
self—which sends students to spend
a semester working 35 hours a week
in paid positions—is a UC inven-
tion, dating back to 1906. Students
get their first assignment in the
spring of their sophomore year, then
alternate semesters working and do-
ing coursework thereafter. The real-
world experience and exposure to
prospective employers make co-ops
attractive for students considering
DAAP, which in 2012 was ranked the
No. 3 design school in the world by
Business Insider. “It was a huge drive
for me that UC had co-ops because
I feel like nowadays you can have the
grades and the projects and every-
thing, but what makes you stand out
to [prospective] employers is your
experience,” says Sepaniak.
Preparing students for the real
world in-house is a delicate balanc-
ing act. Hand-design skills are im-
portant, but so is learning how to use
software like AutoCAD, Revit, and
Rhino, while remembering the field’s
fundamental purpose is putting roofs
over our collective heads.“The obvi-
ous changes [in this field] are digital
fabrication, technology, how work is
produced,” says Ed Mitchell, associ-
ate professor and director of SAID.
“We don’t see ourselves as just tech-
nical people. We’re trying to create
themes and narratives that guide de-
sign decisions. That’s a really diffi-
cult thing to learn, but a fundamental
skill to an architect.”
Architecture principles bleed
into other design fields, and an in-
creasingly expansive educational
approach—a new architectural en-
gineering degree in UC’s College of
Engineering and Applied Science, for
example—helps broaden the hori-
zon of post-graduate career options.
“Some DAAP architect graduates go
into landscape design or experien-
tial design and pop-up shops,” says
Sepaniak. “People design sets for
Coachella and music festivals. There
are lots of different opportunities for
architects these days.”
53
MANAGING
» Beth Johnson, who joined the City of Cincinnati
as urban conservator in 2016, has a window to the
CHANGE
mistakes of the past. Literally. Her office overlooks
Queensgate, once the site of Kenyon-Barr, a his-
torically African-American neighborhood that
was emptied and razed in the 1960s under the
Beth Johnson juggles the past, guise of urban renewal. We spoke with Johnson
the present, and the future to about the nature of her work and how it impacts
the architecture that defines our city today.
keep Cincinnati’s architectural
fabric intact. CAN YOU GIVE ME A THUMBNAIL EXPLANATION OF WHAT
THE HISTORIC CONSERVATION OFFICE DOES? Every
— L I N DA VAC C A R I E L L O
historic district and historic landmark has conservation
guidelines that help the architect or designer know what’s
appropriate. Our staff works with designers, architects,
owners, and developers to make sure that changes they
make follow those guidelines.
WHAT’S THE DIFFERENCE BETWEEN CONSERVATION AND PRESERVATION? Conservation is about managing change
[through] adaptive reuse or rehabilitation. Preservation is about keeping it as it is.
FOR EXAMPLE? The Harriet Beecher Stowe House is more a matter of preservation—they’re trying to represent
what the house was like when Stowe was there. A good example of conservation is Music Hall, a rehabilitation
project where there were changes to the building to make it a better use for the current tenants.
YOU CAME HERE AFTER SERVING AS DEPUTY HISTORIC PRESERVATION OFFICER FOR AUSTIN, TEXAS. WERE THERE
ANY SURPRISES, ARCHITECTURALLY SPEAKING, WHEN YOU TOOK THIS JOB? I grew up in Dayton and had worked
in Covington. When I came back to the area, I considered this my home. But I do remember when I first came to
interview for the job in Covington, I was just overwhelmed by the amount of Italianate architecture. It was just
overwhelming the amount of [historic] fabric that exists on both sides of the river.
THE MOST CONTENTIOUS RECENT ISSUE WAS CERTAINLY THE DEMOLITION OF THE DENNISON HOTEL DOWNTOWN.
THAT WAS WHEN YOU WERE NEW ON THE JOB. It was
within the first month of me starting. So, you know,
baptism by fire. In historic preservation you don’t
always win every case, but what I learned was that the
historic preservationists here are amazing.
IN AREAS LIKE OVER-THE-RHINE, WHERE REHABBING
OLD PROPERTIES AND NEW INFILL CONSTRUCTION ARE
BOTH GOING ON, WHAT ARE YOUR CONCERNS WHEN
PROPOSALS COME TO YOU? Our guidelines address
things like window placement, materials, setbacks,
and verticality, because OTR buildings tend to be taller
than they are wide. Basically, what elements should be
incorporated into the building. We don’t expect new
buildings to be built in an Italianate style. We don’t want
to create a false sense of history. We look at compat-
ibility. We want people to be able to look at a building
and say it fits in and supports the historic district.
IN THE DAYTON STREET HISTORIC DISTRICT IN THE WEST
END, SOMEONE IS ATTEMPTING TO TURN A CHURCH
INTO A CLIMBING GYM. WHAT’S THE CONSERVATION-
IST’S VIEW? Churches are really hard to reuse, and
part of the challenge is figuring out how to program
them. We’ve had some successes in Over-the-Rhine
with The Transept and Taft’s Ale House. But you have to
be creative. When the people working on the climbing
gym came to me, I said, Yes, let’s see how we can make this work. I really hope that they’re successful. Churches
are landmarks in these communities. The steeples are part of the skyline.
AS YOU LEARN ABOUT CINCINNATI’S HISTORY, ARE THERE THINGS WE’VE LOST IN THE PAST THAT MAKE YOU
THINK, WE CAN’T LET THAT HAPPEN AGAIN? Every day I look over there [at Queensgate]. That’s a whole neigh-
borhood [Kenyon-Barr] lost, and we’ll never get it back. And I know that’s still having repercussions generations
later on the people who lived there.
I L LU S T R AT I O N BY L A R S L E E TA R U
Bavarian Brewing Company /
Kenton County Government
Center, Covington
Built Original Use Current Use
1903–1909, 2019 Brewery Kenton County offices

Architectural Style Romanesque; the contemporary addition takes inspiration

from the original’s curved walls and window placement

Significance Covington’s Bavarian Brewing Company was a big player in the beer business for 100
years. Its remaining castle-like structure features brick corbeling, a crenelated parapet wall, and a tow-
er. Kenton County stepped in when the owner wanted to demolish the building, which housed a nightclub
in the late 1990s and early 2000s. Now it’s attached to the new Kenton County Government Center by a
glass-walled connector and ramps. While preserving a historic building wasn’t the point of the project,
Kenton County Judge/Executive Kris Knochelmann says, “It was a nice benefit.”

Next Creating a community gathering place. “The Riedlin-Schott Room will hold 150 people, and it will
be a community space,” says Knochelmann, praising Ried Schott, whose family once owned the brewery,
for his $250,000 contribution to help showcase Bavarian’s history.

P H OTO G R A P H S ( TO P ) BY D E V Y N G L I STA / ( B OT TO M ) CO U R T E SY K E N TO N CO U N T Y P U B L I C L I B R A RY
 55

CINCINNATI SHAKESPEARE
COMPANY, 12TH AND ELM STS.,
OVER-THE-RHINE
Built Original Use Current Use
2017 Theater Same

Architectural Style Contemporary

Significance Beth Johnson, the city of Cincin-

nati’s urban conservator (see interview on
page 53), cites this building as a prime example
of how new construction in a historic district
can be both modern and compatible. The large
windows look out at Washington Park and invite
the community into a warm space finished with
reclaimed wood and other natural materials.

Next Pride and Prejudice opens later this

month, followed by Hamlet in April.

THE ASCENT, ROEBLING WAY, CROSLEY TOWER,

COVINGTON UNIVERSITY OF CINCINNATI
Built Original Use Current Use Built Original Use Current Use
2008 Condos Same 1969 Chemistry and Same, plus offices
biology laboratories
Architectural Style Star-chitecture
Architectural Style Brutalist
Significance Corporex hired Daniel Libeskind,
then designing the 9/11 memorial and office Significance Architecture styles go in and out
complex in Lower Manhattan, to create a of favor (and sometimes back into favor), but
signature residential building at the foot of the this 16-story concrete monolith has worn out its
Roebling Suspension Bridge. Clad in the same welcome. In 2017, Architectural Digest named it
blue as the bridge, its upwardly twisting profile one of the ugliest university buildings in the U.S.
is instantly recognizable from every angle—
though some naysayers think it sticks out like a Next UC is planning to build new labs and offices
sore thumb. in order to relocate Crosley’s inhabitants, and
then the tower is coming down—possibly by
implosion.

Architectural Style
One of a kind

Significance Zaha Hadid

became the first female
architect to design a U.S.
museum when she created
what The New York Times
called “the most important
American building since
the end of the Cold War.”
Its stacked-concrete-boxes
look, crazy staircases, and
huge glass-walled entryway
still surprise and intrigue.

CONTEMPORARY ARTS CENTER, SIXTH AND

Next The popular Fausto
café brings new energy to
WALNUT STS., DOWNTOWN the lobby space, and a top
floor renovation will reimag-
Built Original Use Current Use ine the CAC’s UnMuseum
2003 Art galleries Same education center.

P H O T O G R A P H S ( T O P ) C O U R T E S Y C I N C I N N AT I S H A K E S P E A R E C O M PA N Y / I L L U S T R AT I O N B Y C AT S I M S / ( B O T T O M L E F T ) B Y D E V Y N G L I S TA / ( B O T T O M R I G H T ) B Y PA I S L E Y S T O N E